Original subtitles

Jerry tried to do the timing right.

It's Halloween, so we have our little Halloween

graphics that Jerry's been, Joe's been waiting all

year to use.

So we got to use it.

I hope you like that little alien hand.

We're going to use it to the fullest

today.

Welcome to our live broadcast.

We're so happy to have you here.

This is a very special broadcast, and we're

excited about it.

We're going to be doing, Jerry's going to

be designing an album right in front of

us.

This is a pretty cool session.

It's actually a bridal session, not a wedding.

And we met Sherry and Matt when we

were in Cincinnati doing a workshop.

Jerry was doing a photo walk, and we,

the models that we were going to be

photographing couldn't make it or weren't available.

And then Sherry and Matt, or Sherry was

just there attending and had just mentioned that

she had just gotten married a couple of

weeks before the workshop and said, oh, but,

you know, I'd love to get some additional

photos.

I'd love to see, like, have us get

dressed and do, like, something in your style.

So Jerry was like, is your husband working?

Can he get out of work?

Can you guys go home and get dressed?

And within an hour, they were back, and

Jerry photographed this couple all day long, and

he got so many great photos of them,

and it was pretty special, and they were

so happy in the end.

Now, if you haven't seen it already, go

to the photo walk section here on JGPT.

Look for the Cincinnati photo walk, and you'll

actually get to see their entire session.

So it's really fun.

We'll see the album design today, but it's

really fun to see the entire making of

every single image.

And every photo that you'll see today, you'll

get to see the making of it, so

it's pretty cool.

So now that we've already shown off the

entire session, Jerry's gonna sit down.

He has not designed anything at all.

He's just pulled all of the images together,

and we're gonna design a really special album

for them, which this was unexpected.

They aren't expecting this.

This is gonna be something that we're gonna

do for them, just to say thank you

for letting us photograph them and do this

really special shoot with them.

So I'm gonna turn it over to Jerry.

Jerry's gonna talk his way through the entire

thing.

If you have questions along the way, post

them in the chat room.

We'll answer them for you, and we'll have

fun doing it.

So here's Jerry.

Hey, guys.

So being a photo walk, I wasn't specifically

shooting for the wedding album per se like

I normally would on a paid gig, but

because I've conditioned myself so much so that

whenever I am shooting, I shoot in little

clusters.

I'm shooting like two or three shots here,

three or four shots there, and I try

to keep the mood and sensibility and the

feeling very, very similar in each little pocket

of light, pocket of location, and so on

and so forth.

You would have seen me design many albums

on JGBT if you'd been a long-time

member, and usually they're horizontal, and you might

say, well, why would I usually design a

horizontal album as opposed to square or vertical?

It's because horizontal is easier to design.

It's more conducive to storytelling.

We read from left to right, and it

just sort of feels better, and even though

geographically you might have, like if you have

two pages horizontal or two pages vertical, you

geographically might have the actual same real estate.

It just feels bigger, and in design, it

actually is bigger, so to speak.

So today, the really fun thing about today

is today is going to be a vertical

album, and obviously it's not story-driven.

It's not like you've got the bride coming

down the aisle, kissing the groom.

It's not really based around an event or

a story.

You would just call this a love story,

a connection of relationships, and so on and

so forth.

So let's just say this is a bunch

of pretty pictures of celebrating this couple together.

So we're not content, or we don't really

have to do it in a way where

it's chronologically event-driven.

This is about pretty pictures and putting them

together and how easy it can be done.

So you would have heard me say before,

and if you've actually been a long-time

JGPT member, that you probably would have seen

me talk about and heard me say that

I design by per page or per side.

Now, when it comes to per side, I

feel it's more logical when it comes to

a story-driven album.

When it comes to two or three shots

in different lighting situations or two or three

different shots in locations, I feel like I

want to just choose one or two that

are very simple, very clean, and that tells

a story, and we're done.

So a vertical album, I can put one

shot here, one shot here vertical, or one

horizontal shot, and we're done, and that's the

design.

So if you were doing an engagement session

and you allowed an hour to do it

or two hours to do it or whatever

it is, this kind of design will suit

you perfectly.

So call this an engagement session, a bridal

shoot could be likened to an engagement session,

ignore the wedding clothes, for example, or just

a couple shoot.

So what I do is I sell per

image.

So I might start off with a 30

-image album and then everyone will pay above

that as well.

Sorry about being a bit slow and a

bit incoherent.

I've still got a little bit remnants of

the flu and all that kind of thing,

so if you see me sweating and stuttering

more than I normally do, then you know

I'm just getting through this because I'm still

a little bit sick, but all is good.

All right, guys.

So first, what I'm doing here is, for

those of you watching at home, of course,

we're designing a 9.5 by 13 vertical

album wedding book.

So this is called, in our graphic studios

who I use, so we're doing a wedding

book and it's a 9.5 by 13

vertical album, okay?

So what you're seeing here are all the

thumbnails on the bottom, and then you're basically

seeing the spread, of course, I haven't even

started it, and I've barely looked at these

since I've actually started it.

So just so you know, what I would

normally do in this situation is I would

look at the thumbnails first.

Now, I'll get rid of the names.

I just press N, and that brings off

the names and the file names of everything,

and then I can double click, and of

course, I can see the thumbnails as well

over here, and this is pretty much the

kind of view that I like because as

you can see, I'm seeing the clusters of

photographs and knowing if I've got any more,

whereas rather than clicking left, right, left, right

to do it, well, I know that, hey,

I've only got two photographs here, so whether

it'll be both, one on its own or

nothing or whether I like it, you know,

put it with a groom shot, I don't

really know yet.

So we're going to have some fun.

So again, just typically, guys, what I'm basically

getting at is that, you know, if I

was shooting for a wedding album and I

wasn't teaching in this capacity, there would be

very specifically shots that would marry up to

each other.

So I don't really know how this is

going to pan out because, like I said,

because I didn't shoot it as a paid

gig, so to speak, it was more just

for a photo walk and they happened to

be a wedding couple, then you might find

some holes in my line of thinking and

that's a good lesson to be learned because

if you were photographing with no intention of

designing an album with it, then you might

experience similar problems.

That being said, I might design this easily

and cleanly because subconsciously I've trained myself to

do this over so many years that it

might be fine.

So here goes nothing.

Let's play.

What I'll be doing first is I'm going

to click on this photograph and with my

arrows, if I click the down arrow, what

will...

That's basically...

No, top one.

I'm just trying to think here.

Let me...

I'm just trying to remember my shortcuts.

Let me go back.

So unfavorite that one.

If I click on this, I think down

favorites it.

No, go back.

Top.

Okay, that's what it is.

Perfect.

So what happens here, guys, is that if

I...

I can click right arrow, left arrow and

look at all these photographs but if I

click top arrow, that will favorite the photograph

and then move to the next.

So I'm going to switch between top arrow

and right arrow between ones that I want

and what I don't want.

So what I'm looking for now are photographs

that will go together.

So now I look at a couple of

shots first.

See how we have sort of playing with

the veil a little bit softer and then

giggling.

Now that and that could go together because

we've got a similar location but then we've

got sort of soft and then giggling.

I feel like I might just go soft

and then playing with the veil soft face

as well.

So I'm going to click on right arrow

for those or top arrow, which will favorite

it as you can see there with the

love heart.

Let me go to the right.

This one could be a page on its

own.

Therefore, I'm going to favorite it.

This one, you've got him looking at the

camera and then a little bit of a

squint.

I think that's a bit too much.

Too much pressure in his brow.

This one here, I quite like as well.

See how we've got passive looking in the

camera and then we've got her giggling because

she's exactly the same geographical space in those

photographs.

I feel like we can get away with

the fact that the expressions are different.

So, or do I have one of him,

one of her?

That's where we have to make a sacrifice

here because I actually technically like this photograph

better but that's not going to go with

him being serious.

So the question is, do we do that

one and that one or do we do

that one on its own and these two?

I feel like I want to go with

my gut here.

I'm going to choose that one, choose that

and choose that one.

Now, I've played with the half face crop

here.

I quite like that photograph.

I quite like the repetition of that as

well.

Will that go?

Don't know.

That might be the case.

That might be good.

Let me ignore that one.

I think I like that one better.

Here, I was showing my students on that

particular day, if you've already seen this shoot,

between shooting in full sun and then shooting

softer as in with diffused light.

I quite like this as a sequence.

So we're going to choose these two.

Okay, so I've got...

So Jerry, as you're doing that, can I

ask you a question?

Yeah, please.

When you're choosing, you have the serious face

and the smile and like how are you,

because you can go with either one.

What is making you choose one over the

other?

Sometimes it depends on how much I love

the expression.

The perfect example is what I was looking

at before.

So let me show you.

I'll go in a bit more depth.

So if you looked at this one and

this one, this one, it depends.

It depends on who you are as to

if you'd like this or not.

I feel like she probably would like this

better.

The husband would probably like this better.

You know what I mean?

One is more vanity.

One is more, well, that's just you.

So for me, that crinkled nose is the

way, that cute little thing is what people

like about their partners.

But this one's more classic.

So I feel like I want to go

with this one.

Putting them together probably goes against my design

principles because you've got different moods in each

of them, but because it's a similar crop

and similar lighting, I feel like I could

probably get away with and put them both

there.

That being said, I might very well just

decide to do this one with this one

and then you've got a classic, you know,

guy and girl thing.

But then I'm missing this beautiful photograph.

So I'm going to sort of decide later

on as to what I do.

This one, perfect example, I've got harsh sunlight.

The idea behind the photo walk was that

or diffused light.

But because I clearly like those two as

expressions, then that wins over that, even though

that's more dramatic and arguably stronger in many

ways.

So that's how I do it.

All right, let me look now.

I've got her on her own.

100% I would have photographed him on

his own.

Please, please.

Because if I was shooting a wedding, yes,

there you go.

So it's like, wait a second, I've done

all this and I haven't photographed him yet.

That's better of him.

So he looks a bit worried there.

So I'm going to choose that one.

Pardon me, this one, the smiley one, which

means that on her own, either I pick

a close-up that goes well with that

shot and then a separate spread.

So if I look at that and that,

so they're quite traditional, which sort of goes

with part of my sniffling there.

I think that one's a bit softer.

It's sort of, you know, certainly there's a

pose there, but I think that's a little

bit softer.

So I'm going to choose that.

So you sort of see how I've ignored

the chronology for the moment because I know

that there's going to be individual shots.

Now, let's look at these ones because that

would make me feel quite like that classic

one.

I haven't had that look from her yet.

So I'll probably choose that one.

Do you agree, baby?

Yeah, I do.

So if you look at that, that's full

length, great.

We've got that as a couple.

Yeah.

That one's cool, but there's a certain, something

little extra about that.

Yeah, I totally agree.

Great.

Good.

All right, beautiful.

So that'll be on its own because that's

what, so that's why I'm doing a vertical

album because horizontal is just going to work

in that capacity.

So my goal- Can you explain that?

Why not?

Yeah, so what I'm trying to do is

the design here, I'm earmarking that it basically

be either two verticals or a horizontal and

that's it.

Either two verticals or a horizontal and that's

it.

So I'm not too sure.

So I'm trying to work that out.

If I find there's lots of sequences that

might work out, I might do four on

one side and then one on the other

side, but if I do that, I've got

to do that a couple of times.

Otherwise, it'll feel a bit silly if you've

just got an odd design out.

If you repeat a design here and there,

it's okay, but if one that's a stark

contrast, you feel it's not going to work.

It's going to be hard because there's a

lot of reaction shots and sequences here, but

I think that's where I've got to just

bite the bullet here and work it out.

So if we look at this little section,

love that moment.

Love that even more.

Oh, this is going to be hard.

Okay.

So baby, what do you think?

So we've got this one.

I love that one.

That's a bit more voyeuristic.

That's a bit softer.

That's cute as well.

Then that's laughing.

That's more hidden.

I probably won't go with that one.

Then you've got more intimate, which is beautiful.

See, I quite like the intimacy of those

ones.

Yeah, I love those last two.

Which means that I want two potentially here,

which means because I've got this romantic shot,

I feel like, and there's somewhat smiling there,

of course, but I feel like I can

go extreme.

Either really fun and smiling or passive, like

all that sort of that sexy voyeuristic feel

there.

So what baby do you like out of

these four?

That, that, that, or that?

I like the go forward one, that one.

Yeah, I think it's soft.

I like that one too.

Okay, so I want to favourite that one.

Then I think we said we were going

to, well, there's that kiss and smile, but

there's a romantic look there.

I feel that that's the one.

Me too.

Then I'll look at this, quite like that,

so we know that there's the voyeuristic one

that we're talking about, and there's the kissy

smile there, and that one's fun too, but

it looks like he's about to murder her

with his left hand and choke her, so

we don't want that.

But then we can go, we've changed our

angle a little bit, a bit too puckery.

That one's fun.

I almost feel like of all those sort

of voyeuristic ones, that might be the way

to go.

What do you think?

Yep, yep, I like it.

So this will be just one photograph at

a time.

Now, yes, I can expand the album, and

I can do lots of sequences.

Sometimes simple is the best, and I know

I'm going to choose that one.

So this is where, this is not only

an exercise in simplicity, but it's also an

exercise that if you do sell per image,

and in my case, just for non-wedding

stuff that's not story-driven but more aesthetic,

then this may be a way of saying,

all right, well, if you had to make

it a smaller size album or less images,

then we have to be brutal and just

say, you know what, we have to bite

the bullet and say, this is the answer,

this is what we do.

This is the one that we're going to

choose, because trust me, I could design this

album tomorrow, and it's going to look completely

different.

So you're saying that you've got to just

commit and not overthink it in any way.

Well, that's the thing.

How overthinking is doing now, once we design

it, it'll be so frigging easy, and that's

it.

So let's have a look at these.

So what I'm looking for in this sequence

is two, two photographs.

Now, as you can see, looking at all

of these, I probably want this pose.

So forget about this onwards.

That might be a separate spread.

So I'm looking for two photographs out of

these seven or eight.

This is too traditional.

That's one for grandma.

Let's leave that for grandma.

Love that one.

That one's very genuine and fun.

Quite like that.

It's got a bit of finesse, and it's

genuine too.

That's cute too.

No, that's a bit posey.

That's a little bit kissy-kissy.

Maybe that one, would you say?

Yeah, I love that one.

That last one.

And then I quite like that one.

Yeah, me too.

Do you know what I mean?

It looks very genuine.

This one's good too.

It's more like it could be that and

that, or that and that.

And this is where I feel like the

hand on the belly might look a little

bit pregnant-y, now that I look at

that.

So now if I put those together, don't

forget, guys, that you can go A and

B, and then you can click both photographs.

Obviously, we can just simply design it.

But sometimes it's good to just put them

together and say, all right, well, hey, that's

that side.

That's that side.

And then this is that side.

And then it looks great together.

So we're going to favourite those two.

Let's go back here.

The more work you do in this little

section of your pre-design, the less work

you'll do when you're actually designing it.

So now you see how the pose is

a little bit different.

She's crossing her hands over.

Love that one.

Love that even more so.

That one's giggly.

I love this one.

Sometimes straight away it just sings.

So you've just got to go with your

gut.

Love that.

So it's softened the mood a little bit.

That's cute too.

But I really love that one.

That's just a thing that couples do.

And I love that.

Then we slightly changed the angle and brought

his hair out.

It's sort of like a domino effect, isn't

it?

Like if you are strict when you're culling

your images, and you don't overshoot to begin

with, and then if you're really strict when

you're culling your images, then that makes the

next step easier, and then that makes this

step even easier.

And if you're really strict when you're selecting

the album images, then it makes the design

really easier.

That's such a great point.

So let's work backwards.

Let's reverse engineer that.

Even when you're photographing, you sort of half

mentioned that, but being very specific with just

taking less shots and shooting for the story,

and then of course the whole process becomes

easier to align.

So definitely a great point.

Very, very good.

All right.

So there's there.

So the question now is, maybe do we...

I quite like that one.

I think if there was going to be...

That's somewhat traditional, but it's sort of because

of the pose and everything like that, his

hair is down, whatever.

That's good.

So I feel like even that could be

a spread, that and that.

Yeah.

Even though it's looking in the camera, then

a mood, and I don't typically do that.

The question is, maybe it's too repetitive for

these ones.

I think it is.

Or do what?

Did we already choose something like that?

One second.

Hold on.

Yeah.

We chose those two.

Okay.

That's what we did.

There's that one.

I feel like we can do that.

And yeah, then he's smiling.

So we've got one bias to her smiling

and then one bias more to him smiling.

I think I like that.

Then we ended up choosing that one, choosing

that one.

Pardon me.

This is where, see, because I normally shoot

for a horizontal album, this would be uninterrupted,

but the spine will go right down her

face here.

So what I might do is choose a

pose like this, which gets the spine in

the middle.

So that's, hence it will be one of

these two, but actually I quite like that

even better.

What do you think, baby?

Yeah, I love that one.

So there's that.

There's also the square one, but we've sort

of got that look standing up in a

different location.

So I'm going to choose this one.

Okay.

Let's look at these.

So there's this and this.

Baby, while I'm designing a few, like choosing

a few more, tell a story about how

these furniture existed for those people who haven't

seen the video.

So we were just walking down the street

and Jerry was just photographing and we were

going in the direction of a park, but

then we ended up photographing all around the

park and not really going in for a

long time.

So he was just using buildings.

Like all of these were taken in a

parking lot.

So we were in a parking lot like

with nothing around, but this building was this

rust colored and the sun was hitting it.

So Jerry just did all of these photos

there.

Turns out that the venue just where we

are that shared that parking lot was also

a function venue, like a function hall.

And this must have been on a Thursday

or a Friday and there was going to

be a wedding either that day or the

following morning.

And so this furniture rental company came with

this big van and started unloading all of

this furniture to set up for the wedding

that was going to be taking place there.

Totally coincidentally.

But they had all this really cool, funky,

vintage furniture.

So Jerry was like, hey, let's go ask

if we can use their furniture just for

a few minutes since they had to unload

it all from the truck anyways and then

the guys were taking them piece by piece

inside.

So Jerry talked to them and said, hey,

can I just use, we're doing a photo

shoot here, explain what you're doing.

Can I just use some of your furniture

just right here in the parking lot?

I'm happy to send you all the photos

that we take using them.

And then all of a sudden we had

this whole van full of props because they

were like, yeah, no problem.

Jerry's like, it'll only be a few minutes.

It was fantastic.

Also, we had all these different really cool

couches and it was wild.

Like the odds of that happening, the force

is strong with Jerry.

All right.

So you've probably been listening to Melissa's story

as you've been watching me doing what I'm

doing here.

Quite like that one.

That's got a lot of finesse.

The question here is, do we, so that

one's fun too.

Quite like that.

Sort of quite standard and classic and all

that kind of stuff.

Okay.

All right, guys.

So now all we've got to do is

this.

We've, we show the favorite ones.

Okay.

So where it's literally the, in the list

to design is purely that.

And if we come back here, I could

easily just do an auto design and let

them just hope for the best.

I feel, well, actually, let's just show the

viewers at home what that would look like.

So if we go to the copy, okay,

we're on the copy right now.

We're auto designing.

And let's say maximum two, two per spread,

minimum one per spread, pages to design.

Let's just, actually I've never done this where

it's, is that how many?

There's 90.

Design in note, entire collection.

No, we don't.

We want to filtered images and let's blanket.

I don't know if that's going to do

it, but if we just say pages in

total images, well, we've actually just done this

aspect ratio.

Well, three by two.

So we want to keep, well, actually the

original, the original aspect ratio capture date.

Let's do that.

What the hell?

Let's just press design and see what happens.

It may want us to do this.

I don't know.

We'll see.

Okay.

So pages to design.

I don't know.

Let's just say 30 total images.

Let's say 35 and let's go design.

Boom.

Okay.

It didn't do a bad job.

Actually didn't do a bad job at all.

It's just that it can't think like a

human.

Now you could look at this now and

just go and correct it.

Personally, I find the auto design with all

respect to anyone who uses it.

I think it's quite elementary.

I think it's a good starting off point.

I feel like it's a, it's a good,

haven't ever designed an album before.

Let me just see what it comes up

with.

Let me play that.

Certainly I could have used different filters.

I haven't used this enough to really know,

Hey, how that's going to work.

So I probably could have made this look

even better, but pretty damn good for like

a click of a button within seconds.

So let me go back now and do

what we do.

And I'll show you what I'm talking about

on how this works.

So now I, I'm going to leave.

I earmarked.

I'm just curious, baby.

What do you think of, do you think

this might be a good first page image

for the album?

Or do you think that she would not

like that of herself or love it about

herself?

I think it's a good one.

I'd love to see what other options there

are.

Or this one.

Oh, that one for sure.

Okay.

It's so much more dramatic.

Okay.

So that might be the first page.

Now I'm going to just jump in and

just bang this out.

We will watch.

Yes.

So first, what I normally do guys is

I grab the photographs and then I just

throw them on there.

Oh, why didn't that go there?

Okay, so we'll work that out.

So what I'm doing now is I'm, I've

chosen my favorites with a very deliberate intention

of how I'm going to design it.

I think I would put, I'm going to

put him on his own now that I

do that.

So now I'm making a secondary round of

decisions, even though that the way I've, I've

selected them, it's designing itself right now.

And you're saying that because you can't put

certain images with other images.

So it's making it super easy to just

decide what goes together.

Yeah.

I mean, look at, look at what's already

happening.

It's sort of already, like I said, it's

sort of designing itself right now.

And that's the whole idea of shooting for

the actual album.

So now I'm going to grab that photograph,

of course, because we earmarked this.

Good little reminder that if you're shooting on

a wedding day, you might totally forget to,

let's say you've, someone interrupts your usual flow

and you, you don't photograph the groom on

his own directly after the bride on his

own.

Therefore you've totally forgot about him.

And then if you do that, that's, that's

not right.

So you've got to get that organized, get

that, you know, get that, get that looked

at.

So I like this one.

See, now that I put these images together,

I feel like there's too much repetition in

those.

I'll show you what I mean.

Just for the nature of everything being hooked

up to a production table and desk, the

I'm quicker than the, the computer, so to

speak.

So I'm just going to take my time

for this to happen.

See, I feel like now it's probably too

similar.

So I feel like I've sort of, this

is where I've got to unfilter it.

So we're at 95 again, and I'm going

to go back here and say, all right,

well, wait a second.

Which ones did I like?

Because I happened to pick a similar mood

every single time.

Well, actually the question is then which ones

out of those three, do we like the

best?

Well, I'm actually, am I overthinking this?

Little soft mood.

They're about to kiss and they're about to

kiss from a different angle.

Maybe these two, this one's nice.

Maybe these two are too similar.

Perhaps we need a giggling shot somewhere here.

So I'm thinking it might be this one.

Yeah, that breaks the monotony.

So you're looking at a spread at a

time and then you're going to this one.

That's romantic.

All right, good.

So let's come back here, show the, the

favorite ones first.

Then we do this.

Then we choose.

Oh, then we choose this.

And if you think about it guys, like

this location, it could be a white wall.

It's, it's nondescript.

Well, what's interesting is this was actually a

really beautiful building.

It was like city hall or a city

hall looking kind of place, but you didn't

actually photograph the building showing it off because

it was about the couple.

So that really could have been taken anywhere.

Yeah.

This one, there was a serious one and

a giggly one, but we could put it

with this.

But the more I think about it, let's

just untick that and then show you what

we had, baby.

So we had this and this.

Oh, I love the smiley one.

So if you love the smiley one, that

could be the way we end it.

So I'll come back to that.

Let's go back to the filter.

Let's do that.

Let's do that.

Let's do walking.

Let's do again.

We'll fix all those proportions in a second.

So now we've done that to start.

So I feel like that might be a

nice little way to end.

And obviously we'll fix that.

What do you think, baby?

I love it.

So you see how very quickly if you,

it's almost like shooting less is going to

sell you more.

We've shot less.

You can see that very clearly.

And the different spreads that we've been doing

in it.

But the cool thing is that you can

sort of see how many photographs deserve different

spreads.

So now let's tidy it up.

So what I know, as you can see

here, guys, just so you guys know, I'll

take this out.

The red is where, that's the crop line.

That's the cut line.

Okay.

The cut zone.

The safe zone is put it within the

green.

You'd be fine.

Now, just so you know, I've been doing

these albums for a long, long time with

graphic and using Fundy album builder.

I know that that reds very, very accurate,

which means the gap between here and here

and here and here are going to be

the same.

It's going to be pretty even as even

as it possibly can be, which means there's

sometimes I like full bleed like this, or

there's sometimes where I want to inset it.

And that's just personal taste.

In this case, I feel like we're starting

off.

I'm probably going to put their names here

or I might just keep it simple, but

I feel like a title page full bleed

may not cut it, or at least in

this case.

But you sort of see how now easy

it is for me to come in there

and do what I need to do.

I feel like that needs to be flipped.

See how we're sort of mirroring, and then

she needs to be brought a little bit

bigger in this frame.

Not too big, just sort of in proportion,

maybe a touch bigger.

Now you'll see me sometimes go like bleed

and bleed.

Like there's no border around either of these

photographs.

And you might say, well, Jerry, why are

you doing it this way?

Well, yeah, I, I'm happy to do a

little cut line, like a white line between

them.

So let's press G and the guides will

come off.

That's a new thing.

I didn't see that.

Actually, that's good.

They've just added this feature, the grid.

So if, if some things are off, like

you got strong vertical lines and stuff.

Yeah, that's really cool.

So in this case, that white, that'll just

sort of disappear.

That's part of the spine.

But because the color tones are there, it

blends in.

It's totally fine where it's sometimes I'll usually

go.

If it doesn't perfectly blend in, I'll go

one full bleed and then one border.

And I'll let, I'll tell you what I'm

doing when I'm doing it.

This works well.

That's good.

I'm going to probably just, let's go to

the guides again.

You see how the red will chop into

his hair.

If I did it like that, it would

look a bit weird.

So I'm going to basically do it in

a way where it's there.

Now, that being said, I can do this.

I can just let it, you know, bleed

off one particular side like this, and then

it can go across, you know, two sides

and then have a bit of breathing space.

I feel like we're going to do a

lot of hair on her own.

And I feel like that doesn't really hurt

the picture by me cropping it a bit

tighter.

And then sometimes I feel like I need

to, oops, oopsie daisy.

I like to look at it as spreads.

And even though we've got him here, I

feel like that, that might be, that feels

good.

So, but I'll come to that.

All right, this one, see how it's a

very definitive crop and no negative space around

the subject like this, and this, that means

I either make them exactly proportional like this.

And then when you open up the album,

you have even space around there, but you

sort of don't.

Let me explain.

When you open up the album, the illusion

is that this gap is bigger than all

of the rest of them.

So sometimes I, what I want to do

is I usually will go bigger on one.

And do you see how it looks a

bit uneven here?

Because you've got to imagine that once this

is cropped, then the border between this, this,

this, and this is going to be even.

I quite like the fact too, that we've

got her slightly bigger and slightly smaller here

as well.

so, you know, now this being said, let's

do that.

See how that doesn't feel right?

Usually the shot that you want to feature

is going to be on the right.

If we had multiple photographs on one side

and then one big one, I tend to

go with the multiple on the left, another

one on the right, but you've got to

go with your gut here as to what

feels right.

That feels right to me.

So we're going to leave it at that.

Then let's go next.

That's if we want it.

I don't know if it's strong enough, but

if I have him like that and I've

got her, she looks stronger in that image.

I feel like it's for him.

He looks a little bit awkward in that.

I don't know.

Do you think it's worth putting him there?

Or am I overthinking that?

I think she, I would, I love, I

would love to just see that about her

to be honest.

Like that's amazing.

Okay.

In other words, get rid of him.

Yeah.

Okay.

I agree.

I agree.

I was looking for permission, basically.

So this one again, do you see how

it's, let me go back here.

Do you see how this design, like this

just suits, it's clean.

You've got breathing space all around, therefore bleed

in.

This one is definitive, which means that one

of them needs to be broken.

And again, this is where, see how it's

two photographs.

So if you, if I was to make

that smaller, it's two.

I want it in one.

So I'm going to do this, put the

guides back in, and then they're having a

grand old time and then they're giggling.

And then I'm going to fit it because

I've got room to play with.

And that looks even better.

Now the question is, does that look better?

Or does that look better?

Sometimes what I do is when I'm designing,

you see how this spread, we did that,

I actually flip it.

So subconsciously I'm filling in that void where

it wasn't before.

So because this can look good in both

ways, I'm going to do that.

And again, I'm flipping the design and even

though no one will probably know, I'll know

that, hey, I'm filling up that void and

that's going to work.

Okay, let's do this one now.

So this could be potentially full bleed.

And I think this is where I would

flip them.

But you see how now that I've flipped

it, it doesn't blend in as much.

We've got some line out of focus and

then this line, it's sort of somewhat okay.

I quite actually prefer the fact that he's

looking off to the side, almost looking at

his beautiful bride, but this doesn't work.

There's just too much going on.

This is where I need breathing space because

his head to toe, breathing space here and

here, but I feel like I'm suffocated a

little bit, which means this is the one

that's going to be on its own with

a border and this one's going to be

full bleed because she has that space around

her.

Yes, he does as well, but this is

just a gut thing.

This is just, my gut is telling me

that this is going to look better than

what I did before.

It does.

See how that just feels better?

Subconsciously, those lines blend in.

There's repetition.

There's harmony and repetition, but that sort of

works.

That works better.

Now, if I flip that, would that work

better?

Not that one.

This thing.

No.

Negative space just gives it a bit of

breathing space.

It's almost like he looks at her and

it's like, bang, right on the camera and

we're happy.

Make that sound again.

Love that.

Done.

Easy.

Done.

Easy.

Done.

Easy.

Done.

See how easy it is when you photograph

for the wedding album?

This is slightly off the nature of where

I was.

See how this is straight?

This is not.

This is where I'd probably skew this a

little bit.

The cool thing about that is you can

edit it like straight away.

I can say edit in an external editor.

Then I'll pick Photoshop.

Photoshop.

Double click.

I'm going to go here.

I'm going to select all.

Apple A or Command A.

Transform.

I'm going to skew it.

I'll bring a guide over here.

You see how it's a little bit off.

Just twig it back a little bit.

That's about right.

Then I'll bring my guide over here.

That's pretty good.

It's an old building.

It's not going to be perfect but it's

pretty damn good.

Now I press enter.

Close that.

Save that stretch.

Then that'll just click into place.

Not yet.

Normally it happens when you go left and

you go right and then it fits in.

You see the little tips just fit in

perfectly.

Yes, they're going to be chopped off but

at least they're going to be even when

they're there.

Or we can also do this.

We can bring that in a little bit.

If we feel like we want to have

some of those pages like that I feel

anything with negative space with a clean background

can bleed off the edge no problem.

When it starts to be busy like these

aren't busy.

They're just neutral backgrounds.

But when it's busy I feel like I

would do something like this but because they're

all neutral I feel like they can go

bigger.

This one if we had the crop so

close to the ear without the problem that's

where I'd bring that in again but I

don't.

So for consistency I might just keep on

doing full bleed and if I find another

reason to inset it then I might come

back and change one or two others.

Does that make sense, baby?

Yes, it does.

Alright.

So let's do this.

Let's do this.

Now the question is do I flip one

of these?

If they don't marry up perfectly see how

they're slightly bigger there?

This is where I might enlarge it a

little bit and you sort of eyeball it.

Now again it doesn't have to be well

it does have to be perfect in this

sense because if it's slightly out then it's

a mistake.

If it's done exactly the way you know

even then it's done on purpose.

So you've just got to work out what

is that balance?

Is that about right?

No, this is wrong here.

So this is where now I could spend

all day on this but I'm like man

sometimes done is better than perfect.

I feel like I've got more space here

which means well this is a logical progression.

See how this graphic is dissimilar to this

so therefore it doesn't feel right.

I feel like this is the one that

should be in set because I've got to

leave no room for chance when it's being

cropped and chopped and all that kind of

stuff.

So if it's not perfect then make it

really different?

Well yeah so well as in so let

me show you so if I'm doing this

now and this and I fit it I

just want to get give it fingers breathing

space see if I allowed sort of graphy

to chop it I might not know where

but I want that completely gone now which

means that I'd rather do it on this

image and because chronologically this shot is a

reaction to this they're laughing at themselves then

you would say this is the one that

should go on the right and the one

that should have the border.

Does that make sense?

Yep.

I know it's I'm speaking this is what's

going into my brain so just so I'm

letting you in on it basically but I'm

sure that you guys go through the exact

same things as me as we're doing it.

Now do you see how this photograph is

up to the right and I feel like

this would be better it sort of comes

down but because you've heard me say we

read from top left to bottom right therefore

we should probably do it like this theoretically

but the problem is that I'm cutting into

his arm that's visually very heavy there's weight

on that therefore that should be there or

we do this and then we flip this

do you see how now we have the

breathing space that we need?

Yep.

The difference is that they're fanned out do

we like that is the question the only

reason why I wouldn't do that is if

there was writing in the picture where the

writing would look upside down or look back

to front and look silly so what do

you think baby either we do that I

like it like that or we go back

to that and then in set one I

like the way you had it the other

way and the question is do we still

in set one and I think that we

probably should let's go back to this yep

we've got room to crop there which is

fine whoop I just screwed that up well

no actually this one will be in set

because I want that predictable when Graphy crops

it so I know that there's breathing space

above the head breathing space beyond the fingers

this is this is the one that can

be fuller that fits in and that's no

problem and the cool thing is that this

is indifferent to what we did just before

it okay so we've got the white border

on this side and the white border on

this side that works what I'm looking at

though is this is pissing me off see

if we if we've got the grids the

grids is telling us that this is out

so I won't do this on camera but

just know that I would select these and

then I'd put them in Photoshop and you

know click to the external editor and then

I'll skew this so that the lines here

are actually perfectly even I try to do

exactly what I can in camera but every

so often depending on where you're staying in

relationship to those vertical lines it may be

humanly impossible so that's what's happened here so

in this case I feel like because the

previous spread with the white border on this

side then it should be on this side

and that sort of kind of makes sense

with what's going on too so I'm going

to make this bigger and I'm going to

make that smaller and inset it and again

I'll make sure that those lines all marry

up and all that kind of stuff so

we'll do that off camera okay this is

a perfect example of what I was saying

before do you sort of see how we

don't have much breathing space around here this

is where I'll probably inset it and this

makes sense that if we're going to inset

one horizontally that this is probably where we

would do it because of the darker background

and it's different to everything else that we've

done so far so it's almost like by

putting a white background around it as opposed

to this one anything that's horizontal so far

it's all been full bleed so with this

one we're giving it some prominence by just

doing something a little bit different now this

is a bit of a problem child because

we've got her the crease sort of right

over her eye now this is going to

be over her nose no problem I feel

like we've got a bit of space so

what I'll probably do here is enlarge it

maybe too much just enlarge it enough to

get her nose to get that crease off

and I actually don't mind the negative space

on this side it sort of just drags

you into it and then we've got some

breathing space here and that's good with him

it's directly off obviously so that's fine that

works well what I'm looking for now is

this gap and this gap being the same

so I'm happy with that love that one

done again I want to bring it off

his eye no problem let's come here and

just enlarge that a little bit bring it

off and down so that's good this one

was shot at f22 so that's why they

both look in focus but in fact they're

about 3-4 feet apart and that's a

little bit washed out I think I'm going

to just bring that whole value of that

exposure down a little bit this can afford

to go down but this is just a

little bit bright so I feel like I'm

going to do that afterwards this is good

that's done I feel like they need to

be swapped do you see again how this

blending in is great but when you get

to the chairs they're totally off which means

that one really has to be in set

and because if we want them more proportional

do you see how they're closer up here

and they're further away here that's the reason

why I will I don't mind going from

you know from big to small per se

but I if it's so close to being

proportional and I have a choice then why

wouldn't I do that so let's see if

my theory is correct here and if I

bring it like this and then fit it

they're roughly the same size so you sort

of see how now that the chairs are

completely off and there's a bit of breathing

space between them you don't sort of see

that as an anomaly as to why why

does that not blend in perfectly well it

shouldn't but that's the thing is we're just

we're masking that and that sort of feels

better so they're walking they said a laugh

he said something funny and then there it

is I love these yeah this is fun

now the question is do we go full

bleed or do we use our theory because

it's sort of out of focus I feel

like I think that's better maybe I don't

know no I think I think one needs

to be in set something doesn't feel right

and again if you wanted her more prominent

or less you'd bring it in I feel

like because I've got more negative space here

than here then I can't have anything risking

this being chopped too close so I am

going to bring this on its own to

predictably go within the border and then fit

that so now I know well that's going

to be fine I wanted more breathing space

here than the wind blew and I had

some unwanted stuff so I sort of gave

myself an out I could have moved them

over a little bit but I sort of

wanted that trunk and that gap here as

well so that's just telling you my reasoning

behind that and then now then I know

that that's going to be perfectly in line

so the question now is do I want

that no more as in the overall flipping

of the overall spread do you like that

baby or that I think I like the

other way the other way yeah awesome okay

beautiful that's slightly out see that little gap

that was there okay that looks fun but

let me fill it this is the last

page typically I want the the right of

the last page blank I just I feel

like it's it's just the way books end

and it sort of just feels right to

me and that works and again do I

inset it I think the last page almost

suits full you see what I'm trying to

say like I can give you absolute rules

but you've got to go with your gut

as to what looks good so I said

to you at the start that that border

around that photograph sort of somewhat would suit

it's a title page so it's a poster

it's almost a poster whereas this one is

the ending and it's sort of like full

frame cinematic so that's why I feel that

that would be the case so now I've

designed the album I've just got to look

at it overall like this and say alright

do all the spreads look in harmony of

course your couple are never going to look

at the album like this but this is

to give me the designer the artist hey

is this going to look good and in

harmony with each other alright so I've started

off like that I've gone full bleed here's

the beautiful bride hey we haven't seen the

groom yet we're suggesting him bang there's the

groom then we've got the bride again dramatic

beautiful looking good then we've got this tone

then we've got the darker tone and so

on so the more I look at this

this one is sticking out not in a

good way so what we need to do

that's actually weird what's going on here that's

not happening no something ok

I've updated the software oh there it is

it just didn't show up you see I

have my mouse over it this didn't come

up I need to bring this in that

dramatic now the question is this colour wall

do we bring it back here I think

we should because all of a sudden it

sort of just vanishes and it feels a

bit weird or do we break it up

and that's a way of breaking it up

so let's just see if that's the case

if we feel that that's better otherwise we

go to different colour palettes that sort of

makes sense I quite like see ok this

is the oh ok let me have a

second let me have a look hmm ok

there well you'd almost expect that that be

together this is sticking out but then so

you've got that colour in the background then

you've got him again now this doesn't seem

to go but you would say goes more

with this because this is a concrete background

I was shooting up above this you would

say is darker but then you've got this

the question is would this be better first

or do we happy to go for the

contrast that is the question I

think we're happy to go for it endless

hmm I think that's softer ok if you

look at that that and that sort of

blend in in its mid-tone does that

make any sense it's sort of like if

you were to put those both in black

and white the tone is fairly similar but

because they're in colour you've gone from this

red to this grey I feel like we've

gone full length closer up fuller, fuller, fuller

close up great let me breathe close up

then this one because that colour tone is

in that same family as that then we've

got her in there and then we're introducing

them both now I feel like though we've

got them individually here this spread should be

coming a bit later I feel like I

want these three first so therefore that's going

to be first then these probably shouldn't be

together because it's probably a little bit too

predictable so I feel like maybe this is

where so we've got guy girl this palette

yeah it's sort of bleeding into this family

of palette as well but this might just

be well alright we're featuring her then we've

got him then individual break that up and

then we've got a succession of couple shots

perfect ok so now if you look at

this shade and this shade and this concrete

this is begging now to be put here

why?

have a look do you see how the

tones blend in now?

then this marries up to this this dramatic

nature of this marries up to that now

then you say well shit what goes on

with this?

and I'm like well you've got the darkness

and the weight of this because if you

look at the colour palette so far you

haven't really had a heavy background apart from

these few this is heavy visually because it's

darker and it's out of focus so that

out of focus goes with this goes with

this then you've got that classic nature and

then finish but the more I look at

this I'm thinking wait a second does it

make sense that we finish off with this

sort of more old school pose classic and

then smiley or do we do this because

yeah I think that's do you know what

I mean like I feel like that's a

logical progression of that I love that now

the question is that's quite dramatic actually I've

answered my own question here this darkness marries

up with that darkness but I think that

this mood runs with this mood better then

you've got subtly changing mood and then that

and then it blends in the question is

is this overkill is this saying anything the

other ones aren't I think it's weak would

you say baby or do you I think

that's different because it's just a different perspective

I mean I would never call it weak

but I think I think it's very different

because it has the green background it's a

lot more it's a different palette completely I

like it and that's just the thing guys

when you're designing an album you sort of

the emotion is done on the day the

emotion's already been captured it's almost like you've

got to detach yourself and say you know

what yeah that's probably just a shit photograph

I don't think it's shit but you know

what I'm trying to say is that when

you're pre-designing you've just got to yes

you've got to tell a story but this

is more aesthetic so I'm trying to say

be emotional about it but that should have

been done on the day afterwards you've got

to say you know what this is some

photographs that shine brighter but I think I

want to keep that because the fact that

it blends into this and it blends into

that and it's a different look and a

feel and all that kind of stuff I

feel though you see the difference between the

way we've designed it like what happened chronologically

and what actually made sense once we looked

at it so I feel that that might

be good now all this being said if

you look at this this thing if you

looked at this and playing with the veil

you would probably say that this would be

logically next then they get into an action

then they're individual yeah individual bang bang bang

bang yes because we're starting with her ending

with him great he it's almost like the

first runner and the last runner of a

4x100m race are the strongest so therefore you

bookmark that scene then this happens then we

go here because that's that's different to every

other look and it's a clean palette great

because you wouldn't go from him to him

no would you go from him to something

else no because we're going to do verticals

alright that's good we go from there we

break them up a little bit different pose

then we break that vertically then we keep

on going there we mentioned that that blends

in with tone blends in with shadow drama

drama drama because they're not smiling softer look

so it's not sort of going completely serious

they're completely cracking up a bit softer a

bit more animation and then finishing off a

bit more cuddly and that starts and ends

cuddly and strong and I think we have

ourselves a beautiful album so looking at it

the way they would look at it you

would you see how all the decisions that

we made because they're not going to see

a bird's eye view of all the spreads

it's impossible but when you start looking at

them as a collection of photographs as part

of a greater album then subconsciously all the

decisions that we've made actually make a lot

of sense boom you see how even though

it's not really a story it's an aesthetic

story and it's like a heartbeat like there's

highs and lows there's soft there's serious there's

sexy there's romantic there's fun there's playful and

overall you just want to have a drink

with this couple and have fun with them

so there you go guys hope you learned

a lot with that particular sequence and design

method because it's a little bit different similar

principles and theories but as opposed to lots

of photographs telling a story in twenty photographs

or ten or three or four in one

spread it was either two or one and

that's it and it's brutal you've got to

cut out a lot of photographs remember where

we started from we have all of these

photographs there's lots of photographs so my suggestion

is shoot for the wedding album design the

pages as you shoot do not think about

that spread of the album until you take

that first shot of that scene keep on

going give me different moods different angles warrant

different spreads and I'm telling you effortlessly we've

just designed a fifty sided album and it

could easily have gone to a hundred sides

but if you want more impact show less

it looks quite expensive if you want to

want to show more story and whatever yes

impact but you know you show more it

depends on what you want but that's a

lot of fun I'll cut back to Melissa

right now thank you guys and we'll join

you next week that was so cool just

to watch that also super unique because this

wasn't an actual wedding day that didn't have

a ceremony didn't have a groom's coverage didn't

have a bride's coverage and still we watched

Jerry create an entire album without those parts

of the story so it's really cool to

take the emotion out of it when we're

watching Jerry doing an album design because sometimes

we get caught up in all the little

moments that we're seeing and it was really

cool to just see all these just portraits

one after another portraits so Jerry could we

could really kind of understand his reasoning from

an aesthetic perspective from an architectural perspective on

how he builds an album it was pretty

cool to watch all of that come together

also huge props to Jerry because he has

been so sick with the flu he spent

days in bed like unable to move and

today's the first day that he was able

to just get out of bed and here

he is doing a broadcast so really props

to Jerry I know he's probably putting on

a brave face but not feeling it and

we couldn't tell so thanks to Jerry for

like really just soldiering through that it's really

awesome next week we have a very special

guest we're going to be posting this in

our Facebook group getting everyone excited about it

but I'll tell you guys first next week

we have Rob Greer who's going to be

coming into the studio and doing a special

presentation for us all on SEO so Rob

Greer is a fantastic wedding and portrait photographer

based in California he is also the owner

of Good Gallery websites he has created these

websites specifically for photographers that are very SEO

friendly makes it super easy for you to

make your website SEO friendly and he runs

workshops called Google is a Stone Cold Bitch

so he's really fantastic wait a second Melissa

said bitch I had no choice that's what

it's called Melissa said bitch but he really

knows his stuff he's definitely an expert and

he's going to come here next week help

us through we're going to ask him all

kinds of questions we're going to grill him

and he's going to talk through a whole

bunch of stuff with us and he's doing

it just for JGPT members so we're really

excited to have him on there so you

don't want to miss it it is going

to be on a different day because it

was the only day that Rob could come

into the studio and talk with us so

next week the broadcast is going to be

on Thursday and that is November 1st no

sorry November 8th November 1st that's tomorrow it

was such a shame it wasn't on Tuesday

for you to say that no no so

November 8th is when Rob is going to

be here so make sure you mark your

calendars it's going to be on a Thursday

if you want to tune in and ask

all of your SEO questions he's going to

answer them all for you so definitely worth

watching this one live if you can at

all make it so we're really excited about

that we're looking forward to seeing you guys

here next week have a great weekend everybody

we'll see you guys on the Facebook page

in the meantime and we'll see you here

next Thursday bye!