Original subtitles

Hey guys, welcome back to the second episode

of the album design of Ella and Lachlan.

I can't wait to just, I guess, expand

on this because just to remind you what

we did is we looked at the album

and indifferent to what we normally do, we

actually started designing the album just with their

favourites in mind.

So if you recall correctly, all I had

in this particular project was 200 plus images

and that was it.

And what I ended up doing was I

looked at every spread and we grabbed the

photographs that they wanted and just dragged them

on the spread with no real, I guess,

you know, particular attention to exactly how they'll

fall because Fundy will do a good job

of putting them somewhere, but of course it

needs a human to interact and to understand

what we're doing.

So what I thought I would do in

this episode, apart from actually finalise the design,

I want to actually look at the rest

of the photographs, see if they've missed anything

obvious in terms of the story or anything

like that and then add them and then

sort of see where all that lands.

So if you look down the bottom here

with me like this, if you look at

all the thumbnails over here, you can sort

of see that I've pretty much used 95

% of what they've already done, what they've

chosen part of me as a favourites.

So if you keep on scrolling here on

the bottom, you'll see all of these photographs.

Again, you'll see the number one on there,

it's basically how many times that photograph has

been used.

Of course it should say one, it shouldn't

say two unless you're doing a fun effect

or a design.

And then if we keep on sort of

just scrolling through, if I look at it

in this perspective, this probably gives us a

clearer view of what's going on.

As we scroll down, you start to get

a sense of other photographs that were there

that weren't used.

So just sort of looking at them here,

I'm sort of, as I'm looking at it

with you here too, I'm sort of trying

to earmark them as to maybe what I

might add or subtract or anything like that.

But already I see quite a few things

that we could add to this.

Again, this is just reacquainting myself with the

photographs.

Lots of candids, lots of congratulating stuff.

And remember this, guys, this is all straight

from the camera.

Actually with my glasses on, I'm like, wonder

why I can't see as clear as I

normally do.

Wait a second.

See, there's ones of dad coming out of

the car, but then these are nice as

well.

So you sort of see how it's almost

making my life more difficult because I've got

their favourites, but then now I've got to

somehow add the ones that I feel should

be added to the story.

But I think it's a good learning experience

from both perspectives, from mine and yours about

how we should go about doing things.

So I think I've seen enough.

So what I'll do is I'll start from

here again.

So what I'm looking for is looking for

this particular story.

Each spread is a story within the overall

and to feel like, to see if we

need to add anything to it.

So quite like this one, but I quite

like the serious perspective even better.

Got a very intense look, but he liked

it.

So I'm cool with that one.

Let's just scroll further.

See, these ones were chosen for here.

Quite like that balance.

Again, I'll fix it up a little bit.

So quite like that one.

But I like the fact that this is

a bit more dramatic, a bit more nondescript.

So I feel like that that might be

the good one to choose because that light

goes that way, that light goes that way.

Cool, cool, cool.

These shots that you're looking at right now,

this one and all of these, the reason

why they're separate RAW files is because I

actually created an in-camera multiple exposure.

This was more for the actual night of

the same day slideshow.

It was really, really cool.

So what I ended up doing is if

you look at that first photograph, that was

a base one.

And then in-camera had the multiple exposure.

And then you would basically see almost like

a ghosting effect of the previous photograph.

And I was building it inside.

And then basically, if you can imagine all

that in one photograph, it was really, really

cool.

First time I'd done that, actually, in that

capacity, it turned out pretty cool.

I don't have it actually here with me,

but perhaps we'll share it on future episodes

when we feature multiple exposures and what we

do with them as well.

All right.

So now I think we've chosen the correct

ones out of those black and white series.

What I noticed on this particular spread, the

ones of the guys, that's the brothers.

And then they ended up choosing a couple

of the other or one of the other

groomsmen, but not the rest of them.

So it felt a bit weird to me.

So if you look at these ones, you

got three other guys here.

Either we put them in or we don't.

I think it would be just easy enough

to put them in and then get rid

of them if we have to.

This is the kind of shots where the

bride and groom say, well, not that important

to us.

And then you'll raise the issue per se

as to, well, okay, I've got the groom

with this groomsman, then why aren't the others

featured?

Well, maybe he's a cousin and maybe these

are just sort of acquaintances or whatever.

I don't really know, but we can just

take them out very easily.

So sometimes it gives you a really good

place to go by adding more.

And it feels like they're winning if you

actually take some away in the sense that

if I want to save some money and

get some less spreads and so on.

Okay.

I think we've got the best out of

those.

Then we've got these ones.

Let me have a look here.

See, I'm almost thinking that you've got these

two photographs.

This might be good on that side.

And then maybe we do this.

And again, I'll fix that up in a

moment.

Then you've got sort of cool and laughing.

See, it really depends on now.

Do we look at this?

You see how they're all cool, passive look,

then they're smiling.

We really should have a similar sensibility.

So either we go cool and cool, or

we go happy, happy, or we even do

something like that.

So let me stick with that one for

the moment.

Then these were taken from later on in

the day because we didn't have time to

photograph the groom independent of the bride earlier.

So we did it afterwards.

So I just put these in.

I'll come back to that when we design

that properly.

These ones are fun, but I think we've

got the best of all of those with

all of these shots.

And again, we'll create that a bit better

afterwards.

Okay.

So we've got him laughing a couple of

times, and that's there.

So I think that's good.

I'm happy with that.

We've got one of those walking.

I think we've got the best of that.

Then we've got the girls giggling.

We've got the earring.

I'm just going to pop this here in

case we need some extra detail shots.

We've got the flowers there as well.

Let me keep on going.

Beautiful girl looking down, looking away, smiling.

I think the softer ones look good.

And I feel like this one, it would

be fun if we added an extra photograph

to give ourselves somewhere to go.

And now that I see this, you see

how we've got a full length of the

dress and that one's closer up.

I feel like we need another spread potentially

here.

So that's what you do.

You just drag it into the middle of

the spreads and you create another one.

And now it's a matter of what will

work.

Softer, arguably the softness looking, I think something

like this one would be good.

Oh, my hand was quicker than my eye

there.

And then maybe something full length there as

well.

We'll come back to that again.

Fundy's just populating it as it thinks, and

it can't think like a human.

And that's why I suggest that you do

these things manually.

We've got the rings.

And again, we'll come to that.

Okay, well, this one might be nice too,

to feature somewhere.

And guys, this is a really good example

of taking a photograph.

You sort of see how that sort of

sticks out of nowhere.

You look at all the proofs and look

at the foliage, look at everything that we've

done.

And this is on its own.

It was a quick little grab shot.

I just walked all around, took that shot.

But really, I should have said to myself,

well, what will go with it?

And that's the issue.

When you take a random photograph, it might

look nice, but where the hell do you

put it?

I might just put it here on its

own to see if that might work on

its own like this.

Could, I'm not too sure.

We'll see.

Then we've got these photographs.

And I feel like it almost is deserving

of a photo on its own.

So you sort of see how we've got

the veil here.

And then you've got not.

So I'm thinking that, hmm, these three photographs,

I feel like this one looks a bit

out of place.

So maybe what we do is we give

ourselves somewhere to go again and then put

this there as well.

And you can sort of see how that

could work on a spread.

All right.

So let's keep on going.

And again, part of my incohesive commentary here,

but it's exactly what's going into my brain.

So I'm just trying to think out loud.

As we've discussed, this little man's been featured

a lot of times, even though these are

really cute.

I'm happy to sort of ignore these for

a little bit because we've got plenty of

representation of him sort of elsewhere, as you

can see here and so on.

So we've got the best photo there of

his smile.

And again, we've got all the bridesmaids.

Do we feature them all is the question.

And this is where perhaps, you know, you

might want to put them all in and

then it'll give yourself somewhere again to grow

and or take off if you need to.

That's the sister, the nephew.

Okay, so these ones we have represented there.

Now, these ones I was surprised that she

didn't actually put because I quite like that

of her.

I feel like these were too repetitive.

So if we look at this a bit

closer, you can sort of see how everything's

just sort of framing her and coming out

looking really beautiful.

So I feel like this would probably go

instead of one of those or as well

as.

Okay, we've chosen a couple from here, these

walking away shots.

I think that was really beautiful and mysterious.

Then we've got one of the little men

over here as well.

Then you've got some giggly ones.

So I think that's really cool.

Then we have these ones.

But again, they're represented quite nicely here as

well.

Now we have the mother and the mother

-in-law.

The question is, do we put them in

or do we not?

Let's have a look.

Now, again, I'm going to add a spread.

The worst thing that the bride can say

is, no, I prefer that not to be

there.

That's totally fine.

I quite like that one.

That's not as flattering.

We had a beautiful moment, but I think

I'll choose that one for now.

And I might even just put that in

between there.

Okay, so now we're looking at the ceremony.

And you can, just to remind you of

what happened at the ceremony.

So this was the first representation of the

ceremony, and then we're getting into it.

Ceremonial, looking at each other and so on,

scene setter and so on.

So now it's a matter of, do we

believe we need to add to this in

any way?

So these all set the scene and all,

but you don't know the relationship with a

couple, with them and how it works and

who they want featured and why and why

not and all that kind of thing.

So I tend to stick to what's going

on there in terms of being sort of

led by their favorites.

And this is where I'll add and subtract

if they weren't to choose their favorites and

so on.

The kids are here.

I think I remember seeing a spread of

that.

Yeah, that's them.

So that's fine.

They're walking along.

I'm not really concerned about having them there.

The kids are there.

We've represented that moment.

The question is, do we add any shots

here?

I think we do.

So this is the bride coming out of

the car.

I feel like we're missing that moment.

Basically what bridged the family shots and also

coming down the aisle.

So if I start a new spread, put

it there.

And then you can sort of see these

ones coming out of the car.

I love these ones.

That's a beautiful smile.

And that's just very beautiful too.

So this is where I don't mind mixing

sensibilities.

Let me explain what that means.

You can see how it's soft, then smiling,

then soft.

Normally I would put the serious one, but

because this one's such a beautiful little connection,

I'm going to break that common denominator or

rule as we call it.

Okay, let's keep on going.

I think we chose the best ones of

these because that's a beautiful moment.

Then you've got the guys waiting.

They chose that moment, so I'm going to

leave it like that.

Then you've got the introduction, which they chose.

Okay, so you sort of see now this

spread.

You see how they're all laughing, the parents,

and then they're quite serious.

Although that's a nice photo independently, when you

put it with that, it looks a little

bit weird.

So I want to see if I can

find a laughing shot of the other side.

Now all of these could go in the

album, but then it can get repetitive.

So we have to be careful, and I

think I'm going to be guided by them

as to their favorites and maybe not put

those in.

Let's keep on going.

I mean, all these are great for the

proofs and everything like that.

I think when they're walking down the aisle.

Yeah, sort of what we're missing here is

really the front view.

It's this view.

Yes, that's what's missing.

So we need a decent close-up.

Okay, funny mouths.

That's a good one.

Okay, let's click on names.

That's 291.

I quite like that one where they're sort

of looking into each other.

Okay, so it's going to be one of

these ones.

See, look at the difference between, depending on

the crop.

See how here you can see all this

crap in the background, and then you lower

your angle, and then wait for the right

moment.

All of a sudden it's a bit more

nondescript.

I quite like that.

It sort of builds anticipation, the tension sort

of running your eye in all those little

directions, add that anxiousness perhaps that the bride

would be feeling.

So I think for those reasons, I am

going to put this with this, and that

might be a nice little spread there.

Okay, so now we've got the boys waiting.

They chose that one, so that's fine.

That's that one, and then you've got the

greeting of the dad and everything like that.

That's totally fine.

So what we were waiting for, they chose

those, so I'll stick to their choices.

Okay, I was waiting for the, okay, I

need the other set of parents.

Do we have them in a laugh or

not?

This is a little bit softer, and there's

that one.

I'm just going to drag this onto there

to see what I prefer.

Let's keep on going.

See how we've got guys and girls.

You've always got to think about the album

and say to yourself, well, how is this

going to work together?

If you focus on the bride and the

bridesmaid's vantage point too much, then that would

be a problem, because then the guy's underrepresented

and vice versa.

So you've always got to switch back and

forth, and I strongly encourage you that if

you're photographing with a second shooter, that you

almost don't rely on the second shooter.

Does that make sense?

Let's pretend that didn't exist.

Would I capture everything on my own?

Now, yes, we all learn to rely on

our second shooters per se, but I always

feel, hey, you don't rely on me.

Pretend like that my camera got stolen with

all the photographs on it.

Photograph the wedding accordingly and vice versa, and

that gives you a bit of a backup

plan, covers your ass a little bit, and

it works.

Okay, so yeah, I love that little bashful

look down.

We've got a better view of that.

I feel like one of these should be

in there.

I love the way they're looking at each

other, so I might just put that there,

and let me go back and see if

we've got another vantage point that we feel

that might even be better.

See, love this smile from her too.

Again, that might work.

It might not.

It's probably a bit too busy for that

spread, but let's just leave it in there

for the sake of it here for the

moment.

We can fine-tune afterwards.

Just every so often, I'll scroll back and

start looking.

Okay, let's go back this way, and guys,

don't be intimidated by this process.

It is purely a process.

If some photographers will not do this and

design an album and just give JPEGs only,

but if I said to you, if you

spend two, three more hours doing this and

it can make you three, four thousand dollars,

would you do it?

You probably would.

That's all it is to it, guys.

You've just got to pitch it.

They will not buy something unless you offer

it.

Okay, so what are we missing here?

We're missing the vows, because if you look

at this, you've got, okay, they're looking at

each other.

There's the scene setter.

There's the parents and different vantage points.

You've got this from a back perspective.

Then you've got the nephew.

Then you've got the fist pumping, and all

of a sudden, they're done.

So what I feel like we're missing is

a series of shots like this that could

be in that place.

So she's got a funny jaw there.

Love the reaction of the celebrant there.

So I think that all reactions are really

good there.

So that's a different spread.

A few tears there, but I don't know

if it's completely worth putting there.

Okay, so we might add a bit of

an audience to the ceremony.

Why are we doing that?

Why is that happening?

Come on, click.

Okay, there we go.

So we're going to add some other ones

there.

And again, this photograph might be there as

well.

I don't really know.

We're probably going to need a couple of

shots, but I'm assuming that, do we have

a ring exchange?

Doesn't look like it.

So we need some kind of ring exchange.

There we go.

I think that one there is looking a

little bit sort of bashful, and I think

that might be fun.

Again, let's just pop that there anywhere at

the moment.

She's obviously doing the vows there, but not

really fussed with those.

Okay, now we're getting somewhere with the rings.

Love that look.

So again, we might put that there, we

might put that there.

I sort of tend to over-design at

the start and then simplify.

If we want a bit of a parallel

with the hands, we can do that.

And then of course, you've got her doing

the ring here, so that's quite nice.

So we want it soft, they're smiling there,

which means that we might do smiling there.

She might think that's unflattering, therefore we go

back to that as a backup.

Okay, so then we've got the fist pumping,

and then we've got the kiss.

Bang, bang.

Okay, we'll do that.

Beautiful.

Let's keep going.

It was raining as you can see, so

it was a bit of a pain, but

we got through it.

Now, the reaction, we've got signing of the

register here.

Wow.

I quite like this one in that sea

of celebration, so let's leave that there.

We've again got a couple of reactions.

I think she's crying there, which is beautiful.

So let's maybe leave that one there.

So if you look at it closely, love

that.

He's got an award-winning beard right there.

Okay, so then we've got all the reactions.

I actually love that shot.

The more I look at this one and

that one, that's sort of one of those

shots that just tell so many stories in

one.

Grandparents looking on, parents over there, foreground background,

middle ground, and so on.

It's always good to be wary of those

moments.

We've got a couple of vantage points from

here.

I'm just trying to think of what's going

on here.

Is that worth it or not?

Now, we've got plenty of representation of those

moments, and we've chosen these very carefully, so

we can scroll all that way.

They were very specific when they chose family

shots, so like I said, I'm going to

just ignore those and then look at what

I've got before I start to add or

subtract.

There's bridal party.

There's girls.

Okay, then we go to locations.

Beautiful.

That's a little bit posey for the other

ones.

They look quite organic and natural, so I'll

stick to that.

That's traditional, but that's totally fine.

That's really pretty too.

I think that that's what maybe that's what

we need there.

There we go.

I'm going to just put this over here

as a natural progression of that next shot,

possibly even that one.

So between...

one too many there.

That's fine.

I'll clear that up afterwards.

Okay, let's keep on going.

We've got the tree there.

So you like these horizontal ones with a

tree.

They chose the vertical ones, but this is

just so more earthy.

Nikon is sending me a message, and let's

just turn off.

Okay.

Oh, I love that one.

And I think that is a contender for

title page.

It doesn't always have to be the most

brilliant shot.

It just has to seduce you into wanting

to see the whole thing.

Okay, so 628.

If I go back here, quite like that.

Now, I have to go back to the

start of those locations because I do have

one or two of these shots that would

also work beautifully too for locations.

So let's keep on going.

Okay, somewhere here.

I don't know.

Let me put that there somewhere, and I'll

sort of work out where we put that

afterwards, if at all, to be honest.

Well, actually, there's something that could potentially go

with it.

Let's see.

We've chosen those.

We've chosen those.

This is in foreground background stuff.

Okay, we've got that happening there as well.

You can see how easy it is to

quickly change the destiny of a shot just

by changing your angle, changing the perspective, lens

choice.

I didn't have much time here, but the

fact is that when you are looking for

something a little bit different, then that could

work really, really well.

I'm going to earmark this towards the end,

and you might say, well, Gerry, that's night

time.

That's that sort of daylight.

What can we do?

Well, there's something fun we can do here

later on because we needed a sort of

somewhat of a hero shot to finish off

the day, and there's also this one that

might work somewhere there.

Okay, let's keep on looking at these.

We've got a couple of detail shots.

Yep, we've got a representation of those.

We've got the names.

Okay, they're all walking in.

The question is, why don't we have everybody?

Again, it could just be a personal bias

to what's happening here.

I'm just looking for expressions here.

You might be saying, why aren't I looking

at them closely?

Well, it's because the nucleus of the album

has already been done, so if I can

see impact close up here, then I know

it's worth noticing.

I'm looking for emotional impact, graphic impact, different

colors, and things like that.

That's a really fun shot.

Did we get one of these?

Okay, so if you look at a shot

like that, don't lag.

Come on.

See, that's a really cool shot.

That really should be considered, and really, when

you look at that 697, when you look

at this shot, you sort of see how

they've got this couple.

I feel like we should be adding, it's

almost like all reactions or nothing, like just

the couple's reaction or nothing.

That's them.

Yeah, it only took one or two more

couples to get there.

Okay, that's a really fun moment.

No, that's there.

So what we're missing is Tyson and Partner.

Quite liked what he's doing there with the

pointing.

We're just picking different reactions.

We ended up picking one of those.

Then we've got this couple, quite like that.

I want a mixture of vertical and horizontal

here, so give me somewhere to go.

The high-fiving, I'd rather leave that second

for the couple.

So let's come back here.

Let's get a view, and let's see.

I'm sure we have them walking in.

Where did I put those?

Okay, no.

714, that's what I was looking for.

It's this one.

That does work quite like that.

That'll give me somewhere to grow if I

need to.

And the walking away one was 722, quite

like that, sort of feels very paparazzi-ish,

which is great.

Okay, so now they did specifically choose these

photographs of the speeches.

So I think I'm going to sort of

pretty much let that go, because I'm confident

that they chose what they like, what they

look good in, and there was a really

good representation of the story.

So that's good.

Oh, this random baby.

Hello.

Why not?

Let's keep going.

Yeah, we've got all these reactions in here.

So again, I'm very happy with that.

We've got the cutting of the cake and

the dancing.

I just want to see if there's any

more from that perspective.

Now the speeches, it was here.

I quite love the way she's looking at

him.

We might need some more there.

Their reactions to the speeches.

That's the cake.

I quite like what he's doing there.

Again, we might need that in some fashion.

That shows that he's embarrassing her.

That's a cute little moment there as well.

Oh no, I've already got one of those.

So let's delete one of those.

Okay, love that reaction.

Again, she might love it, she might have

missed it.

It depends.

Sometimes I just, again, if the shots aren't

standalone strong, sometimes I'll deliberately put some more

in there just to give it a little

bit more meat, so to speak.

That's a nice shot because it shows the

whole reception venue without being too obvious.

So I might even do a spread of

that.

I don't really know yet.

Maybe.

Almost this one deserves a spread on its

own because they're dancing.

We might be good to put another one

in there.

I don't really know yet.

We might we might consolidate those.

We'll see what happens.

So they've been dancing.

They picked their favorites.

These detail shots we put in as well.

That's just some random people.

Some random people who just wandered on the

property and decided to show up.

This one.

I wonder if this could be finishing off

the album.

No, we need a couple there.

So that was just taken.

We're about to leave and I thought they

look pretty cool.

But I don't think it's strong enough for

the album.

OK.

All right.

So, guys.

So here we are.

So now, as you can see, shooting for

the wedding album.

And this was under a pretty tough situation

because it was raining.

We didn't have much time.

They were later than what we actually supposed

that they were supposed to be.

And already, without actually designing this properly or

finessing it, refining it, we're already up to

the potential 127, 128 sides.

So what we have to do now is

go back into the design, finesse everything, keep

a common theme and we're done.

And then once this is done, we're actually

going to basically do the album playing with

a couple.

And it'll be fun to see, do they

go for the whole thing?

Do they how many sides they drop?

Do they pay for more?

What's going to be the the issues there?

So let's do it.

Let's go through the design and see what

we come up with.

Let me now.

So now that I've done this, I can

pretty much get rid of those thumbnails or

at least in a small fashion and then

focus on what's going on.

Let me get rid of the names.

So it makes it easier.

I quite like that as the actual album

title page.

I quite like using these guides too.

You may have seen a consistent theme, by

the way, guys, that when I'm designing an

album, unless there's a theme to the wedding

or something like that, I keep a lot

of my album designs very similar.

I keep design principles similar.

I don't know what it is.

The older that I'm getting, I care less

about the ornateness of the album.

I care more about the moments.

Don't get me wrong.

There is a method behind the madness, which

you'll very much see right now, but I

can't.

I tend to keep it a lot simpler

and you'll notice how I use these guides

within it.

Now, just so you know, to establish what

we're doing here, this red line is the

cut zone.

That's where Graphy Studio will usually chop the

album.

Designing an album that's handcrafted is not an

exact science.

Once they glue everything together, to make sure

that all the edges are sharp, they get

this glorified big ass guillotine and they chop

this side, this side, this side, and this

side.

This middle is an exact science because the

spine is made and it's built outward, so

to speak.

So this represents the middle and this represents

an even gap all around and you'll notice

that often I'll be looking at that.

Okay, so for now, I'm happy with this

for the title page.

It's a very nice, it's not too over

the top modern, it's not overly traditional.

It's just got a nice warm and fuzzy

feeling and I think will be great for

the start of the wedding album.

Now, let's go through it.

Okay, it looks a little bit creepy there

actually.

I sort of, I was in a bit

of a hurry and I would have normally

got to do a bit of a hint

of a squint and I think I tried

it in different ways and I don't really

know whether that's the way I want to

go there.

It looks a little bit creepy.

I think I'm going to replace it with

that and then just look at fitting these.

Yeah, quite like that.

So what we'll do here is, because we've

got black around the image, I'm going to

fit this and put it there and I'll

do the same here.

You see how cool that looks?

The question is, which one would look better?

Where?

No, that looks a lot better.

See how there's negative space and it sort

of blends into this one?

It just feels right.

You've got to trust your gut guys when

you're designing an album.

Yep, like that.

Guys, and just so you know too, these

are quick decisions.

You'll often hear me debating against myself or

I may even go back after I've designed

it.

Sometimes when you're feeling a little bit flat

and a little bit weird, my advice to

you is walk away from the album and

then come back and you'll see it with

fresh eyes.

Your decisions will be a lot quicker and

more efficient.

But for now, while I'm feeling good, I'm

totally cool.

But quick decisions here guys, bang, this is

what I wanted to do when I designed

the album.

If you look at how cool this is,

how cool is that for a spread of

a wedding album?

Now, yes, we move that a little bit

this way, maybe move it a little bit

that way and then we've got a really

nice sort of shape and design in the

middle.

Perfect, let's keep going.

We want to get this out.

Sometimes done is better than perfect, guys.

We just need to get this stuff out.

I was about to say let's get this

shit out but that'd be inappropriate and ironically

I just said it.

So just get the shit out.

Okay, we've got the brothers here.

Brothers, one second.

I am going to flip this.

No, I need to do this.

Put this over here, put that over there.

That's the three groomsmen that I don't know

the exact relationship.

I'll be honest with you, I forget that

if we're going to feature anything, it's going

to be this and that's too vertical, that's

horizontal.

So I think that one should probably go

and these ones should be like that.

You sort of see straight away when it

just fits into place.

After a while, you get to know the

shape of the album and the design and

it fits into place.

Because there's so many photographs, I feel like

I want to have a bleed all around.

You see that white space all around?

I feel that works.

Even that, see how it's closer up and

a bit further away because it's animated, then

it goes back again.

That for me blends in quite nicely.

Okay, happy with it.

Done.

Just lock it in and move on.

Now this one, sometimes what I'll do is

this.

If I feel like every square ridge is

important or I've got two photographs that are

quite busy but not solid in tone.

As an example, if you look back at

these, you see how it's black, black, black,

black?

Blends in no problem.

This is busy so I'll allow breathing space.

If you have two photographs, sometimes you want

to do something like this.

You inset one that has more important per

square inch, as in every square inch of

that is really important.

This one has a bit of breathing space.

I'll do this and fit it but it

gives me enough room to play.

I'll skew these photographs.

It's a little bit off centre so I

can fix this.

In fact, I might even fix it now.

You see how that just made a big

difference to that photograph?

Now that I look at it, I'm looking

at it and thinking there's more space here

to play with, let alone with the focus

thing.

Again, this looks odd but when you chop

the red, that's going to be a nicely

finished design and nice and even.

Again, press the G twice for guides and

then that'll be it.

I feel though that that is probably better.

That's probably more of a logical progression.

Yes, I agree with that.

Don't overthink it, guys.

Like I said, you'll be there forever.

This is the kind of thing where I

like to do something like this.

You see how that's there.

I will often flip one and then you've

got the blending of those trees a little

bit.

That's fun.

Done.

Next.

Walking, walking, looking.

You'd say the walking goes together.

Let's put that on its own.

Guide again.

Actually, you know what?

Let's go fit.

Done.

Now, you see how the cropping, once they

chop the actual album to fit, that might

be too much.

I might then bring it in here so

at least guaranteed I know there'll be breathing

space around the boys.

Not that there always has to be but

I think sometimes it's good to do.

Now, if I double click on this red,

see how it closes it perfectly?

Now, looking at this, do you see how

it just doesn't feel right?

That's a bit too even.

This is where I'll go against my original

reaction there or perception or in hindsight be

my guide here to make this larger.

I don't think it's going to be too

much of a problem if a little bit

gets chopped out here.

I've got enough room to play with.

This side is predictable because it's not going

to be chopped off at all.

I'll bring this photograph to a point where

there's there.

If I chop a little bit out, there'll

still be breathing space.

One second, let me fix it first.

Pardon me.

See, when you've got solid on one side,

it's good to have breathing space on the

other.

It just makes sense.

Also, because we're so close to being halfway,

let's just go halfway.

We've got plenty of room there with the

photographs for that not to be an issue.

I'm happy with that.

Done.

Do we flip the design is the question?

See, when you open up a book, your

eye will normally go to the right and

the left.

That's why I typically, if I have a

bigger photograph, I put it on the right

and other ones on the left.

I'm just trying to feel like what would

make sense, the casual one first, then the

traditional one first, then the walking or the

other.

For some reason, this goes against my common

denominator, so to speak, but I actually think

it works.

I'm going to stick with this design.

This is actually a fun design.

It defaulted to this.

Let me just go back because really it's

the same one from a different angle.

Then again, looking at this, if you look

at these two photographs, that and that, they

look very similar, which means that that would

go there potentially.

Arguably, these would go here.

So let me come back here now and

look at this as a design.

The more I'm looking at this, is it

one or the other?

43, 42.

Let's say, for example, quite like this one,

although this one's cool.

I think I'm going to delete that.

This could even just go here like this,

then it goes over his eye.

And that's a pain in the Botox.

So what do we do now then?

It feels like this is too traditional for

these and these walking ones look cool, which

means that goes there.

The problem is you see how this has

solid and this needs something to go with

it.

So because we've got some white space there,

I feel like the design should be around

about there.

But then again, we're going to chop his

foot off.

Okay, so again, sorry, guys.

I know I sound a bit incohesive at

the moment.

I just need to find my way.

This goes here.

This goes here.

So I can guarantee that his foot is

in.

Let me centre the groom perfectly.

And then this, obviously, because we're looking off

to that photograph, this kind of makes sense.

Yeah, that looks good.

So I've done that, done that.

That could potentially be where I want to

go with that.

No, just let me enlarge that a little

bit and let's just bring it off his

face.

I don't mind going across a face per

se, but I don't like to get across

an eyeball as far as a crease is

concerned.

Okay, this is going to be interesting.

Let's just now fix the order of things.

You've got the boys in a bit of

a mix.

It's funny because we don't have one with

the mother and the groom.

See, if you put two with the father

of the groom, with the groom, and the

mother's going to say, what the hell?

So let's go towards that area there.

So 529.

There we go.

I was sort of in my mind, I'm

like, oh, jeez, if I didn't take it,

I'd look like a little idiot right now.

But I make it a habit, obviously, every

single wedding to do those photographs.

So I sort of know that they're going

to be in there regardless of whether I

remember specifically or not.

It's just a habit that has to be

done, rain, hail, or shine.

We have to get the mother in those

photographs.

Okay, so she was wonderful.

She's very, very animated.

She makes for a great photograph.

You can see that's probably a bit over

the top.

That one's a cute little moment.

That one, they're disconnected visually.

That one's a bit softer.

So what I do is I'll look back

now at these photographs, and then say to

myself, well, what will go with that sensibility?

Well, it's sort of quite nice and happy.

Obviously, if I want something more traditional, but

you know, the casual nature of the hands

is fine, that would match that.

But I'm thinking, though, that this is a

beautiful moment.

Let me put that in there.

Now I go back to this spread.

And then let's choose.

We've got two very similar here.

Let's get that creepy hand out.

We've got mom and dads, and then we've

got family here.

Okay, so what we'll do, we'll make mom

feel special, put her on top, then on

the bottom.

Then we'll do the three boys.

One second.

You see how, just by the way, guys,

you see this little tool here, how it's

actually reading horizontally.

I want it vertical.

I want it in columns rather than rows.

So that's when I will do this.

And then this reaction is really, really fun.

That's the family.

That'll go over there.

So pretty much already, I've got my spread

for that side.

Now the question is, do I put all

these photographs together?

I have no idea.

So there we have.

Okay, so that's what we've got.

All right, so we've got mom with the

boys.

You've got three with the father and the

boys.

I think I like this one and this

one.

Oh man, what do we do?

Again, you've just got to throw a dart

at the board and hopefully get a bullseye

here.

I think those will be more timeless.

The question now is as well, do we

put both of those in?

I like this one.

So I'm going to take that away, put

one of mom so she feels special, then

put her on top because you've got mom,

mom, dad, dad.

So that's cool.

Now we look at all of these.

So then we've just got siblings only.

Now that's important, but we could do something

else with it.

Let's see what we've got now.

We've got family.

Okay, so that's the whole family.

Then you've got the boys only.

I almost think that we don't need that.

And now that I look at this, I

feel like we've got giggly, giggly, family, family.

Well, I suppose they chose it.

So what would we do here?

Let's choose the best of these ones.

Interacting, I think will be good for that

side.

Let's get rid of this one.

Let's put that there.

Let's put that there and watch what happens

when we make this all the way to

the end.

You'll see how it fills up.

Boom, we're done.

Isn't that fun?

This one needs to be a little bit

closer, sort of to match the father to

a certain extent.

Just a little bit more.

Boom, mom, dad, siblings, blood family, extended and

spouses and kids.

And then we've got the boys.

I feel like because there's more people here,

it's weighted to the bottom.

So we flip that.

You see how much better that looks there.

And there we go.

Done.

All right, happy.

Let's go the next one.

So that's basically the family independent of the

bride.

And we're acting as if it was actually

at the groom's home, although it wasn't.

And that's fine.

Let's see this one.

I quite like the repetition of this.

The question is, do we switch it?

Do we put them together?

And then do we do this?

And I think we do.

Take the names off for a second.

Or do we do this?

Or do we do this?

I think we do that.

Now, you might say, well, that looks really

weird because now we've flipped him.

Just so you know, this is the groom,

the way he sees himself.

Because when you look in a mirror, you're

looking at the opposite of what everyone else

sees you as.

That's why when you look at photos of

yourself, you say to yourself, it doesn't look

like me.

Well, no, because you're seeing the mirror reflection.

You're not seeing what people see.

So this is what actually he will know

himself as, so to speak.

Okay, done.

Next.

I think that's almost pretty much done.

Quite like those two.

But again, I'm following on the theme here

of being able to put these like this.

The question is, does it work better like

that or that?

I actually think it looks better like that.

So you get the weight and then it

sort of softens around the edges.

And again, I can skew this a little

bit.

Sometimes no matter what you do, depending on

where you are in relationship to vertical lines,

it'll always be a little bit off.

And that's okay.

We can fix it up afterwards.

Okay.

So what I like to do with detail

shots is usually just put them together first

and then extend it.

And let's just see how it all plays

out.

And in this case, I'm going to fit

it and logically see where everything lands.

Now, I quite like the idea of her

looking back at herself like this.

I quite like the two lots of skin,

so to speak, being there.

And then you've got the repetition of the

hands.

So that's why this would probably go here.

But then you would look at it and

say, well, there's two verticals, vertical in there.

And maybe that breaks the monotony of that

predictable design.

But this is probably more obvious.

But in this case, I think it works.

I feel like you would be seeing a

wider shot than close up first.

Therefore, that's the design.

I hope that makes sense.

Because many of us might be looking at

me right now.

What the hell are you doing?

I have no idea why.

I'm trying to tell you why.

A lot of the time, it's just because

of the feeling that I get based upon

what I see in front of me.

At the end of the day, like I

said, guys, you have to commit to a

design.

You have to commit to it.

So if I design this album next week,

it probably would look very different.

And then you would say, well, why don't

you tweak it next week?

Because I want to get other shit done.

It's as simple as that.

I'm giving this all respect, but I have

to move on.

Otherwise, we could be here forever.

Love this.

The question is, do I go full width

here like this?

And again, I could flip this.

And then that might be a fun little

design.

Something's a little bit off here as well.

I might actually, for shits and giggles here,

I might enlarge this.

I need the shape of her dress.

I don't know.

That might make her look a little bit

wide.

I might, no.

Let me go back.

I feel like, let me leave that.

Sometimes, I design something and it just doesn't

look right or feel right.

And I don't feel like I want to

tackle this at the moment.

Let me leave it till afterwards.

This one's a no-brainer.

I love this one.

I think this would look good with negative

space around it.

And because it's got similar tones and palettes

and a logical progression of the story, I

think that actually works really beautifully.

One would argue, should I cut into the

hair like here?

Possibly.

Let me see what that looks like.

See, that sort of makes more sense.

Okay, so let's fill that.

See, sometimes, I want some negative space.

And if I put, type in N, so

click on the N key, it'll tell me

the numbers.

And then, so sometimes, what I'll do is

I'll go back and rethink the numbers that

I had chosen.

Okay, so here we were.

We've got giggly and then we've got soft.

Maybe soft is better.

I think I prefer that.

So sometimes, what I do, guys, is that

I want one to be full bleed and

one with negative space to carry on the

theme that I was doing.

So I'm going to do that.

Probably come around about here and fit it.

Bring that down.

And then, this one, because every square inch

of that photograph is important, then I bring

this all the way in and double-click,

so it confines and constrains the proportion.

And you see how that works.

Now, you might say, well, Gerry, what happens

if the couple says that that's negative space,

it's a waste of space?

Well, if your wedding albums look like this

on your website, you explain to them that

negative space gives you a bit of a

breather and tell them why.

I find there's no problem.

And if they want to fill it, we

just fill it.

No problem.