Original subtitles

So today is the day.

We are here at Samantha and Taylor's wedding

for The Knot magazine.

So it's The Knot dream wedding today.

We're so excited.

So, so far you've joined us for many

of lessons to bring us up to this

point.

You now know how I've prepared the clients

for the engagement session.

Now you know how I've prepared the clients

for the wedding.

So we're here and what I'm about to

do is go and start photographing the day

with Samantha.

Now, to kind of set the scene and

get everything prepped is that I have emailed

both the coordinator and the bride in advance

to hopefully, fingers crossed, to have everything ready

for me when I walk into the room.

So I've asked her to have her rings

here.

So hopefully that is here and I can

start shooting that.

I've also emailed the coordinator to ensure that

we have the wedding invitations and the wedding

suite ready to be styled.

Now this wedding is a little bit different

in that there are a lot of sponsors

to the wedding.

So each sponsor has a designated list of

photos that they want to represent their brand

and their company as part of this wedding.

So not only do I have to photograph

the bride prep in what I normally do,

I also have to balance a few other

things within the mix.

So you'll see how I kind of balance

that given the time.

So this is what we're gonna plan on

going.

It's 8 a.m. right now at Chateau

St. Jean in Sonoma, California.

I'm gonna be heading in to shoot the

bride.

Now JD will be hanging out with the

guys.

The guys are slated to arrive at 8

.30. So up until this point, JD will

just kind of be walking around the property.

He may or may not be getting behind

the scenes but what he's doing now is

he's putting our gear away and bringing out

the gear that I need just for this

moment.

I will be shooting the girls.

He will be shooting the guys.

We have tentatively slated for him to take

the guys outside to shoot them around 9

.30. That's in about an hour and a

half.

So hopefully I could sneak away from the

bride, shoot a little bit of the guys,

pop back in with the bride and then

finish her getting ready as she gets dressed.

But however, we don't know how the day

will exactly unfold.

We're just gonna kind of take it as

it comes and enjoy the wild ride as

it is.

So here we go.

We're gonna walk inside.

So what I'm getting right now is everything

Samantha wants photographed.

So she has this beautiful knot ring and

then she has a bracelet.

So basically her something borrowed, her something blue.

We have some shoes here.

I have her wedding dress.

I'm asking if she has a veil, garter,

all of those things right now so that

right now she's just enjoying the moment.

So I don't wanna have to keep on

going back to her every single time I

need something.

So I'm getting everything and collecting it here.

I also noticed that they have pink flasks.

So I wanna make sure that I incorporate

that into it.

And I also talked to the coordinator and

the coordinator will be arranging the invitation for

me to shoot as soon as the floral

decor arrives.

So that's coming.

I asked for the rings.

The guys are coming with the rings and

they should be here at 8.30. So

I made a mental note that at 8

.30 I have to make sure and connect

with JD to get the rings and I'll

set them up according to the invitation as

well.

So I'm gonna grab a few things.

I've kind of walked around where I think

I wanna place the dress.

I'm not gonna place the dress in this

room because there's a lot going on but

I wanna incorporate the dress into the beautiful

chateau as well.

So Sam, oh, let me see.

Let me photograph this just in case.

Oh, okay.

So that later, anything that a sponsor has

provided or someone has given you, let me

get a photo of it and then we'll

tie it all together.

Now, your earrings are in right now and

with a 3D bracelet.

Now I want the earring.

I wanna get all your jewelry because once

you get into your dress, it's gonna be

- Take it all off.

Exactly.

I could do that.

Now, do you have anything else you want

photographed?

Like any note?

The knot ring.

Yes, I have that here.

Oh, oh, I do, I do, I do.

I have, this is my grandma's.

Fantastic.

My mom's mom.

Fantastic.

That's my, something old.

Hi, how are you?

I can't show you my something blue.

Okay.

I've got it covered for the camera.

Okay, we got that fully covered.

Oh, oh my gosh.

The most important thing.

Great, let's leave that in the box.

Okay.

That's perfect.

I will bring that out.

I'm gonna take this.

I'm putting it around my bouquet and then

I'm giving it to her.

Good.

Yep.

So that's, that's that.

Okay.

And your garter, if you're wearing one.

Oh yeah, I'm so glad you think of

these things.

No.

Oh, you know what?

You may want to photograph me.

Anything you think, I'll, I'll, I'll kind of.

Are these your toasting glasses?

No, this is something I made for all

the girls.

Great, great.

And then are the pink flasks something you

made for them too?

Yeah.

Okay, good.

Destiny, Destiny made those for all the girls.

But, so there's say Bridesmaid.

Got it.

Bridesmaid's matron of order.

I'm gonna, perfect.

I'm gonna put this right over here.

That's perfect.

There's a garter here.

Oh yeah, there we go.

So this is the one.

Which is the one you're keeping?

This one.

Okay, good.

That's the one I want.

Which was a new thing to me.

I didn't really know that you did that.

Okay.

Why do you get two?

Okay.

Okay.

So then once I'm done with everything, I'm

going to place everything back here.

Okay.

And we'll put your jewelry on once you

actually have your makeup on it and your

dress.

Okay.

So everything will be here.

Oh, oh, this is, let me show these

to you.

This is something me and my mom ordered.

Fantastic, fantastic.

I want this.

I don't think you can hold the dress.

The dress, I think it's a little heavy

for it.

Really?

Got it.

I think, I don't know.

We didn't try it.

Yeah, I'll talk to Jeannie.

We'll kind of run things over.

This is great.

And if anything else pops up that you

need, just let me know.

Okay.

Thank you so much.

Thank you, thank you.

Okay, so what's happening now is I got

a lot of stuff all at once.

And so instead of feeling overwhelmed, I'm just

going to place everything down here and then

start shooting it piecemeal so that I'm organized

at a later point in time.

So all I'm basically doing now is just

getting organized so that I have a system

of everything that needs to be photographed.

And then I will come back to it

as I need it.

So what I first want to do is

I want to take a look at the

dress.

I want to see how heavy the dress

is.

Samantha had mentioned that the dress might not

be able to be supported by this hanger.

So hopefully it will be.

And then if not, we'll have to deal

with that.

Cause she had told me I'd asked whether

or not she had a customized hanger.

And so she did.

And so I didn't need to bring a

different one.

We'll see how that dress hangs.

So what I'm doing now is I'm unraveling

the dress for the first time.

Samantha had said that it might be a

little too heavy for the hanger, but based

on what I'm holding right now, I think

that this is going to be more than

enough for the customized hanger.

Because if I don't use the customized hanger,

my only other option would be to use

the plastic hangers that the dress came on.

And that's never a good look for such

a gorgeous dress.

Now, people voted for the bride's dress and

they voted for her favorite, which is a

Panina Tourne.

And it's beautiful.

It just looks like it fits her gorgeously.

So this is the first time that it's

going to be out of the bag.

So what we're going to do is we're

going to place the dress over the bag

and JD, you can rest it.

And then you can rest the bottom on

it.

And then we're just going to unpiece and

wrap this all.

So in the beginning, when I was first

starting to shoot, I would leave the stuffing

in the dress.

But what I realized later on as my

career matured was that the stuffing just doesn't

look good in photos.

So I'm going to take it out.

And because I post so many photos online,

on my blog, sorry, of how I stylize

dresses, most brides are completely okay with me

taking it out of the box, restylizing it.

And then we'll put it all back on

these hangers when we go back into the

room.

So what I've noticed is that there's beading

along the top.

So I just want to be extra careful.

So I'm going to place the beading and

then I'm also going to place, if possible,

the actual, we'll see how that goes.

Let me have to do a test and

make sure it's zipped up entirely.

Can I see the front of it real

quick before we place it?

Yeah.

Okay.

So there it is.

So I noticed that by using the actual

dress lip, this little lip, it was actually

making the bodice of the dress not look

what I needed.

So instead, I'm just going to place the

dress in the cusp of each hanger.

So we'll have you do this.

Great.

And then I'm going to place the dress

over here.

So I got here a little bit ago

and I said that this would be a

good spot.

I do understand that there's going to be

hotspots.

So I'm going to try to crop them

out.

See if there's anybody back there.

I'm going to give them a little heads

up.

What I'm going to do is there's a

lock on the door.

So I'm just going to lock the door

and then make sure that.

Want me to help you with that?

I'm good.

And so people will ask if I'm ever

worried about getting the dress dirty against a

door.

We're laying it super lightly.

It's not that the door is wet or

moist or anything.

So it's not really of a concern.

But what I do like is that we

can incorporate this really old door that Samantha

was a fan of.

And I'm going to crop it in here

so that I can cut out the hotspots.

So camera, can you give me a camera

real quick?

And then make sure.

So one thing that I'm noticing is that

the back of this dress, it's a long

train and it doesn't look exactly the most

complimentary.

So I'm going to shoot it top to

bottom.

And then I'm going to crop out here

too because sometimes photographically it just doesn't work

as nice.

So what I'm going to do is I'm

taking the train and I'm twisting it out

as much as possible to make it as

lovely as I can.

So I'm kind of working under the gun

right now because the guys are coming in

a short amount of time.

So I want to make sure that I'm

covered.

I'm going to shoot this at a 2

.0. I'm going to get a test shot

first.

Okay, I'm pretty close to what I want

it.

I'm at 2.0, 3.20th of a

second, 200 ISO.

I went 200 because it's slightly shaded.

In order for me to get top to

bottom, I'm going to have to have a

few hotspots around on the Ivy and I'm

going to be okay with that.

This light is really pretty.

So I'm sending a frame within a frame.

So I have the Ivy, then I have

the door, then I have the dress.

I did top to bottom.

I'm stepping in.

I'm going to be shooting this just from

the bottom of the dress without the train

to the top.

And I no longer have the hotspots around

it.

My focal point is the center of the

bodice.

The hanger itself is really special to the

bride because her mom and her picked it

out and it's her new last name.

So I want to make sure that I'm

shooting the dress within the hanger and the

hanger itself.

Now what I'm looking forward to is this

area right here.

This wall is pointing great light back to

it.

So it's going to be balancing.

This wall is kind of like a lighter

color, kind of like a very light terracotta.

And that light is going to be balancing

a lot of the green that we're getting.

So I'm going to get colors that are

true to form, which is just fantastic and

ideal in this situation.

So I feel like I have the shot

that I want.

I shoot most of my dress shots with

the 50 millimeter.

My settings have not changed because my lighting

has not changed.

So what I did is I got a

full vertical, half vertical details hanger.

I'm going to get one horizontal, but I

know that the horizontal probably won't work unless

I use the rule of thirds so that

I can crop out that hotspot to the

left.

Jessica, hop in please.

So that's the shot, but you got to

get it.

Okay, so I'm good.

So now that I have this dress photographed,

I feel really good, I feel really confident.

If I didn't really feel like I wanted

this location to be my location, I probably

would take it somewhere else.

But because I'm working under the gun, because

the guys are coming, and because I actually

really like this location, it feels true to

Chateau St. Jean, I'm going to be good

with it.

So once I have this, I'm going to

place it back in the bag, but I'm

not going to put the stuffing back into

it.

I'm going to replace the dress back on

the original hangers.

I'm going to take this hanger and put

it back in the room.

And I put it back on the original

hanger just in case anything happens to the

dress, I won't have to be responsible for

it being not on the hanger that it

originally came on.

Thank you.

Oh, that's, yeah.

So sometimes I will...

No, no stuffing, I'll take those.

Now, sometimes people ask if I do this

on my own on a wedding day.

Today, I have Tammy and J.D. just

due to the nature of the wedding.

And the answer is yes, I do this

on my own.

I also have more time on a normal

wedding day.

Today, they just kind of threw a lot

of stuff at us last minute that we'll

probably talk about at a later point in

time.

But right now, J.D. and Tammy are

just really filling in the gaps.

So even though I have less time, I've

invited the two of them just to help

me in this particular timeline.

That's great, it's super helpful, but normally I

do this on my own.

So I don't really feel the need to

zip it up again, but I wanna make

sure that the dress is back in the

original bag laying flat because you don't wanna

pull out the dress and have the bottom

be any wrinkled.

So there we are.

So J.D. usually doesn't go back into

the area where the girls are, but we're

gonna be placing it right outside of the

door.

And Samantha said that we had free reign

to go in and out of her room.

So that's what we're gonna do.

So now what I'm gonna do is I'm

going to take a few of the details

that I think I'll work.

I'll be using the veil possibly as a

background, but I just wanna get all of

these details photographed first.

So I'm gonna choose to go on a

different side of the building.

On this backside where we were shooting the

dress, it's really, really, really green and yellow.

So because of that, I was able to

compensate with a natural reflector as we shot

the dress, but I'm gonna go on this

side of the house because I feel like

I can get a little bit more true

to form color.

So we're gonna step outside.

So we decided to shoot on this side

of the building because on the other side

of the building, it was green like I

just mentioned indoors.

But what I want the cameras to make

sure and get is I will be shooting

in shade, which is going to be fantastic,

but I have this building right behind us

that's going to be kind of color balancing

naturally what's going on.

Now I'm going to be shooting on a

table that just happened to be outside.

This is how it works on a wedding

day all the time.

And what I'm hoping to do is to

use some of the foliage in the background

as part of the story to continue the

narrative.

So we talked about in earlier lessons about

shooting the wedding details in a way that

tells a story from beginning to end.

Well, me shooting details around a vineyard, me

shooting grape leaves in the background will help

continue the narrative.

So I did notice too that this little

cool table actually looks better than this table.

So what I'm going to do is I'm

going to go inside and I'm going to

get a scrim or a diffuser.

I'm going to be right back.

Let me go and grab that.

What's going on right now is I ran

out and I got a diffuser or a

scrim.

Now, occasionally I will use these in bright

situations.

It's about 8.30 in the morning and

the sun is shining really bright on us.

So what I want to do is create

nice effervescent light.

What's going on behind the scenes is the

coordinator is setting up the wedding invitations for

me to shoot.

I had emailed her in advance.

I knew that this was what was going

to happen.

She told me that she would set it

up.

So we have it built into the timeline.

While she's getting that set up, the bride

and her bridesmaids are in the room next

door and I'm not shooting them at this

time.

There's a reason why I'm not shooting them

at this time is because their makeup isn't

done.

Most girls don't really want photos of them

without their makeup done.

So if they don't have their makeup done,

I don't ever feel the necessity for me

to be shooting it at that time.

I move furniture quite often on a wedding

day.

It's completely normal for me to do this.

I'm quite often shooting these photos on my

own.

If I was shooting these photos on my

own without the assistance of Tammy today, I

would simply get this table.

I would move it this way.

I would put the scrim here and I

would shoot it on my own.

But because I have Tammy and because we

are working with a condensed timeline, I'm very

spoiled.

So I'm going to place Tammy here and

I'm gonna be placing her exactly at this

point so that the shade that she is

creating will allow me to shoot the grape

leaves.

And the reason why I chose this table

and not this table is this table looks

too perfect.

It looks too much like the linens are

just too wedding.

So what I wanna do is I wanna

make sure that I'm gonna get stuff that's

organic to the environment as much as possible.

So the front and the back of the

shoes are the moneymakers.

So this is how I'm gonna shoot the

shoe like without a shadow of a doubt.

Now, what I'm gonna do is I'm gonna

position the shoes not in between the gaps.

I wanna make sure that I'm positioning the

shoes so that the background looks full and

lush to the best of my ability.

And it's like just by luck that we

end up with this like cuter table that

actually is gonna make for a nice environmental

photo.

I didn't give myself enough space.

Cool.

Now, one thing I wanna know is that

like, Tammy, can you put this down for

a second?

Like this photo is really pretty.

If I was like an artistic photographer, I

would be working on these shadows.

I would be making this really dramatic, but

I'm a lifestyle photographer and I wanna make

sure that this is editorial worthy, something that

a magazine would go through.

And a magazine has a tendency to kind

of publish photos that are just beautifully lit

and soft.

Tammy, can you raise that up a bit?

Great.

I'm gonna get a test shot.

That's way too.

So my first test shot will be, great.

F2, 1,000th of a second, 200 ISO.

My focal point is on the rhinestones behind

the shoe.

I'm using the back of the table as

my horizon line so that I'm not capturing

photos that are too crooked.

And the focus, the background is really out

of focus.

The focus is gonna be on the shoe.

We're shooting it vertical.

Now I'm gonna shoot it horizontal.

So now that I have this safe shot,

a shot that I absolutely am okay with

and I know and I love and I

adore and I'm okay, I'm gonna try to

do one more so that the bride has

options at a later point in time.

One thing that I wanna do, because we

spoke about this in a previous lesson, is

Rebecca Crumley, the photo editor of The Knot,

reminded us to pay attention to details.

Well, the detail in this case is tying

the shoe.

The bride had tied the shoe in a

way that's just kind of left it open

and I tied the shoe so that it

left it closed.

Okay, cool.

So I just made the editorial decision.

I could have had them like this, but

I just feel like it looks like a

silver shoe and it doesn't really highlight the

Bagley-Mishka kind of signature studs.

I can have them off to the side,

but it looked like it just didn't work

right.

So now what I'm gonna do is I'm

simply going to place them back to back.

That way we can still get the shoe,

we can still get the rhinestones, and it'll

feel completely organic to the bride in the

scene.

Let me back this up a bit.

The focal point will be on the rhinestone

of the right shoe.

So personal preference, it could be on the

focal point of the rhinestones on the left

shoe.

Shot it vertical, now I'll shoot it horizontal.

Now here's the thing that I have to

take into consideration in this situation is that

this table curves and if I shot it

horizontal, I would have a curved on the

side and then a flat on this side.

So what I need to do is I

just need to shift the shoes so that

when I shoot it horizontal, it's gonna be

flat and flat.

Although I will have a little pocket back

here, but I can fix that later in

post or I can just own it for

what it is.

The only time I would fix that in

post would be if the editor actually wanted

this photo for print or if the bride

wanted it in her album.

Great.

Okay, I'm done with the shoes.

I really like this background, so I'm gonna

keep it.

So I can keep it continuous and I

tell a continuous story.

What I'm gonna do is the veil is

very beautiful, but it's also a very traditional

veil.

I don't need to shoot it if it

had a lot of details, if it was

customized, if it was customized in a unique

way.

What I'm gonna do is I'm gonna incorporate

the veil as part of the details without

it just me shooting the veil in and

of it by itself.

It's a personal preference.

What I wanna do is I want to

make sure and incorporate as many details as

possible into one photo.

This works well for a print magazine.

So the editor can have one photo that

shows everything all at once.

And then I'll kind of take it out

piecemeal and shoot what I think is gonna

be special to the bride.

So I just wanna clarify a point that

I had just made.

It was, I want to position a photo,

curate a photo with as many details in

the frame as once so that the editor

will then have the option to use that

photo instead of using four different photos.

So I'm gonna shoot it both ways.

I'm gonna be shooting all of the details

in one frame and then I will be

shooting all of the details individually according to

what I think is very special to her.

Not every single detail will be photographed by

itself but stuff that I think would be

of high sentimental value will absolutely be photographed

on its own.

And on that note, I think it's gonna

be really important to note that this locket

belongs to Samantha but she just had it

made today for the wedding.

So in it is a photo of her

and her mom.

Now her mom is battling cancer and she

was supposed to be at the wedding.

And just a few days before they came

up, they had to admit her mom back

in the hospital.

So it's a bittersweet time for Samantha right

now.

So I'm gonna be adding this into the

frame and then I'll be photographing it, photographing

it?

I'll be shooting it on its own in

a bit.

So now what I've realized is I've created

a kind of a surface area but I'm

still too short.

I can't get everything I want in the

frame.

So I'm gonna tuck the veil in and

what I'm gonna do is I'm gonna pull

a chair from nearby and I'm gonna stand

on the chair.

So in my mind, I'm already thinking I

wanna be shooting this with a 50 millimeter

and then I'll be shooting it with the

macro.

So I'm gonna have the macro on deck.

I think I just ripped my dress.

Okay.

So as I'm looking through my frame, I

could see my toes in the bottom so

I need to make sure that I'm cropping

them out.

I'm gonna be shooting this at a 2

.8 at 1,000th of a second.

And I'm at 200 ISO.

I'm gonna drop my ISO to 160 and

this is where I want it.

My focal point will be on the inscription

of the locket which says mom.

I shoot it vertical.

I shoot it horizontal.

Now as a side note, there are gonna

be some pieces of jewelry that are a

lot more sentimental to the bride.

There's a lot of sponsors for the event.

So I'm not gonna be shooting the jewelry

that she has to wear by way of

sponsorship.

I'll be shooting the jewelry.

So for instance, this bracelet was done by

way of a 3D printer.

And so the 3D printer is a sponsor

for this event but I don't know if

she's necessarily connected to it.

The thing I'm gonna be shooting a lot

of would be this bracelet which is her

something borrowed.

Her necklace of her mom.

The veil and her earrings.

Her earrings were purchased for her from Taylor.

They're not sponsored.

They were bought by her future husband and

she loves them.

So now that I know that these are

the sentimental things, these are the things I'm

gonna wanna shoot.

As far as styling goes, I actually just

look a lot at how J.Crew styles

their things.

I would never say that I'm particularly amazing

at styling but I do know that I

can look at something and see if it's

balanced.

And in this particular situation, I was shooting

her earrings and the locket and it looked

better than adding the bracelet.

So I'm gonna shoot this on its own

first and then I'm gonna add the bracelet.

I'm at 2.8, 800th of a second,

160 ISO.

I'm gonna get a test shot.

My focal point will be on the inscription

of the locket.

And that's where I want it.

I sometimes hold my breath while I shoot

to ensure that it's in focus.

I shoot it horizontal.

I shoot it vertical.

And when I shoot horizontal, I wanna make

sure that I'm using the rule of thirds

because it just makes for a little bit

more of a aesthetically pleasing photo.

Now I'm gonna add the bracelet and then

we will be done.

I'll shoot this perfectly down right down the

middle since I have three components, the bracelet,

the necklace and the earrings.

Great, cool.

The only thing left is her grandmother's tissue.

So if I'm shooting her grandmother's tissue, I

wanna include her mom locket in that.

I'm gonna keep the veil as the background

just to keep it continuous.

That's fine.

I got it.

It's all right.

We're working on it.

So what I just did is I used

the veil as the bottom base.

I used the tissue folded in a V,

not the tissue, excuse me, the handkerchief folded

in a V.

And then I planned on placing the locket

at the apex of it.

I'll shoot it horizontal, I'll shoot it vertical

and then we'll be good.

And that will be all the details shot

and we've been shooting in totality for about

10 minutes.

Your time starts now at 8.45. Thank

you.

So right now the time is 8.45.

The guys should be here any minute if

they're not here already.

JD will have them get dressed as soon

as they arrive.

I'm gonna go in.

I'm gonna do a quick swoop of what's

going on in regards to their preparation.

That's gonna be important for me.

I wanna make sure that I get, her

hair's already done.

I wanna make sure that I get kind

of a beginning shot, a setup shot of

her getting her makeup done.

And then from there, I'm gonna shoot her

details for her bridesmaids, which was the flask

and a cup.

And I don't have to stylize those gifts

very much because they're silly gifts.

They're just gonna be true to the environment

that they're in.

I'm gonna be shooting the imitation as soon

as it's ready, which I think it is

any minute.

I'm gonna make sure that all of the

details that I have shot go back exactly

how I found them.

Thank you, Tammy, yeah.

So I'm gonna move over here.

Oh, great.

Go ahead, you get your shot.

No, Matt, you do it.

You do it, Matt.

So I'm gonna take this second to talk

about working with the videographer.

The shot that I need is the exact

same shot that the videographer needs.

So instead of working and me trying to

take priority, Matt needed the shot.

So the wonderful coordinator, Jeannie, is actually holding

the diffuser for him that I was just

using.

And so he had said, oh, Jasmine, he

had deferred to me.

He said, go ahead, get the shot.

But we both need the same shot.

I've been working, I've already been in a

flow.

He should get priority for this.

And as soon as he's done for that,

then I hop in.

It's about creating synergy within your teammates and

also having a wonderful coordinator who's willing to

hold a diffuser as you need it.

So let's talk about the lenses I've used

so far.

I've used the 50 millimeter 1.2. I've

used the macro 100 millimeter IS.

What I'm gonna shoot now for the for

the imitations are the 50 millimeter and I'm

gonna use the 35 millimeter.

I'm gonna use the 35 millimeter to get

that wide shot.

Now I've been really spoiled today.

I have a coordinator who's actually styled this

for me.

Nine times out of 10, I'm styling my

own details for this type of setup.

But Jeannie is really on point.

She kind of stays ahead of the game,

sets everything up the way that I need

it.

So what we're gonna do, you don't need

to hold this.

I can have, I'm gonna have my assistant

do it.

Tammy's here, she's gonna do it.

Oh my gosh, and okay, so this is

why I'm spoiled.

So my coordinator already knows that I need,

thank you Jeannie, thank you.

I just need this tool parallel to that.

Okay, so tell us right now, tell us

right now what you're looking for.

I would say probably just this line needs

to match that line and then just make

sure everything is straight.

So what are some of the common mistakes

that photographers make when they set up an

imitation shot?

I think sometimes it's just not keeping the

line straight and then you have to spend

a lot of time Photoshopping in the end

to try to keep everything straight and it

looks worse.

So it's easier just to make it perfect

now.

And then sometimes what we see in the

eye is a little different than the lens.

As you know, take a couple of test

shots, look at it close up and then

we need to readjust what we're adjusting.

Exactly, thank you for saying it.

And of course, you're gonna have to crop

my tool.

Yes, yes, and so this area will be

cropped out.

So my frame will be between here and

here, which is why I'm bringing both lenses,

the 50 and the 35.

I'll be using the 50 to be shooting

closeup details and the 35 to shoot it

mostly overall.

Thank you Jeannie.

Yes, and Jeannie is an avid Instagram user

and so she loves these detail shots that

can fit in her Instagram feed.

So I'm shooting it most probably all the

time with enough room around the edges for

cropping.

She's amazing, I love her.

And just the fact that we were able

to work on this wedding together just is

so stinking amazing.

The fact that we're both from Southern California

is fantastic.

The fact that I get to work with

a friend, the fact that I'm ruining this

table.

Now, just be careful for this crop.

I'm gonna have to, just, no, I'm good,

I'm good.

I just need to get the chair close

and I just don't wanna show anything to

the camera because that's, okay.

I'm gonna shoot this with the 35.

Sometimes if I can shoot on the ground,

that would be great because then I would

be able to use the 50 because I

have more distance between my frame and the

floor.

But in this case, I'm gonna have to

shoot it with the 35.

I'm gonna shoot this at a 3.5.

I'm gonna shoot it at an ISO 200.

It's a personal preference.

I know it is bright, but underneath the

scrim and we moved from really bright light

to kind of broken up light.

I'm gonna make sure that this is cropped

out.

Cool.

Do you ever bring details to style things

with on a wedding day?

Great.

So I don't really bring details for me

to style an invitation on the wedding day,

although I think that is absolutely a fantastic

idea.

I just, because there are so many details

that float around the day, I wanna make

sure that the details that I'm using to

stylize the invitation as a personal preference belong

to the wedding, belong to the couple.

But I'm not opposed to a photographer bringing

what he or she needs.

So I keep on picking up a side

of this over here that I need to

make sure that I'm cropping out.

I'm at 3.5, 800th of a second.

My focal point is on the bride's name

of the main invitation.

What you hear in the background, this buzzing

sound, is a drone.

There will be a drone at today's wedding.

It's gonna be getting some overhead video shots.

So I think that it used to be

this really unique and original thing, and it

very much is, but so many more videographers

in Southern California are using drones, and so

it's just really important to learn how to

work with the team and understand what they

need from you, if anything at all.

So I've shot it from three varying lengths,

one with a lot of room around to

crop for Instagram, a shot that I think

an editor would appreciate, and now I'm gonna

get shooting really tight so that I can

crop out everything and really just have a

main focus on the invitation itself.

I'm gonna switch my lens.

Great, so I shot a lot of horizontal.

I will now shoot a lot of vertical

because I'm gonna be doing individual pieces.

I switched my lens because the 3.5,

just as a personal preference, is a little

too wide for me when I shoot individual

pieces of the invitations.

And just to be honest, the 50 millimeter

is my favorite lens.

It's just something that I appreciate, I love.

So now that I have the shot that

I want, now that I know the videographer

has the shot that he wants, I'm gonna

reframe a couple things because this is the

entire suite, and I think that this is

what the paper designer would want, but I

wanna make sure that I can get a

shot that later on I can use as

a diptych.

A diptych is two photos next to each

other, and sometimes adding too many moving pieces

makes it a distraction.

So again, this is just personal preference.

I know that the coordinator styled it in

her way that I absolutely love and appreciate.

I'm going to get this fern and I'm

going to cut off.

Way to go, John.

What I'm gonna do is I cut off

a piece of the fern because it was

acting as a distraction.

I'll use this bit of the card to

cover the end of it.

Celeste, can I get a time check?

So, what I wanna make sure, just based

on Jeannie's recommendation is making sure that everything's

lined up in a way that makes sense.

So if you see in this invitation, maybe

we can use this as our baseline.

So I'll use these two lips of the

leaves as our baseline, and then we straighten

it from there as close as possible.

So here's something I just realized.

The bride got these rings for her bridesmaids

and I put it on my hand not

to forget, and what resulted is me not

shooting this ring.

So what I need to do is I

need to shoot this ring, and I'm gonna

shoot this ring by itself with the macro

and I'll be okay with that.

It was just a reminder not to do

that in the future.

I will have to say it once again.

Great, so I got a shot of all

three pieces.

So what I'm basically doing is just, I'm

parsing it down, I'm parsing it down.

So I started with the full invitation suite.

I now have everything set up the way

that I want it.

I'm gonna bring it in a little tighter.

So now what I'm doing is I'm making

sure that the editors have options, that I

have options, the papermaker has options, and that

the coordinator has options.

In totality, this will take me about 10

minutes.

Maybe not even that.

My settings haven't changed because my lighting hasn't

changed.

So what I'm gonna do is because I

forgot this ring, I'm gonna now see if

I can incorporate it in a very unique

way to try to make up for my

mistake.

So what I'm gonna do is I'm gonna

place this knot ring on top of her

invitation and see if I can incorporate the

flowers, the invitation.

We'll have the scrim up and let me

go and grab my macro in a sec.

Okay, so I'm gonna shoot this down.

I'm gonna shoot this at a 2.8.

So a lot of times people ask how

I meter for something and I'm 100%

looking behind my camera 100% of the

time.

I noticed that by simply looking at the

back of my camera, the exposure was right,

but dang it.

The invitation was crooked.

So I'm shooting this with the macro because

this tiny little detail of the knot.

So the bride got these silver rings for

all of her bridesmaids that are in the

form of a knot because she's tying the

knot and also the knot wedding.

So I needed to make sure I got

a photo that we were proud of and

we're good.

So that concludes all details for this portion

of the day.

It took us about, I would say 30

minutes in totality.

I'm gonna hop back in.

I'm gonna check in with the bride.

She's probably in her makeup chair right about

now.

So I wanna get details of that.

I'm gonna leave this here for the coordinator

and then I will let her know that

it's here.

I'll hop back in with the bride and

then we'll take things from there.

So one thing that I noticed that the

coordinator also put out were the boutonnieres, which

is fantastic because it's going to be a

very warm day.

So I wanna shoot these boutonnieres by themselves

in the position that she had placed them.

Now, I had made the decision to shoot

them in this case on this table because

when I placed it on the gravel floor,

it blended in too much.

And when I placed it on top of

the grass, it made everything too green.

So it's just gonna be a decision that

I'm making on the fly.

All right, I'm gonna shoot, use the 50.

I'm gonna shoot this at a 2.0

at 12 50th of a second, 200 ISO,

and I'm gonna use the 50 just to

shoot small individual pieces within.

I'm gonna change this to 2000th of a

second cause it's a little too bright.

I like to shoot a lot of my

details around that 2.0 range.

Just like the look that it gives off.

So I actually like, this is the shot

that I know that I think I will

use and the editors might use because it

has the frame within a frame, but I'm

gonna shoot this with a 35 because if

the coordinator wants to use it, if anybody

not wants to use it on Instagram, I

need to make sure that I can get

a photo that would crop perfectly in a

square.

Great.

The settings don't have to change.

I don't think that that photo is all

that great, but the fact is they have

that as an option, but I'm sure that

the smaller cropped one will work a lot

better for what they want.

Now we're popping it back inside.

So I know that they're gonna shoot this

right now, but I'm just gonna be shysty

and try to hop right in and get

the shot.

I'm gonna be shooting this at a 640

ISO, 160th of a second, 2.0. You

have to just get the best shot you

possibly can.

Oh, and this is it.

I have the glasses of wine.

I have the Chateau Saint-Jean bottle.

I'm gonna turn this out because they're a

major sponsor.

And I also have the pink flask.

And I'm gonna be cropping out all the

junk that's in the background, which are just

light and a lot of other goodness.

I'm gonna shoot the bottle by itself.

I'm gonna shoot the flask by themselves.

And I have that shot and I'm done.

So a couple things that I'm thinking about

right now is I need to shoot the

bridesmaids' dresses in a really pretty area.

I'm having her take off her jewelry because

I didn't get a photo of her putting

it on, and I actually want her hair

and makeup on as she's doing that.

They're gonna be starting some videography and filming

for the knot, so there's a lot of

moving pieces.

And then also in the back of my

mind, I'm thinking about getting the wedding rings.

So I need to make sure and get

those wedding rings.

And I also need to make a mental

note of where I put the invitation because

I wanna shoot the rings on the invitation

as well as them by themselves.

So what just happened now is that it's

an absolute madhouse in the bridal suite.

So let's bring this down to what it

would mean for a regular wedding day.

This is a regular wedding day.

There's always way too many people in way

too small of a room.

So in this situation, the bride has not

had her makeup done.

I feel no concern at this point in

time.

They wanna set up their shots for the

live feed for the knot.

Go ahead.

Awesome, do it.

She doesn't have makeup and I think that

for video it would work, especially live video.

But in regards to me shooting photographs, I

feel no pressure.

I'm gonna take a step back.

I'm gonna take a deep breath.

I'm going to shoot just the things that

I want to shoot.

And during this time, I'll be shooting her

rings.

I'll be shooting bridesmaid's dresses and maybe I'll

be shooting that out here.

And I'll just kind of be taking a

breather because he asked for 10 minutes.

So before they start shooting that in there,

I'm gonna place her wedding ring on my

finger because I'm really nervous.

And I'm gonna go and grab a few

bridesmaid's dresses.

So I'll be right back.

There's a sash on one of them.

I'm gonna take the sash out, but can

you note that it belongs to this dress?

The names should be on the back.

So this is Cristal.

This is the one that doesn't have the

name.

Great, then that's how we're gonna denote it.

And actually it's a different color green.

So we'll pull that out.

No, no, no.

I'm totally okay with it.

So part of the reason why I wanna

shoot these dresses right now the way that

they are is because these dresses were donated

by Jenny Yoo and they were voted for

the audience.

And I'm gonna get a lot of good

photos of the girls in the dresses, but

let's just get one stationary just in case.

I noticed that one dress is a different

color.

So I'm going to place that one.

I'm gonna place this dress higher because there's

a gap in the bush and I'm okay

with them being up-kilted a little.

And then there's this little tiny twig that's

sticking out from behind.

So I need to just tuck it behind

a dress so that it doesn't become a

distraction later on.

Okay, let's shoot this.

We're gonna shoot this at a 2.5

ISO 200.

I'm gonna use the bushes in front of

them as part of the frame in the

first shot.

I'm at 320th of a second, 2.5,

200 ISO.

And I'm where I wanna be.

Can you judge the front part of the

right dress?

I know it's a little top heavy.

Yeah, just pop it out.

Yeah, yeah, yeah.

Thanks, love.

That's it.

Thank you.

Oh, that's great.

Thank you.

My focal point, I'm using the 50 millimeter.

You will see me use the 50 millimeter

a lot.

My focal point is on the dress in

the center, the center left, which is that

horizontal.

I'm gonna shoot it vertical.

Now, if I shoot it vertical and the

dress is right smack in the center, which

is what I'm gonna shoot now, it looks

a little off to me, in my opinion.

So I'm gonna use a little slightly, a

little thirds, but then I'm gonna get some

haze.

So I'm gonna use my ghetto fabulous lens

head.

My focal point will be on the darkest

green dress and I'm gonna use that slightly

in the center.

There it is.

I can crop out the haze of the

hand.

Good.

Now I have that shot.

I'm gonna shoot this vertical again.

A lot tighter.

If I crop out some of the dresses

on the end, it doesn't matter to me

so much.

I just wanna make sure that they get

the shot that they want and variations that

they want.

I'm gonna pop it in.

Great, I'm good.

Let's see, I'm gonna take some dresses in.

I'm gonna check to see if they're filming

yet.

So what just happened right now is the

Knot asked me to step away from shooting

because they don't want me to shoot right

now and that's okay.

So what I'm gonna do is I'm gonna

leverage an opportunity to shoot the vendors doing

what they do.

Now we have the florist, we have the

coordinators and they look so beautiful.

Now what I'm gonna do is I'm gonna

choose great light.

So can I have you, ladies right here,

Tammy, can I have you move that barrel

that says bride on it?

Ladies, I'm gonna take you guys right over

here.

So Jeannie, what are you envisioning for this?

Tell me.

Do you want it square crop?

Like what are you wanting?

Square crop?

Square crop.

Okay, good.

Let's see.

So ladies, I'm gonna actually, I'm gonna take

you guys right about here where there's some

beautiful, beautiful light.

I'm gonna take you right, come out towards

me.

Come out towards me, come out towards me,

come out towards me.

Oh, and we're good.

So ladies, you're gonna be on the side.

I'm gonna pull these boxes out.

Okay.

You're looking really close there.

Okay, yeah.

So the reason why I'm pulling this, I

just want light behind them.

I'm gonna get green tones.

Ladies, turn in towards the center.

Come in, bring your bodies in close, close,

close, close.

And then Jeannie, give me the little pure

bar leg.

Yeah, boom.

There we go.

Good.

We're so short in our class right now.

Oh, this is so stinking beautiful.

Hang out, ladies.

Good.

We're gonna go for the, yeah, thanks, guys.

See, good, now I got that beautiful laugh.

Lean in, ladies.

Lean in, lean in.

Hang out.

Hang out one more second.

Last frame.

Beautiful, thank you.

Oh, actually, come in, come in, come in.

Hold the bouquets.

Oh, not bouquets, but looking at each other.

Come here.

See, Jeannie, you got this.

Good, that's beautiful.

Thank you, guys.

That was great.

Thank you.

That was great, that was great.

Okay, cool.

So what we're gonna do is we're gonna

go shoot the wedding rings right about now.

So right now, I'm setting up the rings.

I will be having a scrim of a

diffuser, and I'm purposely choosing, so as opposed

to using this silver background, what I want,

just because it's getting really hot and really

bright, is I'm actually gonna be shooting it

on this linen table because this will naturally

illuminate, reflect light in a way that I

prefer.

Now, I'm trying to stylize the rings.

This takes probably just a few tries, a

few seconds.

Some photographers will bring putty to a wedding

day, but bam, there you go.

So we have it set up.

Let me make sure it's, now I'm gonna

need that chair again.

So my focus will be, I'm gonna shoot

this with the macro.

I'm gonna shoot this horizontal and vertical, but

I'm gonna really try to the best of

my ability crop it just within this so

that this is in the entire background.

So I'm shooting this at a 2.8.

I'm at 200 ISO.

My focal point will be on the, I'm

hoping this guy does not put anything on

the table.

Okay, I'm at 1600 of a second, 200

ISO, 2.8. Yeah, so the frame

is, the invocation and the ring.

I'm gonna try my best to align it

as perfect as possible.

Great, now I'm gonna get it a little

bit tighter for vertical so that I don't

have the white linen in the background.

It's gonna sound pretty good, dude.

You guys wanna come back here?

I don't know, where do you want the

umbrellas?

Oh, right in front of the door.

So we're gonna have to use that one

to be, uh-huh.

Okay, cut.

So my focal point's gonna be on the

diamond itself.

I'm doing a vertical, I'm doing a vertical

tight, vertical wide, horizontal, and then horizontal at

a slight angle.

What time is it right now?

9.20, if possible.

I have to drop, just shifting, since I

didn't have so much light above, I have

to compensate now at a thousandth of a

second.

Great, so I feel good with this.

Let me switch.

So I think that this might potentially be

cheesy.

It might.

So if it's cheesy, it won't make the

edit, but I just wanna try it.

I like to have a couple options for

rings.

So, I mean, this could potentially be really

cheesy.

I'm not the photographer who places rings in

flowers.

I'm just not.

But in this case, because I don't really

feel like I have the time, and I

don't really feel like I'm all that particularly

malleable with what I have, so I'm just

gonna try to do the best I can.

Right now, I just need to shoot all

three rings in a way that's quasi-horizontal,

but when you're placing it on top of

a flower, it doesn't always work out that

way.

So I'm just gonna fight for this one.

Not exactly what I want.

So can I have you hold that white

background behind?

Actually, just come right here.

Let me see.

Okay.

So I'm just using this.

Hang on a second.

Let me see what I'm gonna do here

first.

I'm just using that screen in the background

to cover any sort of green light from

behind, and let me get the focal point

where I want it, which is on the

diamond.

Now, this will definitely not be making any

sort of blog post or slideshow, but I

think that the bride would appreciate it.

I'm okay with that.

Okay, so I'll go set that off.

Okay, I'll grab you this.

I'm gonna get this stuff.

I'm gonna use this plug right here.

I'm guessing it's accurate.

Yep.

Feel free to walk past.

Please, please, thank you so much.

Great, so I got a vertical, I got

a horizontal, and later on in post, we'll

see how that works.

Thanks, guys.

Okay, so it seems like the knot is

done filming inside.

So my goal is to place the ring

back on my finger.

I will return it immediately to Samantha.

I'm going to get these rings, and I'm

gonna give them immediately back to the coordinator.

I hate being responsible for this kind of

stuff.

So I will meet you guys back in

the room with the bride as she prepares

with her bride's beads.

So what's going on with the knot right

now is that they are filming the bride,

and they don't want any other people shooting

that right now, so I just have to

take a deep breath, and I have to

say it is what it is.

Instead of just waiting there for the bride

to be ready, I'm gonna come in and

check in with J.D., see how the

guys are doing.

Sometimes they need a little bit of tough

love.

I'm Puerto Rican, and my dad is a

Marine, so I go in there, lay down

the log, get all the guys outside, and

hopefully start shooting that process.

So we'll see how fast we can get

this done and how productive we can be

in the process.

So because I'm a female, I just like

to kind of announce before I walk in.

Hey, guys.

Hey, guys.

Oh, so there's people dressing.

Are we cool?

Okay.

Oh, you're there, too.

Okay, cool.

Awesome.

Okay.

Fantastic.

Oh, wow, guys.

Nice.

Cool.

So, hey, looking good.

How are you?

Good, good.

Good to see you.

Good to see you.

Fantastic.

Okay, guys.

So are we like, maybe like a couple

minutes out?

You think?

Yeah, we're like maybe five minutes out.

Cool.

Cool, cool, cool.

I'm shooting with the 50 millimeter.

I'm at 1.2, 1 1⁄6th of a

second, 400 ISO.

JD's at one angle, and I'm at the

other.

This little blip in the day has actually

been great, because now Taylor gets two angles

of him getting ready.

Get in there, bro.

Yeah, that's good.

Yeah.

So, yeah.

So the guys are a little bit backlit,

which is making it difficult, but I'm gonna

try to crop up as much of the

window in the background as possible, but we're

getting a little glare.

I'm gonna switch.

Okay, no, I'm not liking that angle.

I'll leave that angle to JD, because we'll

have to mix the tungsten lighting and the

window lighting, so I'm just gonna stay here

and do the best I can.

I'm not, I'm not, I'm not, I'm not,

I'm not, I'm not.

The focal point is on his eye.

Yeah, great, that's good, pretty good length.

Pretty spot on.

I'm gonna take a best break.

So what is happening right now is JD,

they met each guy, and now he's using

their names.

He said, hey, Jesse, can you help Taylor

with his tie?

So that's actually a great way to personalize

the experience and incorporate guys naturally into the

frame.

So I'm getting just a lot of ambient

shots.

JD's gonna get the actual framing shots.

I have the guys in the background.

Slightly different angle.

Samantha, do you need anything?

So whoever has their suits on already, we'll

start pinning the ears, so start with you

guys.

So JD in this situation would still be

the lead.

When he was working with the guys, if

I'm ever in the opportunity to work with

the guys, then that's absolutely what I do.

So he's still watching everything as it's unfolding.

I don't feel a pressure to at this

point in time.

Taylor is actually putting on his pants right

now, so I don't need to shoot that.

So I'm gonna take a step back, let

JD take the lead on this, and then

once he's kind of, pants are on, we'll

get both simultaneously, Taylor putting on his jacket.

And there's a purse in the background that

I have to move.

So I'm moving a purse because it's just

in the frame.

I'm so sorry, can I have you come

out this way?

I'm so sorry, forgive me.

So what I just did is I just

moved a purse that was in the background

of the frame so that I just had

a clean shot of him adjusting his tie.

Now the window is rather distracting, but I'm

just gonna go with it and blow it

out, and then it is what it is.

Now his friend got in the middle of

the frame, which is great, I mean in

the middle of the window, which is great,

because it kind of blocks some of the

light.

Just getting some last minute detail photos.

Mustache, there was two choices.

Oh.

They wouldn't let you make a bird.

They wouldn't let you make a bird?

Seriously man, you could have easily made this

into a bird.

I thought they were birds.

It was like mustaches or hearts, and I

was like, I'm gonna skip on the hearts.

All right, let me get your blue in

here.

All right Taylor, let's do a couple of

examples.

Is that a good time?

Yep.

So Taylor, you'll stand right about here.

And then Sam, we'll just push you guys

back towards the window when you're ready.

Only when you're ready.

So the reason why I'm having him stand

here is I want to use these frames

as a frame.

So Taylor will stand hopefully here, center here.

We'll be shooting over the table.

But I wanted to use it.

That's when we'll do the shot.

Cool.

Actually, you get this shot.

You need to still go behind you.

So what just happened right about now was

that JD thought it would be a good

idea for his best man to come in

and help him with the cufflinks.

And I didn't think it was such a

good idea, but JD's lead, and he's right.

It ended up working out the way that

it should.

So we're just gonna get candid photos of

this actually happening.

And then hopefully some styling photos later.

I always have.

I didn't do the knife.

There's no hole in this.

So I just left the groom's room because

I have a feeling that the bride is

getting ready right now.

So I'm gonna hop back down.

I don't really feel the pressure to get

those photos right when she's starting, so I'm

gonna be okay with that.

But I'm just gonna go down, show my

face, and then we'll be meeting the groom

and the groomsmen outside in about five to

seven minutes.

So let's head down.

So what I'm gonna shoot right now is

just some prep photos from toe to head

and then waist to head.

Right now I'm shooting at a 1.2,

3.8th of a second, 200 ISO.

Now they do have a video light in

here that I'm leveraging, which is just fantastic.

So now we're doing head to toe.

Now I'm gonna come in and do waist

and toe.

Waist to head, excuse me.

Look in the window.

Eyes here.

Eyes down at the glass.

Thank you.

Right now we're shooting for Revlon.

Revlon is a major sponsor for this event.

So Revlon sent me a list of photos

that they wanted, so I wanna make sure

that I'm styling the photo in a way

that's gonna be beneficial for the bride as

well as for Revlon.

So I have the Revlon rep here with

us and so I wanna make sure that

she's pulling the images, the pieces that will

actually work.

So let me know what you, what you

are thinking.

Perfect.

Perfect.

I was just mentioning, we wanna take the

top coat with Bed on Love.

Perfect.

Her ring.

Perfect.

Great.

Probably just her engagement ring or because the,

actually.

Okay, actually Jeannie, do you have the rings

with you?

I do.

Great.

So what we're gonna do.

So this is a nice bouncing, can I

give this to you?

Thanks, love.

Great.

So, what I was thinking about doing was

maybe getting as far as product shots go

instead of an overall, I think that for

video, it works and you can pan over.

And then for stills, what I was thinking

is maybe you can shoot aerially and stylize

it so we can actually see the color

palettes if you're okay with that.

Okay, great.

Tell me.

Perfect.

I'm not, I'm actually, if I shoot, I'm

gonna be shooting down this way on them.

Does that work?

So for now, what I think I'm gonna

do is I'm gonna use these.

I'm gonna, are we done shooting this for

video?

For the knot, the knot head already shot

this, correct?

I'll actually just, I'll piece it back in

exact the order that they were.

Okay.

So, the color palettes for the weddings, was

any of these?

Yes, it was this one.

Perfect.

Thank you, that would actually be really.

Do you want the color stay gel in

these as well?

It has to be in there.

Great.

No, it's not a free package.

That's okay, I just am verifying.

That's totally okay.

Yeah.

Any of the bridesmaids in the room?

Candidates of the bridesmaids?

There was an eyeliner, but she's, I think

you used it only when I brought it

down.

Okay.

We'll just skip that, because it's not the

most important, so we'll get that.

Okay.

And I'm gonna incorporate the rings within their

box as well.

Okay, great.

Let me get her ring.

Okay.

Do they only use?

Am I in the right?

No, you're not, ladies.

Please forgive me.

Sam, I'm so sorry.

For Revlon, we need your ring.

Oh, yeah.

Here.

And we're not getting it back.

No.

Thanks.

I'll just pass it around.

Okay, thank you.

I know.

Sorry.

Oh, no, so the flowers.

It's really cool.

So they are all local flowering.

So brides don't really know what they're looking

at.

So I'm stylizing this just the way that

I would any other details on the wedding

day.

I'm gonna shoot this horizontal.

I will shoot it vertically.

And at this point in time, I'm not

actually going to incorporate the flowers quite yet.

So I'm just gonna get a clean shot

of exactly what I need.

Oh, did you want a foundation in this

as well?

Yeah.

Okay.

And I'm gonna grab a chair.

We can get something that's just close to

the color.

I mean.

Perfect.

I'm gonna shoot this at 2.8. I'm

at 320 ISO.

I'm gonna do a test shot.

My focal point is going to be on

the Revlon color stay.

So now that I know that I have

this safe shot, what I'm going to do.

This was in my frame.

I have to shoot this over again.

So Tammy, Tammy, can you give me a

review?

Once I have a review shot with the

Revlon products.

Yeah, now I'm gonna go off the script

a tiny bit for Revlon, but I think

I'm gonna try to incorporate the rings with

the lipstick.

We'll see how that goes.

Right now, I just need to incorporate, I

need to incorporate the Revlon signage as well

as the ring.

And it's a little difficult because the rings

are bigger than the Revlon bottles.

So getting them to balance is really difficult.

And you know, it's just like a new

thing for me to be working with shooting

product on a wedding day.

Because I feel like I'm trying to style

a product shot for a company.

And that was just told to this, all

of this was told to me just yesterday.

So I don't think that I was as

prepared as I feel like I could have

been or should have been.

But, you know, we're just.

Thank you.

So the thing that I'm focusing on now

is yes, the ring, but also for the

Revlon products in it.

So now that I feel like this is

just like a stronger, a stronger positioning of

it, I'm gonna add a few things in

it that we had last time.

Because now I just like it in a

free form, away from the box.

I like this styling a lot better.

I think it's gonna be better for them.

Tammy, can I get it?

Um.

I'm gonna get the.

So the bouquet.

So I need to make sure that I'm

doing a horizontal.

Make sure that I get a vertical.

Now they had requested the bouquet with the

rings.

Oh wait, was the bouquet with the product,

right?

Of course, of course, yeah, yeah, yeah.

So here's the deal.

She was making me so nervous, I'm not

gonna lie.

I'm not a commercial photographer.

I'm not that thing.

So I feel like that's kind of been

a little bit difficult.

I think that they're asking for photos that

don't really make sense, like the bouquet with

product and rings.

But again, it's not my job to educate

on the wedding day.

This was just thrown to me and I'm

just gonna try to make the best of

it.

Can you hold this?

Or are you gonna work this one?

Yeah.

So I'm gonna really be honest and say

that this is not like my favorite.

But what am I gonna do?

For the day of the wedding.

And I was like, I'll give them to

you.

Oh, the guys are parting upstairs though.

The guys are parting it up, yeah.

Oh, I'm so nervous.

Jeez, I did exactly what you said not

to do.

And I was like, oh, I got this.

You're like, no, it's fine.

I'm gonna go look around.

So then after I do this, I'm gonna

need to get a shot of the bride

holding bouquet with her Revlon Color manicure.

But so far, I just feel like in

the sake of time, I'm gonna do what

I need to do.

This goes back to Samantha, I'll take this.

And so then it's gonna be important for

me to put things back as close to

possible as I found them.

So.

You're getting back?

Oh, good, I'm just gonna take some tape

from behind.

Tammy, thank you so much for running back

and forth.

This is the last shot.

And then we for sure have to go

shoot the guys because they're waiting outside for

us.

I have that, thank you.

All right, here we go.

Not picked up.

It was voting all of a sudden.

Yeah, totally, yeah, no one knows it.

That was like pre, it was pre everything

else.

So if you're wondering where I got the

tape, I'm getting the tape just from stuff

that Revlon has already set out.

So in this situation, I just would use

whatever's around me.

And in this case, it's tape.

And we're just making this work.

That's right, boo.

Here we go, let's try this.

Okay.

Okay, this is about as good as it's

gonna get.

Here we go.

Oh, that smells so good.

Yeah, I did get Tanner.

You did get a lot of Tanner.

I know.

But I'm glad.

Yeah, yeah, yeah.

Tanner's good.

I've never seen anyone get Taylor for their

wedding.

Yeah, it's true.

It's true.

All right.

I'm shooting this row thirds horizontal and then

vertical.

With a 50 millimeter, shooting at a 2

.8 400 ISO 168 of a second.

Okay, so we'll be popping back in.

How far long do you think before she

gets her lipstick on?

I wanna get those last minute details.

Oh, that's great.

I'll be back in 10.

I'll be back in nine.

If I need to fake it, you might

need to fake it because I might need

to move on to the next one.

Okay, perfect.

We'll try to be back in five.

Yeah.

Okay, cool.

So what's happening right now is I have

about two minutes to shoot this bouquet because

what they wanna do is put a GoPro

in it.

I wanted to originally shoot that door, but

it has broken light over it.

They wanna put a GoPro in the bouquet

and I think that that's just gonna make

the bouquet look really ugly.

So I'm gonna shoot this.

I have about two minutes, not even that

to do that.

We do it 200 ISO at 2.0.

I'm just gonna use this brown door and

I will be shooting it two ways.

I'll be shooting this bouquet just simply by

itself right now.

And then I'll have the bride be holding

it.

I just kinda wanna create a clean background

to the best of my ability.

And I'm actually standing in front of the

restrooms.

So guys are actually using the restroom.

They'll be walking past me right now and

I just have to work as quickly as

possible.

Now, so I shot it vertical, I shot

it horizontal, I'm shooting it at an angle

to make sure that I'm cropping out the

bathroom doors in the background.

I'm shooting at a 2.0, 400th of

a second, 200 ISO.

I'm just gonna let it go and just

leave it because they're waiting for this.

So Tammy, I'll give this to you.

Guys, I'm shooting at a 1.2, 200th

of a second, 200 ISO.

There's a lot going on.

Tammy, you got daddy?

You got daddy?

Okay.

I'm on it, I'm on it, I'm on

it.

Hashtag to your control.

Dad, you look so nice.

I told you.

Who dressed you?

I did, all by myself.

So I'm shooting dad in the background.

And Samantha's in the foreground.

So I'm just gonna hopefully get him just

as I can to mommy.

I'm just gonna wait for the moment.

She's talking right through the hairstylist.

Sam, can I get you looking at the

mirror again?

Looking at the mirror?

Beautiful.

Thank you, love.

We're good.

Yes.

We haven't done the lip or have we

done the lip?

Oh, see?

Right on time.

Right on time.

Here we go.

Thank you, ladies.

I appreciate that very much.

Matt, do you need anything from me?

Just let me know.

I'm good.

Okay.

I'm sorry.

I have the PA in the back.

Lee?

Can I have you step up?

Sorry, love.

Soften the eyes, Sam.

Just relax.

There you go.

Beautiful.

There we go.

What did he say?

Taylor says no, Ben.

Oh, my gosh.

Have one hand right here.

Eyes down.

They want a shot just of like that

final look.

I'm gonna shoot this at a 2.0.

Increase my ISO to 250.

I'm gonna get a chest shot.

And what was the makeup artist's...

I'm sorry.

I'm good.

I'm good.

So there's stuff in the background that I

need to be...

Now, can you bring your face over here,

love?

And then right here.

Where's my face or my hand?

Keep your hand here.

Looking down at my hand.

Beautiful.

And actually, what was your makeup artist's name?

Ashley.

Ashley, can I have you take one tiny

step out just so I can get a

shot of her?

There you go.

Beautiful.

Let's take a deep breath.

Relax the shoulders.

Slight smile.

Beautiful.

Eyes here.

Eyes here.

Relax the forehead.

There you go.

There you go, girl.

That was perfect.

That's it.

We're good.

Thank you.

Thank you.

She looks stunning.

So what I'm doing now is I'm just

moving all furniture as much as possible outside

of the frame and possibly into the hallway.

This happens on a wedding day, and I

will do it all the time in order

to get the shot that I need.

JD is here.

Fantastic.

Can I have you and me?

We'll move this out to that hallway.

As much as possible, but in case you

feel confident moving it, that's okay.

If not, we'll take it out piecemeal.

Thank you.

Into the hallway by the orchids.

Thank you, JD.

So here's the deal right now.

So the deal is right now is I

have this area, and I have a light,

and I have cords, and I'm going to

try my best to not capture the cords.

So on a wedding day, I probably don't

have to hide cords, but I have to

hide a lot of other stuff.

So this is the same principle that applies.

I want to make sure that I'm not

ruining anything.

At the same time, I need to make

sure that the photos look how a bride

would expect them.

Whoa.

Okay.

Right now, I'm going to shoot with the

50, because I don't want to shoot with

the 35, because we have a lot of

stuff going on in the background.

So I'm going to shoot this at a

2.8. I'm shooting at 800 ISO and

125.

Yeah, I like that light.

So I have doors coming in from behind

them.

Ladies, you guys, squeeze in, squeeze in nice

and tight, nice and tight.

Beautiful.

Now, ladies, I will be cropping out your

knees, but if you guys sell your legs,

there we go.

Already, there you go, ladies.

Beautiful.

Gorgeous.

We love this photo.

Now, take a deep breath.

Relax.

Relax the arms down.

Good.

Now, what I want you guys to do

is just to kind of look at each

other.

So, Sam, you're so petite.

Can you pop out a tiny bit?

There you go.

Boom.

There we go.

Now, you can kind of, now, ladies, this

would be great.

You have your hand right about here.

So, Sam, you have your hands here.

There you go.

Beautiful.

You guys are going to be looking at

each other.

Just kind of casual hanging out.

That's good.

This is for practice for later on.

Beautiful.

And everybody's going to be looking at each

other.

And then, Sam, eyes here.

Good.

Everybody lean in nice and close, nice and

close.

Thank you, ladies.

Beautiful.

Thank you.

Okay.

So, quickly, dresses, ASAP.

Let's go.

Okay.

So, what we're going to talk about right

now is recapping what happened during our bridal

prep this morning.

Overall, I have a pretty positive sentiment about

the overall experience.

I felt like it was pretty darn good.

And I think it was only good because

I stayed true to who I was.

Of course, were there things that I want

to change?

Absolutely.

But overall, I stayed true to the vision.

And the vision was cleaning up the bedroom,

getting candids, getting pose shots, getting behind the

scenes.

A few things that weren't expected was having

so many different people needing so many different

types of photos.

We tried rolling with it the best that

we could.

I will say that, overall, I cleaned up

the bedroom and the things behind the bride

as she dressed.

Her bridesmaids were incorporated in.

Even though things ran a little bit late,

it was fine because we were able to

make up time at a later point in

the day.

So, overall, I feel like there probably wouldn't

be much I would change about it, except

for the fact of maybe not having so

many chefs in the kitchen.

But what's done is done, and I'm going

to move on from there, and I feel

pretty darn good about it.