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Welcome back everyone.
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We hope you had a fun week experimenting
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and playing with off-camera flash.
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I'm sure some of you had frustrations and
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failures.
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Which is totally normal.
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We can relate to that and just understand
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that that's part of the process.
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That's right and basically what we were practicing
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this week, what you were practicing this week,
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was only about the mechanics of the off
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-camera flash.
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How to pull it off technically.
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In probably situations where it didn't necessarily make
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sense.
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So we probably had inherently contrived photos.
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This wasn't about making award-winning images.
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This was about dialing in the mechanics of
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those three or two steps so that when
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you are in a situation where off-camera
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light is screaming out to you like this
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is where I want to make my own
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light or this is where I have to
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make my own light.
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We don't have to think about how to
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do it.
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It's recognizing now's the time and place.
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I already know how to do it.
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Yeah and I mean if you think about
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it the more failures that we experience now
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the better.
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The better we're equipped to do that problem
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solving on the wedding day or on a
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shoot.
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Any of the struggles that you had this
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week or any questions that came up, Eric
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and I are going to be in that
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Facebook group so that's where to share those
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so that we can address them specifically.
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Now what we're going to move into this
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week essentially stems from this idea that as
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photographers we all have three things essentially that
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we bring with us to a wedding.
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These are the three things that differentiate us
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all as photographers.
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We've got our gear bag.
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All the physical items in our gear bag.
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Then we've got our psyche.
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Our mental headspace.
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Everything that we talked about in those first
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two weeks that sort of shapes what we
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do.
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And finally we bring our toolbox.
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This is our repertoire of techniques that we
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can draw upon as photographers.
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Yeah and when Lani and I look through
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all of our work we see these reoccurring
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tools that we seem to use consistently wedding
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after wedding after wedding and it's not specific
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to parts of the day.
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It's specific to where it makes sense.
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It's not specific to natural light or off
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-camera light indoors or outdoors.
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No.
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They're reoccurring tools.
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Yeah so we're going to look at each
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of these tools that we've identified and talk
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about them and how we use them and
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more importantly than how we use them why
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we use them.
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Right.
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And we're going to do this by looking
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at a collection of photos in which we've
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used the specific tool that we're talking about
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and we're going to take you we're going
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to deconstruct that image or that photo for
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you from the initial vision to the final
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execution and I really wish we had behind
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the scenes from all the photos that we're
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going to show you guys but most of
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these were taken long before we even dreamed
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of creating our workshop.
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We're going to follow these mini tutorials with
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in-field demonstrations of the tool usage.
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Right.
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And this will be sort of be like
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a behind the scenes and of course these
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will be inherently contrived because we'll just be
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demonstrating the mechanics of the tool and how
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we pull it off but hopefully when we
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get to the full wedding breakdown of the
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course you can see how we pull off
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these tools in a more organic nature at
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an actual wedding.
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So the tools we're going to cover over
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the next two weeks are silhouettes, rim light,
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shadow propulsion, shoot throughs, bokeh panoramas, also known
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as burnizers, reflections and the secret weapon.
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Okay we're saving the best for last we've
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got a super advanced technique up our sleeves
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to share with you as the final tool.
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Yeah.
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Now and with these tools we've kind of
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organized them in order from you know the
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most kind of simple and straightforward into the
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more complex tools.
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And we've also organized it in terms of
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a natural light example of the tool to
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how you can achieve the tool with off
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camera flash because all of them can be
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achieved with natural light or off camera flash.
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Right you're referring to now like each tool
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specifically so the tool is essentially simple to
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more complex and within each tool simple to
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more complex natural light to off camera flash
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and portraits examples to more documentary examples as
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well.
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Right and really the progression of learning on
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all of these like the way that Eric
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and I cut our teeth on these new
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techniques is we'd see something and we try
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to like reverse engineer it in our minds
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and try to emulate it by essentially just
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experimenting with each other.
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Okay then we would bring that into like
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our engagement sessions where we didn't have the
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pressure of the wedding itself we could mess
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up right and then as we get more
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comfortable we'd bring it into the portrait part
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of our weddings and then finally the holy
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grail yeah would bring it would be to
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bring it into a documentary setting where it
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makes sense to use the tool now and
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you don't get there right away right like
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you don't get comfortable enough to pull it
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off in a doc in a in a
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photojournalistic manner until you've gone through that whole
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progression of learning the mechanics.
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Yeah but I do I do want to
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warn you guys because and we'll probably say
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this a couple times throughout the course to
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beware of LRIs lifeless representations of ideas right
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because with all of these tools there's a
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time and a place to use them where
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it makes sense but I I mean Lani
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and I are guilty of this all the
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time there's times when we're straightjacketed into using
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these tools just because it's gimmicky and it's
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eye candy but there's no good reason beyond
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that and we end up with a lifeless
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representation of an idea and I I get
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asked to judge a ton of contests and
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that's probably the most common thing I see
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is people focusing on the tools and not
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the people in the moments in the movement
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right the photos become photos become about the
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technique or about the photographer yeah versus about
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the story or about the subject right or
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about solving the photographic problem that the tool
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was used to solve so just be wary
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of that and we will be a constant
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reminder of that throughout this course because it's
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something we feel really strongly about so with
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that in mind let's dive into the two
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-man toolbox of tricks
11877
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