Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Download link: Episode 12
Question #1: I recently watched one of Jerry Ghionis’ videos as you suggested, and I was really surprised to see how much direction *[almost all-posed candid’s of the groom prep].* During your prep shops, I normally tend to give a little direction but just let it happen. What are your thoughts on this?
Dave: That’s an awesome question because Jerry has influenced me a lot in my career. It’s certainly one of those things where I take inspiration, but I’m not a clone by any means, like the technique of slowing things down and setting up the “hero” shots that you want – like, the groom looking really cool. Jerry does this great thing where he turns the body away from the window and has the nose back over the shoulder into the window, creating a really skinny light on the short side of the face and drops the shadow, and making it look killer. And every guy wants to look awesome.
I personally believe that wedding photographers have a responsibility to create beautiful classic images and then do whatever they want outside of that. But I think there are certain shots that every photographer should be able to do well.
Taylor: The only issue is that clients don’t always know what to expect from that type of thing. So whatever you provided them, outside of that, they’re not sure what else they should be expecting.
Dave: And everything wedding’s different, but that’s something I’ve had to be disciplined with and learn how to do those shots really well at every wedding: great shots of the groom, great shots of the bride especially.
Taylor: For the groom’s house at least – if I’m there – I just show up at the bride’s and go from there to the ceremony location, so I’ll spend about five minutes with the guys, and what usually fits into my timeline. I just to come up with simple shots like that – using one window if that’s all I have – and spend about three minutes having an awesome shoot. I don’t pose a whole lot – I put people in locations and give them vague directions, but I don’t fine tune it as much as Jerry does. I’m kind of the opposite where I’ll put them in that location and shoot 15 frames where about two are good and the rest are throwaways – but it’s digital, so what does it matter?
Dave: It really depends what your outcome is, as well. If client experience is your prime focus, you’ve got to do that. But I think there’s got to be that mix – you can’t just blast away.
Taylor: Yeah, you’ve got to have a goal of what you’re blasting for.
Dave: You’ve got to do 90% of the work and 10% of the shooting – where Jerry makes it 2% of the shooting. I’m finding that 90/10 balance – I’m trying to visualize it.
Taylor: I know I cycle on off during wedding season so I’m not doing the same stuff. And in the groom’s case, I ask “how much is the groom involved in the photo process?” If he’s stoked or if he doesn’t want me there, that influences the vibe.
Question #2: Primes versus zooms – what do you use and why?
Taylor: I use a lot of primes – my bag usually consists of a 20 mm F 1.8, and I usually have a 35 f2 in the car, but I don’t bring it out as much as I used to. I have a 50 f1.4 in my bag, and 85 f1.8 and a 70 – 200 f2.8 VR or a 135 F2, and that’s usually what I have on me all the time.
It depends on the day, but I use the 50 f1.4 for a lot of “getting ready” stuff, but the 70 – 200’s awesome as soon as I get outside. I started the season using the 1-35 a lot, but I’ve faded it out a bit. It’s awesome to shoot an F2 with a 1-35, but it can be a challenge once you get them uploaded and have to toss a bunch out.
Dave: I sold all my primes recently – I got rid of a tilt shift, the 50 1.2 and 1.4, the 85 and I just bought the 135 F2, so that’s my only prime now. I have a 16-35, a 24-70 and a 70 – 200, and I pretty much use it for everything – it’s my third weekend using it, and I love this lens so much. Having a monopod for a heavy lens like that is amazing.
Taylor: It’s usually the first wedding of the year that kicks my ass when carrying around the 70 – 200 – but the shots make it worth it.
But I’m pretty split now – my answer would’ve been completely different had you asked this in January, because I would’ve told you I was full primes. But that’s part of the photo life cycle – you have to switch things up.
Question #3: How do you guys shoot speeches?
Dave: I think the speeches are all about setting yourself up for success in advance. If you’re trying to shoot a speech on the fly, it can be a real battle: trying to balance your light, dealing funny reflections, etc. So what we do now is get two light stands, two low-light-speed-lights –make sure they’re fully charged – and pop one faced at the bride and groom, and the other over their shoulder looking at the person making the speech. That way, we can shoot anywhere in the room because the light is balanced and the focus is easy because they’re lit – and we’re not using flash.
Taylor: I usually like to find a little spot and hang out there. I try to make do with the random lighting conditions given to me, but if it’s an atrocious light, I’ll usually set up an off-camera somewhere nice and pop that. This year, I’ve noticed that most podiums have been well-lit than in the past – but I hate the light on the paper because it makes it such a hotspot.
Question #4: What iPhone aps do you use on a daily basis?
Dave: Bejewled, Angry Birds, Facebook. Weather Eye comes in super handy because on wedding days, it’s literally in the palm of your hand.
Taylor: I’m big on TweetDeck, and I use Four Square – but I don’t know why I use it, I think it’s fun – and whenever I’m travelling, I use Ping (Light), which is free texting and uses data, so I don’t have to suffer the fee when I’m in the States.
