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right now I'm in P mode I'm at ISO about 800 and I'm just going to let this thing do its thing and I just want to grab this shot and that's it right notice that the light just changed though bummer did you see the value of the light on their faces just a second ago it was bright vibrant it was beautiful it was the flat lighting but it was it had a little more contrast to it right now to me that's kind of flattened okay because the Sun what's my reflector anybody nope that building yeah so if you turn around I'm always looking for stuff like this that building now is going to light her more that Sun just hit it I saw a gut brighter I look over here there they got a little more contrast in their face so that right there is my reflector I'm always looking for natural reflectors and I don't mind this is a program thing now I incorporate the back of that right there because I want to show it's kind of a cool thing and I try not to direct too much Wow that's kind of cool whoo I like it so that painting is part of this watch your composition what I do now and it's kind of really natural because I do it quickly when I look through the viewfinder I do my eye does a circular motion in the corners of the viewfinder top bottom because when you're outside even in here you beware of how you're shooting via the composition that you're using right there's times that I see people having twigs come in the back of their heads a light pole in the background that's not completely out of focus out of the back of the head move yourself like if I shot this right now that little cherub up there on the tree is actually coming out of the back of his head so I move myself over so that his head is in between the cherub on the tree and that chicken looking thing all the way to the right hand side of this thing so that's kind of how I see this I just move it over and I grab that shot oh look at each other come on you love each other that's the one all right so that's what I do when I go to a wedding if I see boom and then I'm gone it is not a photo shoot for me weddings aren't photo shoots you grab the shot you're done with it think about this for a second the longer you pose someone the stiffer they get you know unless they're models and I have shot plenty of models and actresses and actors that are so comfortable in front of the camera that posing them you know that's not a problem right and even if you have to do it for a long time but my the way that I work I need to shoot this really quickly the quicker the better because the more that they have to think about what they're doing there and the more that I move them around the more uncomfortable they get because psychologically sometimes so people think is well is he getting it yeah he's taking so long what's taking so long am I not doing something right because they're not used to this so here's the thought I'm gonna do this now as a matter of fact okay can you guys come step out for a second right here right here is good right here's good hi I'm Joe I'm John John nice to meet you nice you're her husband your pretend husband no for real I love this we have real husband and wife this is cool so imagine now let's just do this because I'm gonna kind of take this away from where we were scheduled to do which is the first look they've already seen each other now but we are gonna do the first look um instead of let's say this was gonna be my portrait and you normally have your arm around her right and this is gonna be a formal shot and here's what people do okay now I want you to turn your body a little bit and I hate hands and and you know maybe hold her hand or put your hand around her waist right lean into your okay very nice okay what if you spend so much time doing this but you're really all you're getting is a very traditional portrait but you want a little bit more emotion here's how I do my formals you ready for this it's really easy simply ask them a question okay all right you don't have to do that anymore yeah but holding hands is good though yeah all right so I'm just gonna chat at you cuz I don't know who you are just met you right okay normally this goes a lot further because I know my clients through the process of the pitch through the process of the engagement session which I also almost insist on doing and not because it's extra money but because this is an opportunity for me to learn who they are more importantly this is an opportunity to them for them to learn Who I am so that by the time I get to this point their wedding day they know oh that's Joe and they open up to me like a book because they know who I am now but how about I do this so I want to take this portrait of them right so I want you guys to think for a second I mean do you guys you love each other don't ya okay did I just ask him to do that did you see what just happened huh they looked at each other it was a real smile it had honesty in it instead of me saying look at each other now smile it's a total different feeling because it's real if I ask you when you can you tell me the story or think about the story of where and when he proposed to you what was that like yes we had it it was at our College we heaven there's a little chapel that was above the chapel at the college and I had some Rose pills going up she was on spring break which was kind of fun and so I was able to kind of create everything make sure everything was done I made a little book for that had the story of the prince and the princess and it was basically our dating story together and so we got to I made it through which was good so when he proposed what you feel what Janet yes doctor yes my parents said that he could have their oh I was very excited to marry this man that's awesome did you see what just happened now granted they had a mic in their hand and all that stuff but what I usually do is just that I asked him a question so now that you just got married right you just literally think about this you just walk down the altar I have you here in front of you in a portrait and I want you to think how are you feeling right now yeah did you really no kidding yeah there it is for me that's done so instead of really hanging out so much time trying to create this perfect image again by posing posing posing it's a couple questions how you feeling I do that within my engagement sessions I might go to the place where he proposed and maybe they were seated at the table in the same table I'll try and find it right so then I ask him so so tell me what happened and the minute you ask them a question like that where do they go right here and right here and they start to remember memories I'm functioning I want expressions function you know that function from getting it from their heart and their minds and their expressions from that right so that's that's that's the idea so then it says so what did he do now she's going to have to remember well you know I was waiting I wasn't sure cuz he looked a little anxious and and finally the waiter came over and oh my gosh there was a ring in the champagne glass and I didn't I said what what is this I said so what really how did you feel and click you're done you know I mean these shots are 1 2 3 4 5 you've finished your engagement session is done this setup is done and literally a minute or two because out for the sake of education I'm doing is for a little longer because I'm speaking about it but normally if I had them in this doorway like this it's a couple questions if boom boom boom were finished we're on to the next thing and I've gotten real emotions you'll see the images there's some real smiles because how about it how would I've done this alright I want you guys looking at each other alright I want you to laugh come on I want you to laugh you're married yeah ha ha ha it's not the same is it it's not the same it's not the same it's not the same if it came from here which it did in the initial thing and when you cried god bless you oh no no sorry no sorry it was beautiful that was real emotion that's what they'll remember so when they look back at the images when they go through the book and they see this oh honey do you remember this yes I remember exactly how I was feeling or I remember how I was thinking what I was thinking that's what it's about that's what the book is about and and so when you get it from here that's what they'll remember and they'll relive it they'll relive that moment again over and over I often joke with couples look in 10 years and you guys know each other that well and you need to be reminded of what it was like on day one open up the book you get into a fight an argument you disagree with each other open up the book you know I mean it's ok to disagree and all that but if you really want to connect back to what you know what is this all about now because now life has gone and moved on again you relive it you relive everything that you said to each other in the vows I look over the shoulder and during the ceremony I'll nail the vows that they're holding in their hands so that they remember I see vows that are written handwritten by the bride on the table where she's getting her makeup done in front of the mirror and it's scratched up with pencils outlined this I'll look over it I'll grab it because believe it or not that stuff gets thrown out but I'll have it I'll document it it'll be part of their book so that they'll always remember what they said to each other and that they took the time to write it that's awesome you guys are great click see the clicks happen really quickly ok so here we're gonna set this thing up it's really easy right you're gonna come from out here now you're coming over here I'm going to tell you something if this were a scenario where they were going to see each other beforehand and she wanted the oh my gosh moment from him when he turns around I'm gonna do it this way I'm gonna find some place this is not ideal okay I picked something like this because while I have the luxury and the fortune to have amazing spaces to work with because people spend a lot of money at the wedding's that I do a ton of it we all started including myself in the beginning and I know you got a lot of you are shooting weddings and not the most desirable conditions and locations okay so I'm gonna give you one there's these green umbrellas you know I'm gonna work my way around it I'm gonna cheat the camera so I don't see those umbrella I'm gonna just get this stuff right here and I'm gonna position him out here come on I want you about right here like this right yeah yeah clasp your hands behind your back so I'm gonna go play with the camera thank you sir thank you sir and what I would do first just to set this up I want him sitting there for a while I want him to think about it because what I've told him is any minute now you're gonna turn around when I tell you to to see your bride-to-be for the very first time okay now he's already known based on what she said about the dress he's not seen it most of the time and she's just explained that the dress is really beautiful you're gonna be really surprised so he's already been prompted that this is going to be an oh my god moment okay so the first thing I would want to do is actually I shoot him like that because his hands are naturally clasped behind his back I didn't tell him to do that but that's where he's at so I would probably shoot this first and what I'm gonna do remember I said that I can actually grab these shots and change the f-stop and do all that stuff I'm shooting into a 2.8 okay that's all I'm doing right now I just wanted to throw it now I did it in program mode and in program mode right now it's saying f5 at four hundredths of a second but I didn't want that Street to be too obvious or the the wall and the tree and I position him so that the trees not directly in front of his head what's looking like it's going to come out of his head so I put myself here cut out the videographer woo and then I turn around and I see her so that's my first shot I want him standing there she's patiently waiting sorry for that yeah you can look around at him because this is look at him yeah there you go that's very nice so here's what's going to happen I'm gonna have you walk in a second right to the edge right here I'm gonna have I'm gonna shoot over his shoulder looking at you so I want you to peek around the thing and then walk towards him right and stop right here stop right here right and I'll get him to turn around so then I've already discussed it with her would I where I want her to stop and walk and freeze I'm gonna talk to him now we're good okay in a second she's gonna come from back and oh my eye wait till you see what she looks like dude she's awesome alright and then I'm gonna ask you to turn around to your left I'm gonna run back over to her side right and then you're gonna turn around and see her for the first time and then however you're feeling in here let it out it's all good so I'm gonna grab a couple shots of you and you had your hands clasp behind your back so I see light that's on your face right now and I need you to kind of step back just a hair and out of the light move that way a bit right there you want to peek at them yeah that's what I want yeah you're what you anxious to see here or something not yet you're getting good right there so when I tell you to turn around I want you to turn around okay and you'll turn to your left so you stay right there move to your right a little bit love that's good right there right there right there I like this alright are you ready to see her she's looking pretty awesome go for it yeah all right the mic my camera is busy but grab those shots grab those shots that's pretty much what I do to getting ready stuff now I usually extend it a little further I make it last a little longer sometimes his family is in front of him like you saw in the slideshow or her family's behind typically it's a private moment for the two of them so that's kind of what I do it's a turn around and grab these moments without saying anything else other than they can walk towards each other and then they'll kiss those are all quick quick quick instead of saying now dip her now do this no no don't do any of that they naturally will do this you won't have to say a word see the thing is is that couples brides grooms they all do things naturally if you stay aware and stay in the moments with them they will do things without you having to say a thing how many photographers do I hear when the bride has just gotten the dress on and the bouquet is down and she's looking in the mirror right and the photographer goes oh can you look over your right-hand shoulder and and fluff your dress a little bit you know pick up the veil or pick up the dress and fix it a little bit and they grab these shots what do you think a bride does in front of a mirror they look at herself and what does she do adjust primps fixes herself I see this every wedding they do it naturally you have to know having had the experience of being at a few weddings that this is what happens when the bride gets dressed she will always look in the mirror she will always put on lips she will always fix her hair and make sure that the veil looks proper she will always with a hundred percent of the time look down over her right shoulder at her dress pick it up fluff it drop it and look in the mirror I don't have to say anything they do that right yeah so pretty much as much hands-off as I can get away with and yes there are times I have to direct I told you yesterday that I'm a mixed bag there are times where I prompt a moment there are times where I even create the moment this is kind of like creatives this PJ what I just said did it's not photojournalism I set it up but when he turns around and sees her for the first time is that a set of real feeling absolutely absolutely I love it and as you yes please um I just I like the way that you did that on your own because typically sometimes I work by myself um so how you shot him this way and her coming in and waited for him to turn around but do you sometimes set up um with your second shooter this and you don't so he knows where you're gonna be in vice-versa here's what happens with my primary shooter is I have this this is my my gig right here her over her shoulder over his shoulder seeing his expressions seeing hers when I first grabbed the one portrait of him and then zoom in on her does that that's my stuff right now my primary shooter will be right here right here doing a wide catching the sides of her peeking around the corner in him that way okay now we're not in an ideal situation here because we got a fence a picket fence we got all that stuff but yeah my primary is out of sight in terms of where I'm standing and where I'm looking and he's usually shooting from the side are there per the chatroom any questions right now based on what I just did see just curious there are lots of questions let me just pull one yeah going quick come out from the bushes here all right leaves of grass photography is wandering it seems like you're quite involved in the first look wouldn't it be better to just leave this moment happen and leave the bride and groom more to themselves since this since this is an intimate moment um but how do you yes but how do you suggest being most brides and grooms in my experience say what do you want us to do how does this first look going to happen so in other words it's hard to leave it to their vices because they have no idea what what their what the first look is supposed to be like of course the best first look is when the bride walks down the aisle and the groom's already at the altar right so in this case I have to set it up and part of the setting up of the groom is also to let him stew in whatever feelings already churning in him and and egging on a little bit so that I get him to express it a little more most not most I say quite a few grooms would be reserved about showing emotion especially if you let them do their own thing and you'll turn around oh that's a nice dress honey and yeah and you know there's there's the bride and and then there's more right but no that's because he has no clue what to say or what to do in front of the cameras so if I direct it a little and by that I mean if I set it up and I put little bugs in his ear like wait till you see her oh my god I'm just prepping him psychologically to turn round to expect something amazing and usually if not always they react that way they will just come out and just go oh my god honey I mean you saw the one with LeAnn Rimes I mean most of them and even man Madonna and Peter the groom turns around and he they weep there's a so much there's so much emotion because it's been churning I let him sit and stew on it for a while then you know if the parents are around to see then they also will you know mirror to him what they're seeing and what the bride looks like before he can turn around so that adds yeah that adds you just keep building such business yeah over and over again pretty much really cool yeah question from Beth Olsen creative how does Joe get that genuine smiles and laughter when shooting groups groups yeah Oh humor a lot of its humor so when I do my formals the first thing I say okay all this is a GQ shoot I might even do this for Vogue but when I say that I'm already ready to shoot so they laugh when I say that now Lord I do this because who's doing the formals my primary shooter right so I'm the guy that might step in once in a while and saying have my camera and I go alright um I'll take a couple shots too so I'll grab a couple shots I uh I got to change my card hold on one second and I put the camera down I said you know what talk amongst yourselves and so what do they do they start talking laughing making jokes I pick up the camera cuz I don't have to change cards the cards still good man click lick lick lick lick and then they go oh man that's cheating yep click lick lick lick lick so it's humor it's taking them off guard it's also making sure that they don't feel like they're in a photo shoot that this is really relaxed so sometimes I interrupt my primary shooter and I totally under them so it's great that it's like a pyramid they look wonderful but then I say ok you guys need to chill for a second ok I need the groomsmen to unbutton their jacket sticking in a pocket leaned on a shoulder that's what I want girls take those bouquets hang them down here man give me some attitude all right one do one of these for me lean against your partner over on the side I just get them to relax I said alright now we're like the cover of Vogue and laughter click there you go cool a question from CL larae regarding the first look do you ever work with videographers in the first look and if so do you say you can have this area right here I'm gonna be here yeah I'd like to set it's always great with video beforehand to work out where everybody stands so I do do that I'm definitely involved with video on the premises and around the shooting location and figuring out where we all stand so we're not in each other shots they don't want me in theirs and I don't want them in mind if we can avoid it now this is a tight little place I had video over there grabbing us from over there but I was able to cheat over and cut him out and I don't think he could do that with me although I think the intention was to get me right I think he had to get me yeah okay so yeah I always work with video okay Elise says hi Joe for the first look do you prefer to have the family around for this or not does that matter to you it doesn't I asked the couple that because what happens a lot of times is that the bride will say this is a private moment and it's just for he and I absolutely others say oh no no I want my dad to be there you know so it's all dependent on the bride and groom and I always ask them I will always ask them what would you prefer private just the two of you you want the bridal party which usually maid of honor is my best friend or is my sister or family or do you want just alone yeah Sarah from Buenos ahright ahright is wondering if you are bracketing your exposure she here she says I hear three shutter clicks almost every time he shoots that's how I shoot what I've learned and it's not bracketing it's not bracketing I hit it three times I try to UM here's why I do this this is something that's kind of been I've done it to myself when I'm on the dance floor or if I'm in the church and I'm using a long lens and I do my whole you know elbow on my hip or in my camera hold it and I hear or I see in the viewfinder that the light that I have is a quarter of a second at 2.8 I take a deep breath let half of it out fire three times Bam Bam Bam because what I tend to do is try and time it between my heartbeats or at least two where there's no interference I have found in my experience my experience only I can't totally vouch for everybody else is being able to do this that in those three frames one will be sharp - we'll be out of focus and so it's bracketing in the sense that not about the light but about the steadiness of it so even out here it's not really necessary but what I'm also expecting is I want to nail make sure his eyes aren't shut so there might be one or two or one two three great okay a twin pair or twin pearl photography says what do you ask when you've exhausted the what are you feeling aren't you happy to be married type questions but but I'm done I don't I don't need any more questions that little scenario is it for me if I'm going to do a formal with them and I want genuine emotion I've got one two three questions I'm finished I am absolutely finished with that now now I'm saying there's also formals so now my primary shooter or me will take them somewhere and do something really pretty hold hands look at each other also very short-lived but what I was trying to show you here is I want genuine emotion so there's nothing nicer than to see in your wedding book you and your husband coming out holding hands and laughing from within and so I want to access that instead of trying to ask for that there's there's a big difference between asking for it can you laugh now or accessing it by saying how do you feel right now chat room is wondering if you could set up this shop just really quickly um how you would work it if the father was in the scene and if you could use maybe one of the students as our father yeah we can do that so his father hers or his volunteer uh whose father would it be his or hers they just say demonstrate a first look with the father okay so if I had to do it this way and she's around here dad will be over there if you were there come on dad I like it I like it a lot and I'd say keep the cool on yeah so yeah no no and you're good here for a second but you're facing her you're looking over his shoulder and you're clasping your hands behind your back like you were remember I have myself in the primary shooter so I'm either gonna be on her when she steps out so initially she's around the corner right I'm either gonna be on her or on him and my primary shooter will be on the opposite end so let's say that the primary shooter is already gonna get this shot as she's coming out or is over the shoulder of dad from afar on off the corner to get her peeking okay and the minute she steps out who's response at my gonna be looking for dad's dad's so I'm on him and I say step out love step out and he's gonna go ah there you go and I'm done there yeah I like that I like that I'm gonna hire you as the father for all my weddings I don't care you're due you're the father that's it that was awesome but you understand so that's nailed my primary shooters over the groom's shoulder having the groom in part of the photo out of focus and then nailing the bride's expression coming out seeing dad because what's gonna happen to bride when she sees father she may cry he may cry so both of those are taking from both ends like that simultaneously okay so dad's now done he's seen his daughter he's now saying what what is the groom doing right now he's looking at dad's response if dad's now crying or he's gotten the glasses off as going ah the groom or he knows what that bride is gonna look like he's now churning even more scarce oh I love this this is why usually I will put the family in front of him her family behind right here seeing her coming out first I will do that first because he's gonna hear them say something about their daughter oh my god honey you look beautiful wow that dress is crazy she turns she gets the smile with the little choked up tears as well click-click click-click he's churning like crazy dad now response goes completely nuts so there's stuff that you can do that helps this it's harder to do alone that's why I have to direct more go ahead ask how do you deal with cultural weddings that don't allow much of private moments when families act as a coordinator things can get out of control how do you tackle that come on land oh yeah um I've never really had an issue because again remember when I do my pitch it's based on the you know they hire me based on me and the images they've seen so if they've already seen that they will say well that won't happen in my family then they won't expect it so I am here's what I do and I want you to think about this when I'm at the contract level with the clients we talk about how many guests I have a timeline from the coordinator how many guests will there be tell me your preferences are you going to see each other beforehand is there a ketubah signing whatever it might be I make notes on my contracts that contract comes with me to the gig I make notes at the gig if something falls out of line like there was supposed to be a five o'clock first look and it didn't happen till 6:30 and there was no light I make a note instead of five it was 6:30 the first look and it was dark I had to use flash on camera because if I get months later the bride saying what happened my first look is like horrid I don't like the light and it used you use flash well I go back to the contract I have my notes do you remember that I suggested to you that we needed to you know either do it somewhere else or that we're losing available light it's just to remind me because after doing wedding wedding wedding wedding and then months later eight months nine months later you get this feedback and that happened to me in the past where something changed and the bride got sick and she was in her room and didn't do coming down and the grand entrance that was in part and she was upset that there was no grand entrance photos how come the no do you remember honey cuz I made notes I asked your father and your father said you were sick in your room and you were in that room for two hours she was pregnant and she was having morning sickness so I have to remind him oh yeah so if I don't write these things down it's important so when you have a client that says that's not going to happen you know my family's very strict Chinese weddings are much like that right they're very and they're you know it's intersective for their people that really aren't outwardly showing emotion they just don't do that having said that I've seen plenty of Chinese weddings where the bride cries and the father looks down because he can't take it and he's crying so and while it seems like it's a private thing the way that I shoot it with the long lens I'm not in their face and I'll let them know that that this is how I shoot and I will show them cultural weddings where culturally speaking this is not the norm however I'm still able to capture it and they let me when the client knows you to the extent that they know me because of the interactions I've had with them and by the fact that they feel comfortable with me when it comes time to the wedding what do you think happens because they know who Joe is and why he's there because he loves this so much they become open books they let me in I am NOT that brilliant at capturing moments I'm going to say it again it's not about me it is about having permission from them to see them so it's their beautiful way of letting me in because of who I am and I've allowed them to get to know me by virtue of sitting in front of me engagement session coming to the prince afterwards talking about the images I interact with my clients before the wedding for five times so and I do that on purpose I want them to know who I am so that when I show up on the day of the wedding I'm just not a paid vendor I'm Joe I'm your friend I'm here to document everything that happens and you're gonna trust me and they do and that's when they open up sure that was a long-winded explanation go ahead is anything else yes Dana and Messina Mason out how much time do you set aside for the first look um you know I think first looks about 15 minutes 10 15 minutes yeah it's not long everything that I do formals no more than 15 minutes you know you have a handful of must half it's immediate family stuff you know it's bride and groom alone bride and groom with parents bride and groom with a bridal party bride and groom with grandparents and parents you know and siblings that that's pretty much it it's like five six setup shots then we're done if they request more you know the end sometimes they do extended family I might suggest him you know what if this is before cocktails and cocktails are going on maybe we can do that afterwards because again what I want them to do is interact with everybody that's at the wedding and if they're in cocktails and having a good time and I'm taking care of shooting them right now after after the ceremony it's at you can't spend that much time so that's why beforehand done so this first look what happens now I do the portraits of them really quickly and then the next step is family within 10 15 minutes are here if they already aren't here bridal party will be coming down now and so now we knock out all the formals right here that's my typical wedding not always a lot of times it's not till afterwards and on the altar in the church okay I do those as well but the majority of my weddings I knock it out right here right now 15 minutes so you got a 10 minute first glance 15 minutes a 15 minute shoot with the it's a half hour altogether we're done