RECREATING WEDDING PHOTOS w Jc Caylen

Alright, let's film C'mon Touch me again i'll kiss you You're gonna hate this video then It's Christmas time and Santa's here Hey guys whats up its Ricky and I'm here with Jc Caylen And Kia And today in honor of Sam's upcoming wedding Happy birthday man Hop in Happy birthday! Your dog just bit me Really? Wishbone In honor of Sam's wedding Get out In honor of Sam's upcoming wedding He's getting married We're- me and Jc are gonna recreate awkward wedding photos Let's do it Le-le lets go do it Wait where did my couch go? Woah Woah That- i didn't even look That was good Oh my god live footage Okay hold on hold on I think thats it Okay This is good What? It's your weight That's f***ed up Ricky I only weigh a little bit I guess Ow! Okay we're doing that weird- F**k you Okay That was the weird f***ing thing ever I'm supposed to be taller than you Ricky Alright there you go Yum I love pears I love pears I do How we doin' it Just like blow on this Dude these are weird They're awkward that's the point I don't like it It's really awkward Ricky why do you have to make that noise when we're doing that i love this video so much i pulled my pants down i'm ready Ooh its firm RICKY You're so fun to mess with Aw Wishbone's a little horse Hi Wishbone Let me go thru the tunnel I'm a happy bride Woo! Ricky lets go for a ride Sit down and spread your legs Okay lets go This one is weird Ooh So i'm like right here Ow Ricky Cool Like this? Jump on it. Let's do it He's riding like this K go Hey we're happy. Hey Eiffel Tower Ricky Eiffel Tower DUDE Okay Watch- I'm trying to do it and you're like- Wait I'm like laughing hold on. I gotta get my laugh out of me Okay Ready? Hey! Is this gonna be the thumbnail? This is probably the f***ing thumbnail Yeah No you can't do it from the side You have literally do it like straight up Yes Come here Ew Dude no aye.

You're literally that far apart Wanna get married for real? Yeah Alright Okay just go in Watch the f**k out Ricky You're actually trying to kiss me Relax. We're friends. Who cares Who cares if you accidentally touch lips You f***ing kissed Trevor Trevor kissed me Yeah but close your eyes. Make it look like its real Yes I got it! Yes We just made contact That was f***ing gross Ricky I GOT IT.

I'm sorry the rest are easier Hey Jc's homophobic Look O2L's like a I kissed him, you kissed Trevor, Trevor kissed Ricky Like it's just a huge circle of people kissing Connor's the last person If he kisses someone then we've all kissed basically True Well guys Wow that was so much fun Thanks for watching We just did it right now Thumb's up Subscribe Check him out even though he never uploads on his channel And preorder my game- actually it's out You made a video game? My card game- Ricky Dillon's Twisted Truth or Dare I only play video games I'm on tour right now get tickets on FullscreenLive.Com You're not on tour right now you're sitting on my couch No that's a Mandela effect. I don't like that Mandela effect! I'll see you guys tomorrow Water bottle flip Did it oh kay guys see ya lat- er.

Photographing Wedding Photos In Rain

Hi, everyone. I'm Jamie Delaine Watson from JamieDelaineWatson.Com. Thank you so much for tuning in this week. Today we're going to be talking about rainy
wedding days, how to handle them, how to communicate to your clients, and how to actually shoot
those rainy wedding days to deliver the best imagines possible.

So let's get started. Tip number one is communicating with your
couples in advance. Our goal is to always answer client's questions
before they even have to ask them. So what I mean by this is Vancouver is a very
rainy climate.

We get a ton of rain in the winter, not so
much in the summer. But rain is something that brides are very
worried about and there's a very high chance there will be rain on your wedding day if
you get married in Vancouver. So if I see rain in the forecast, see rain
upcoming a week or two weeks in advance or if we're in a rainy season like October through
April, that's the rainy season here, maybe November. I'm going to reach out about two weeks before.

I'm going to say, "Hey, don't mean to stress
you out. Here's what the forecast is looking like. Here's how we're going to attack this together. Here's my rain plan.

I have umbrellas. I have this. I have this. This is what I've thought about." So right away that's going to put your clients
at ease and help them to trust you because you will have answered their question before
they even asked and give a firm plan with here's how we handle rain, and that'll really
improve your photos.

Tip number two is prepare your gear bag. So a few things need to be done. Number one, I use all Canon Professional L-Series
lenses, which means that they are weather sealed. Weather sealed is not waterproof.

You don't want to be taking these in a pool
or in the ocean, but what it means is that they can be rained on and there isn't going
to be any issues with the equipment breaking down. So that's an amazing to not need to be worried
about like covering my equipment in every single point on a rainy wedding day. It is all right. The next thing I'd recommend in your gear
bag is a rain sleeve.

If you don't know what I'm talking about,
it's a plastic covering. They're usually very cheap. Just a couple dollars. I think maybe up to $10 at your local camera
store.

It covers the entire camera body except for
the end of the lens. So it doesn't effect the picture. I've never actually had to use any of these,
but I did buy them last season when a huge rain storm was predicted. I had two weddings in October in the same
weekend.

In the end, the rain escaped us. We got lucky. But anyway, I have these now in my gear bag. So this way, if you did need to be in the
absolute pouring rain and you're worried about your gear or you didn't have weather sealed
gear, this would be what you'd want to buy.

So you can click the link in the description. That'll take you right to where you can buy
them. Next one might be obvious, but you're going
to need a rain jacket and a rain jacket with a hood. I find it really, really helpful to not have
to worry about holding an umbrella over myself and I just have a rain jacket.

I'm good to go. I can peel it off when I get to the reception. Doesn't matter how wet I get. Now, if you are worried about your equipment,
you don't have a rain jacket, you can also buy just a massive golf umbrella and have
your second shooter hold that over you and your camera while you're shooting because
that can be helpful as well.

The final thing you'll want in your gear bag
is a set of umbrellas. If you live in a rainy climate, this is going
to be so key. Not only is it a bonus to your clients to
know that, "Hey, I have all these umbrellas. You don't need to worry about a thing." I have, I think, eight black umbrellas, and
two clear umbrellas.

Eventually I'd like to get all clear. I just haven't got around to it. But it's nice to have that as a back up. I let the clients know they're always with
me.

They will always, always be in my trunk. Of course, if they want to buy some in their
wedding colors, go for it. But a lot of brides, that's something they
don't think about until maybe the month of the wedding, and they're like, "Oh my goodness,
thank you so much for saying that. Thank you for having these umbrellas." So if you want to look like a star, buy a
set of umbrellas and let the bride know you're bringing them.

Okay. So tip number one was communicate with your
clients. Tip number two was prepare your gear bag. Tip number three is evaluate the timeline
and locations.

What I mean by this is rain, especially pouring
rain, it's going to make you slower. You're going to be taking longer to get places
because you'll balancing umbrellas and the bride will be worried about her hair and the
bridesmaids will be getting the bottoms of their dresses wet. So you really need to build an extra time
into this timeline. Location wise, I mean two things.

So the first is, just a good example, a wedding
I did in December. Originally I wanted to shoot kind of in a
middle of a forest. Now, it was going to be raining. I'm not going to have the wedding party and
the bride and groom walk 10 minutes, the girls all in heels, into the middle of a forest
when it's raining.

It would be ideal in the summer, but it's
not going to work. So what I chose in a spot on the trail that
was a 30 second walk from the cars, just to eliminate all of that transit time when we're
dealing with the rain. So you kind of need to have a plan a and a
plan b. The other thing is when it comes to actual
locations.

In Vancouver, I usually have three plans,
as silly as that sounds. Plan a is a sunshine plan, the summer plan. Plan b is a sprinkling rain plan, which requires
maybe shorter walking time, umbrellas, rain jackets, that kind of thing. Now my plan c is the pouring rain plan, so
this is the plan that nobody wants to have, but if it is pouring rain, you're going to
want to look for local locations that are undercover.

So you're looking at parking garages. You're looking at city streets where there's
an overhang so the wedding party can be covered but you're out in the rain. Planning and giving the bride all this information
the month before is going to help her feel super secure and honestly, between the sprinkling
rain plan and the pouring rain plan, that's something we make a decision on the day of. I communicate all this with the bride as she
trust in me so it's not a problem to make that call kind of last minute on the day of.

So if you want to be prepare to shoot rainy
wedding days and anything the weather throws at you, download my free email template that
will help you communicate the rain plan with your brides and grooms and increase their
trust in you so the wedding day it won't be a stressful thing if it's raining. It'll just be, "Ope, we know what to do. We got a plan b. Here we go." So if you want to download that email template,
you can go to JamieDelaineWatson.Com/rainplan and you can grab that for free.

Thank you so much for watching today. If you like this video, please subscribe,
like it, comment. I would love to chat with you in the comments
below. Thank you so much again.

See you next week..

Digital Photography 1 on 1 Episode 32 Composition Adorama Photography TV

Announcer: Adorama TV presents Digital Photography
One on One, where we answer your questions. Here's your host, Mark Wallace. Mark Wallace: Hi, everybody. Welcome to this
week's episode of Digital Photography One on One.

I'm Mark Wallace. Well, this week we have a question from Amanda
in Culver City, California, and Amanda asks... [Music begins] Mark: "I'm brand new to photography. Can you
give me some tips for becoming a better photographer?" [Music ends] Mark: Well, Amanda, the worst-kept secret
about photography is: the way to get better is to practice, practice, practice.

A lot
of people say that; we've seen it in a lot of our interviews. In fact, I think every
single person we've interviewed on our other show, How'd They Do That? -- Those professional
photographers all say the same thing: you need to practice to become a better photographer. Now, that sounds all good and fun, but what
do you practice? What do you do? Well, I'm going to give you three things that you can
practice to become a better photographer, and these are all basic elements of composition.
So let's start with the first one. It's called Pattern.

Then we'll go to the second one,
and that is called Unusual Point of View, and then we'll wind up talking about something
called the Rule of Thirds. So let's start with the first, and that's
Pattern. Now, Pattern is exactly what it sounds like: it's repeating things. So, we have a
shot here.

This is actually a tree that I. Took a picture of. It's a palm tree here in
Phoenix. So, when you get really close you see this repeating pattern.

So if you look
closely around you, you'll see that you can find pattern almost anywhere. The next shot here is actually -- this is
a tabletop. When you zoom in on that, you get a nice pattern. And then, even, you can
be walking along some bricks on a road, and you can see that you've got some nice pattern.
The more you look, the more you'll see pattern everywhere.

There are a couple of rules to this. You can
break the rules later on, but originally what you want to do is you want to fill the frame
with just the pattern. For example, on this shot here of the tabletop, we don't want to
show the entire table, even though it's got a nice pattern to it. We really want to zoom
in and fill the frame with just the tabletop.

Same with the bricks here, and you'll get
some terrific shots. All right, let's talk about the next thing.
It's called Unusual Point of View. Now, this doesn't mean it's crazy point of view; it
just means looking at something from a point of view that's not normal. For example, here is a plant.

So normally
you see the whole plant, but I took my camera, I got a lot closer to just one of the leaves,
and then shot that plant with the sun coming from behind, and I got this really interesting
shot. Now notice, this also has pattern to it, so sometimes you can mix different elements
of composition -- almost always, actually  -- to get really interesting shots. So here's another shot that you're probably
very familiar with. It's the old trusty Eiffel Tower.

This is the way we normally see it.
This is normal point of view, and here's another look at that from an unusual point of view.
So instead of looking at the entire thing, we're just looking from the bottom. I've twisted
my camera a little bit to give it a little bit more interest. And so, this is the Eiffel
Tower from an unusual point of view. Or it could just be an everyday thing like
a cup of coffee.

Well, we normally see the entire table and our coffee and all that kind
of stuff. Well, one day I was out and I had a delicious cup of coffee, and so I got very
close. So that's also an unusual point of view because normally we don't see just a
cup of coffee. So getting close is a great way to get Unusual Point of View.

Well, the third thing we're going to talk
about is something called the Rule of Thirds. This is something that you'll see over and
over and over again in photographs all over the place. In fact, once you know about it,
it's hard not to see it. So let's talk about what it is.

So if we take a look at a picture like our
cup of coffee here, and we break that up into thirds -- I'll put a little grid over that
-- you can see that we have our area of interest  -- in other words, the coffee -- is on the
top left intersection of where those thirds unite. And so that's what you want to do
-- is you want to loosely break up your image into thirds, and then place your subject on
one of those intersections. So let's take another look at a shot. This
is a shot of a lady I took somewhere in Italy.

I can't remember where. But if we look closely
-- again, I'll put the grid lines up here  -- you can see that the picture is divided
into thirds. And it doesn't have to be exactly on the thirds, but it can be roughly. So,
on the right-hand side we have this nice window, and it's right at the intersection of the
thirds.

And on the left-hand side, on the other side, we have the lady walking her dog.
She's not exactly at the intersection, but that's OK. You don't have to put it exactly;
it just has to be near. And so that breaks up the image very, very nicely. Also, if you look closely you can see that
this image also has...

Pattern! So, we've got a lot of pattern in this -- in the window,
on the bricks, on the floor, so there's a lot of that stuff mixed up. So now that you know about those three things,
we're going to actually go out to the park and we're going to shoot some stuff. We're
going to just sort of see what we see. And the nice thing is: you can take these three
things and go just about anywhere and practice looking for them, and once you start seeing
them, your pictures will improve dramatically.

So we're going to go to the park, and take
some shots. [Transition sound effect] Mark: Well, here I am at a park. This is just
a city park here in Tempe, Arizona, and the nice thing about this is you can do this just
about anywhere with just about any camera. So I'm using a Panasonic Lumix point-and-shoot
camera.

You can do this with an iPhone, you can do it with an SLR, you can do it with
a $20,000 camera -- it doesn't matter. The point is to practice your composition, so
remember, we're looking for Unusual Point of View, patterns, and we want to apply the
Rule of Thirds. So the first thing I want to do is, we've
got these big fronds here, and so I want to take a shot. We've got this really strong
sun, and it looks great when it's shining through this.

So I'm going to first take a
picture of this guy right here. So I'll get really close here, focus my shot, and... [Shutter sound effect] Mark: ...Whammo, I've got that. I really like
that.

Now, the next thing I'm going to do is, right down here, we've got some nice pattern,
so I'm going to make sure I get close enough here to fill the frame. [Shutter sound effect] Mark: All right, I've got it. Now we're going
to go look at some other things around the park. It's going to be really fun, so let's
get going.

[Scene change] Mark: Now, the point is, with photography,
you don't want to miss the little things. So, right down here in the parking lot is
a piece of trash, which most people would overlook, but this has some great texture.
It's got some great pattern, so I'm going to fill the frame, look at this from an unusual
point of view. Once my camera focuses... [Shutter sound effect] Mark: ...I'll take the shot, and take a look
at this piece of trash, which I've turned into a piece of art! [Scene change] Mark: All right, well, I've been looking around
and I found this little grill right here, so I'm actually going to step out onto it.
Now, the nice thing about this -- it's got really strong pattern, and pattern, a lot
of times -- especially stuff like this that doesn't have a lot of color -- will actually
look a lot better in black and white.

So, on my Lumix here, it has a black and white
mode, so I'm going to set my camera to black and white mode, and then take some shots of
this. It also has a little grid on the back of my camera, so I can use that to line this
up on my Rule of Thirds. There we go. I really like that.

And just for an alternative I'll
put one at a little crooked angle. And we're going to continue our quest for
more Pattern, Unusual Point of View, and apply the Rule of Thirds. So, let's go! [Footsteps] Mark: Woohoo. [Scene change] Mark: Well, we have just an ordinary tree
here, and we're going to try to capture that by using some Unusual Point of View.

I like
the texture of this tree, so I can get really close with my camera here, and once that focuses
I've got some really interesting stuff. [Shutter sound effect] Mark: And then I also have this sort of weird
shape, so what I'm going to do is I'm going to twist and turn my camera and try to see
the... [Shutter sound effect] Mark: ...Best way to capture that. And because
we have this unusual point of view, we have a lot of options, and we have some shots that
really look great.

[Scene change] Mark: Well, I was looking around, and I saw
this outhouse at the park here, and what do you know? Lots of pattern on this wall. So
once again, I've got my Lumix here. I'm going to use my grid on the back of the camera to
help line things up. I've got it set to black and white mode.

[Shutter sound effect] Mark: Oh, I love that. All right, I'm going
to keep going. [Scene change] Mark: I want to capture this lake here, and
I do that using the Rule of Thirds. So, I've turned on that little grid on my camera that
shows me where the Rule of Thirds lies --  it's just this little grid here -- and I'm
going to take my camera and get it as low to the water as I can, and then I'm going
to place the water right at the lower third there.

[Shutter sound effect] Mark: Take a shot. Then I'm going to do it
again with the water line at the upper third. [Shutter sound effect] Mark: And we got that shot. Now, if it's not
perfect, don't worry.

You can always fix it in post-production using Photoshop Elements
or Picasa or something like that to make sure everything's level and right at the thirds.
And it doesn't have to be exactly on the thirds; you just sort of want to break your picture
up into three segments. So that's the shot I just got of the lake. [Scene change] Mark: Well, here's another everyday, ordinary
object. It's just a picnic table, but the top of this has some great pattern.

So I'll
just take my camera, focus it, line it up on the top here... [Shutter sound effect] Mark: ...Take the shot, and once again, we
have a winner! [Scene change] Mark: Well, Amanda, one of the points of practice
is to figure out what works and what doesn't work. So behind me I have this tree that I
think will work great for applying the Rule of Thirds. So I'm going to try to take this
shot, so I'm lining it up with my camera here.

[Shutter sound effect] Mark: I'll take the shot. Well, when I look
at it, it actually -- it's not a very good picture, because the tree is very dark, the
background is very bright. It just doesn't look very good, and that's OK. That's what
practice is all about -- figuring out what works and what doesn't work.

Now, I've learned something from this, and
that is: if I do want to take this shot, I. Need to come to the park at a different time
of the day when the sun is on the other side of the tree, so everything's illuminated correctly. Well, that shot didn't work out for us, but
I had a lot of shots that did work out, so here's some shots that I took at the park
today. [Musical interlude] Mark: Well, thanks for the question, Amanda.
We had lots of fun out there at the park.

Remember, you need to practice, practice,
practice to become a better photographer, and for more tips and things to try out, just
visit the Adorama Learning Center. There are all kinds of articles and videos of different
things that you can try with your new digital camera. Well, thanks for joining us this week. Remember,
you can subscribe to our YouTube channel so you don't miss a single episode, so please
do that, and I'll see you again next week.

[Outro music begins] Announcer: This episode is brought to you
by Adorama TV. Visit the Adorama Learning Center, where you'll find photography tips
and techniques, links to the gear used in this episode, and related videos. For all
the latest photography, video and computer gear, visit adorama.Com. And the next time
you're in New York City, visit our store, located on 18th Street between 5th and 6th
Avenue..

I'd Hire These Photographers To Shoot My Wedding, What's a Matric Farewell Rapid Fire Critique

Jared Polin, froknowsphoto.Com. Welcome to another Squarespace Rapid Fire
Critique where I take one of your websites and give it a critique. A critique should know, if you're looking
to build your very own website, I highly suggest you check out squarespace. It's what I personally use for jaredpolin.Com.

You can get a 14-day free trial over at squarespace.Com/fro
to get that with no credit card needed until checkout. And if you decide it's for you, go ahead and
use the code fro at checkout to get 10% off your first order. So, this is Rich Photography. Let's take a look.

Obviously, it looks like they do weddings,
memories, moments, your love story. Ooh, look, a button that says we're online. Are you online? Hi. Let's see if they reply, because that's important
to me if you're going to have this, you better reply.

I'm going to leave that right there. So let's scroll down, what do we have here? We've got a bunch of saying, we are wedding
photographer based in Johannesburg. Okay. So that's interesting.

The site is laid out very well. It's not a squarespace site, which is interesting. When I say it's interesting, I mean it's laid
out very well. I'm saying it's done very well, looks like
a very professional photography website.

Let's click on weddings and see what we have
here. I'd normally go to the about page, but we
know they're professionals looking to do weddings. These photos are fantastic. I like what I'm seeing as I scroll down this
thing and by the way, I think this is going to be a pretty long website critique, because
this is a very highly detailed website.

So, I click on this image, makes it larger,
looks like I can go like this to arrow through. We can also click on the enlargement button
and things along those lines and let's go back. Let's find another image. Okay.

Actually, I love this shot right here. That's a great, hey, where did it go? This one, click on it. This is a great shot. Now looking at the top, I see something that
is a heart.

So if I click it, it says number -- it says
two. Now, I'm not sure that I would have something
like this on my website. I'm not sure that I would have a heart there
because what this is showing me is that nobody's like this before. I mean one person has liked this photo before.

I don't want to see -- I think it looks bad
if you're asking people to like photos on your website, especially when there's not
a lot of likes. It could look poorly on you that maybe won't
-- maybe other people don't like these images, why don't they like these images? You've picked these images because you think
they're the best. So just live with that, don't give people
the option here to go ahead and click the heart. This isn't Instagram.

If you want them to heart something, go on
to Instagram and let them heart it there. But I wouldn't do that. Did they reply to me yet? No. Please reply to me.

These photos are great. I really like what I'm seeing. It's a nice selection that tells a nice story,
right. I mean, beautiful shots, really nicely done.

Keep scrolling, keep scrolling, there's a
lot of images here. I think anybody right off the rip would find
that these photos are great, because why did you reload to the top. I did not move anything. I just find that interesting.

Why did it reload? I don't know. So I'm going to close this. Maybe, they'll reply to me. So what I like about what I see on the site
so far on the images, yes, there's a lot of them, but I see great images.

They're not just really bad ones. They're the best of the best. We see happy times, we see people, we see
the great moments captured, just really nice images, nice clean, just a nice cross-section
that I like to see. So we keep scrolling down.

Jason and -- so what does this say, contact
us for pricing. Here's Jason and Adriette's wedding, Avianto
Johannesburg. So looks to be a blog. This one's from May of 2015.

Very nice images. Look at that dress. Is it not on yet? Or is that what it looks like? Can I zoom in? Oh, looks to be a one thingy dress. It's actually a very sexy dress.

It's a very nice look. Look, how much back it shows. I like this. I like capturing the spray in midair.

That looks awesome. Really solid images. I want to just tell them I like your work. Exclamation point.

Now, can you please damn respond? I want to tell you some stuff. So let's keep scrolling, beautiful images,
Holy Jesus, there's a ton of images here. These are great, really solid. I would hire these people.

I like what they're doing. These images are -- I'm not sure about that
image though. I'm not sure about that image. But this is a very good looking bride.

Oh. Look at her sister -- is that her sister? Anyway fantastic. All right, let's get back to the top here,
really nice across. See what I like that they did is they're showing
you this is the amount of keepers I just saw in that page would make me happy in a wedding.

Maybe 100 pictures there. If 100 pictures was all I was delivered and
that's what they look like, I would personally be happy. I am not a big fan when people deliver 2000
images and many of them aren't great. And they are just trying to shoot for numbers.

These images were spectacular. So, let's keep going here. Let's click on the about and finally see who
they are. Please like us on Facebook.

I don't want to like you on Facebook. Why is there a pop up? I don't want a pop up? As you know, we are photographers. All right. We photograph weddings in all aspects of photography.

We are based in Johannesburg area and photographing
weddings throughout South Africa and internationally. So pretty pictures. Yes, that's what everyone wants and it's what
we always strive to achieve, however, what most people don't always consider is who is
your photographer and will they be someone you can relax with, be yourself around. I mean that's a good point to make.

So this is Richard and Michelle. I like that they have pictures of both of
them. We are fun loving and recently married couple. We are photos -- we photograph every wedding
engagement session and event and model shoots together.

That's nice. How did photography start for us? So, this is a nice background story. I'm not going to read it. You guys can read it yourself.

What makes us different? By now, I'm sure you have been through our
work and if you're reading this, a styled photography is probably something you like. Maybe is photography more than that? Definitely. But what more do we offer our brides? Let's get straight to the point. 16 Paragraphs in.

Michelle studied professional make up, see,
I'm not sure that I would get right in to makeup. I care about your photography. I get that you offer extra here. Right after here is probably where I would
make a pitch for the sale for your weddings.

Would you like us to shoot your wedding, contact
us now? And if you're going to have this damn thing
that says we're online, then be online or have it say offline, because I've said hi
and I like your work, I am looking to find out more about your packages. Yeah. I'm trying to get them. Maybe I don't know what time it is in Johannesburg.

But right here is where I would ask for the
sale. What makes us different? All right, now you're getting into Michelle
studied professional makeup and hair and now specializes in photographic bridal make up. Okay. That's good as something you offer.

I wouldn't click on this to have me go to
her website, because now you're taking people away from your photography website and it
looks like you're doing the same thing down here. We search for a brand -- eligible and premium
brand. We could associate with Rich Photography a
brand that would complement. So I wouldn't be selling anything other than
your photography on this about page.

What I would do though is when somebody hires
you or looks to hire you, you can say, oh, by the way, do you have somebody to do your
make up? Where are you going to go to get your gown,
because Michelle not only is a photographer, but she's also a professional makeup artist? Oh, and by the way, we've connected with a
great bridal gown place for you to get a discount on a gown. That's something you do as added value after
you make the sale. Your main focus is get the sale, get the wedding
booked and then offer the other stuff. But here, you're sending people to a bridal
website, to get a gown.

You're sending them to the makeup website,
when the focus should be the photography aspect or when it gets to packages and there's something
there, then you can mention it, but I wouldn't mention it right here in the about page. Did you reply to me yet? You are obviously not online. All right. Let's keep going here.

Weddings, we've already clicked on. Did I click on weddings? Yes. We've already clicked on weddings. Other portfolios, couples engagements, family
and lifestyle, glamour, matric farewell.

Does anybody know what a matric farewell is? Could somebody please leave it in the comments
because I've never ever in my life heard of something called a matric farewell portfolio
photography, glam photo? Wow, that's a mouthful. The photos are gorgeous, but I don't know
what matric is. Matric farewell photography in Johannesburg
and Pretoria. You only live once.

Thanks for reminding me. Make sure you capture your matric farewell. Over the years, matric farewells have become
a big part of your school career. It's a day you look forward to from when you
hit high school.

Is it when you graduate? Is it when you lose your virginity? Is it when you graduate college? I don't know what that is, but people there
probably know what it is. NPs, they're like Nikon professional shoot. The shoot with Nikon. What else do we have here? Social media.

Let's click on the news feed. I don't like this news feed personally. I don't like this. I don't like this at all.

Not because it has the same pictures, but
send them to Instagram. If you want them to go to Instagram, send
them to Instagram, right. Send them, okay. That's my Skype, nobody worry.

So wait, that's interesting. Instagram loaded right here, but I don't see
a way that I could like your page. I would send that out to somewhere else to
Instagram. I don't know that I would have a social button
here.

I don't actually like the social button. Google plus get rid of it. Google's getting rid of it, you get rid of
it. Social button -- give me social buttons up
here somewhere.

I don't need all of this stuff. We've already done the about. Let's see contact. All right.

Scrolling down. Oh, hi. I'm Richard. What are you doing? Actually, let's change that voice.

Hey, I'm Michelle, what's going on. I'm Richard. I look right at the camera. Michelle is looking over there like, what
are you talking about, buddy Richard.

Aren't you supposed -- she's like lovingly
-- look, these are great photos. You guys have awesome photos. It's a great studio photo. Let's get together and know each other.

If you prefer to meet, let's chat about your
wedding. I would like to if you were online. Our Nescafe pod machine loves our clients,
all right. So you're enticing people with coffee.

I would call you if it wasn't Johannesburg,
great photos of you two right here. I like this. Wedding engagement, event date, subject. Okay.

I guess I could type that in. Okay. So we got this. I like that.

Let's click on FAQ and see what we have here. Holy Jesus, your questions answered, our basic
terms and conditions. This is where you scare people often. Often, we are asked the same questions as
most our clients are first time brides.

Holy shit. I'm not sure I would put that, most of our
clients are first time brides. I think I would leave that to -- and also
you offer other things and weddings. Often we are asked the same question.

So to clear this up, we've created an FAQ
section to help you better understand how we work. That's what I would say. Grooms or even couples, generally the models
we photograph have gone through numerous shoots, but to help clarify all of your questions,
it's too wordy. Get rid of it.

Hey, this is where we have our question. There's a lot of questions that get asked
that many people seem to ask the same things. So in order to answer -- we've created an
FAQ section, we hope it helps you out. I hope it clears out some.

How long will I wait for my photos? Really, that's the first thing people are
asking. We try to make sure -- this is where it's
going to take longer, because I think this is important that you guys pay attention. Let me make sure I have enough time here. We try to make sure you wait as least possible
time, wait the least possible time, however, our weddings are our major focus, we always
photograph other shoots and events, such as couples, models, matric farewells, I still
don't know what it is, et cetera.

As a bride and groom, you will generally wait
4 to 12 weeks. I would not say wait. I would say, it will take up to 4 to 12 weeks
to deliver your images, saying waiting pisses me off. If by any chance we are able to get it sooner,
we will, all right.

So how long does it take to get my photos? It generally takes 4 to 12 weeks. Why? Does that seem like a long time? Actually, it's not a long time as it does
take a lot of time because we spend I would say something like this, we make sure that
we edit each of your photos to perfection, some be like that, because we want to deliver
you the best final product possible. So it does take time in order to edit your
images. It may take 4 to 12 weeks, but please understand,
we are shooting a lot of weddings.

It's nice to say that you have a lot of shoots
because that makes people think that you're busy and you are and that they should hire
you. So I would go along the lines of, if we can
deliver it quicker, we will, but please understand that the weddings that we shoot before yours,
we will edit those first in order so that everybody gets their images as they're done. I would do that, coffee table books, skip
that, if you're surely, it's every photographer's request that you please do not ask how long. Come on, some of this is common sense.

This would piss me off if I read that. Have you replied yet, because that pissed
me off even more? No, they haven't. You are not online. How long is an engagement/couple/matric farewell
shoot? Okay.

You list a time. That's fine. Will you put my photos on Facebook or website? As a photographer, artist, work is our own. Okay.

So that right there is basically a lame way
of saying, we own the rights to your images, which you technically do. What I would say is, will you put my photos
on Facebook or your website. Yes, in our contract, it states that we have
the rights to use your images for advertising or publicizing our work. If there's any reason you would not like that,
please let us know and we will change that in the contract or something like that.

I think it makes it easier. Do I need to pay a deposit? Yes, every shoe require a 50% deposit. That's good. Your booking is only confirmed once a deposit
has been received.

If you have not yet paid your deposit, the
date you are inquiring about is available to any other person, oh, you want to -- so
it's good to offer a deposit. The balance is due 48 hours prior to your
shoot/booking. Sometimes, that's more difficult because,
are people going to show up and deliver it to your studio. You said you're busy, how am I going to pay
you in 48 hours beforehand.

I don't mind this. I used to do the same thing myself. You had to pay me before the wedding, at least
the second half. By not paying the balance before 48 hours
may lead to your shoot being cancelled.

This your deposit. Okay, it should say, thus, your deposit will
be lost and you would need to reschedule. Shit, I don't think I would want to work with
you again if you're going to take my deposit and keep it and make me not get paid -- lose
my money. Please understand that numerous shoots are
sometimes not paid.

That shoot may be completed. Six months later, these clients contact us
asking for their images even though no payment has been made. The client will still inform family and friends,
of course, this is poorly worded. I would def -- I need to move on, but that's
poorly worded.

Can I pay you when I receive my photos? No, we know that from above. My wedding is on a public holiday. Yes, you charge more. Can I give you a list of photos to take? This is fine.

Make sure, people know that yes, we -- give
me a list of people that are important, types of images you want to get, but that doesn't
mean I will be able to get to that and I won't be able to match other photographers' creativity
because that's not what we do. What does your full day coverage entail? This is nice to have. Can we get all of your photos? That's nice to explain. And how long in advance should I book? Well, that's obvious.

You should book as quickly as possible. So most of these things could be worded a
little better. It's a little verbose in my opinion and I
also think that it's starting to make people -- maybe, they're going to question that it
may be difficult to work with you. I'm not sure that, I would clean up the FAQ
page and make it as little confusing as possible and also try not to scare people.

This is something that you could scare somebody
away, your photos and work are great. I wouldn't want to scare people away with
the FAQ page. I like that you list the FAQ, just pare it
down, make it simpler and quicker to the point. Some of it was -- could be misconstrued and
confuse people.

So, I absolutely like your work. I like the layout of your site. It is immense. There's a blog.

You have it up to date. That's important. There are so many things going on here. I don't think it's confusing, but somebody
could get lost on your site.

Oh, I did notice something down here. It says and you do have the social buttons,
which is great by the way. Visits as of January 2014, no. Get rid of the date and 28061.

I don't want to see that on your site. I don't care how many people have come to
your site. I don't care how many people have liked the
photos on your website. All you should be caring about is how many
people do you convert into paying clients.

Wow, I just took a weird breath. How many people come to your site is of no
matter to the people coming to your site. I don't think, don't show that and don't put
since January 2014. That just makes it seem like, well, you're
not popular and when you don't get enough likes on your photos that makes you seem like
people aren't liking your photos.

That could be a bad thing. I would not do that. That's where I'm going to leave, that's a
Squarespace Rapid Fire Critique guys. It was a little longer than normal.

There was a lot going on here. I personally like your work. I would hire you and recommend you to be other
people's photographers, though I didn't see how much your prices are and it says, you're
online and you're actually not. And I'm trying to say hi to you and get more
information.

So if you're going to have that pop up on
your site, make sure it's off when you're not on and make sure it's on when you're on. And so it looks like I went over the 20 minute
limit that the DA 10 offers, but that is that Squarespace Rapid Fire Critique. If you'd like to check our Squarespace, which
is what I personally use for jaredpolin.Com and my portfolio, I highly suggest you check
it out, go to squarespace.Com/fro to get a 14-day free trial, no credit card is needed. And if you decide that it's for you, go ahead
and use the code fro at checkout to get 10% off your entire order.

That's it. Jared Polin, froknowsphoto.Com. See you..

Digital Photography 1 on 1 Episode 30 Unusual Point of View Adorama Photography TV

[Music] Announcer: Adorama TV presents Digital Photography
one on 1, where we answer your questions. Here is your host, Mark Wallace. Mark Wallace: Hey, everybody, welcome to this
week's episode of Digital Photography one on 1. I'm Mark Wallace.

Well, this week we have a great question from
Jenny Bicket Sanser. Jenny asked "I am looking for a heavy duty, stable mini-tripod that
will support my camera and that can be securely fastened to a variety of surfaces. Does such
a thing exist?" Well, Jenny, that's a great question, and
absolutely, I've got in my hand such a device. It's called a Manfrotto Magic Arm and it has
something called a Super Clamp and the Super Clamp can be attached to almost anything.
I'll be showing you how to use this and a couple of Pocket Wizards in this special cable
that I'll show you in a second, to get all kinds of interesting shots using something
I like to call "unusual point of view".

Now, unusual point of view really means that
you're taking your camera and you're mounting it somewhere where it has a point of view
that's not normal, it's unusual. And it's finding something up high or down low or to
the side or outside of a car, something like that. It's really, really neat. And so, with the Magic Arm or with a couple
of Pocket Wizards like these, and these will work with any camera, and a special cable,
now this cable is specific to a camera, we'll be talking about that a little bit more in
a little bit.

You can actually trigger your camera from a distance. So, we've got a lot
to cover so let's get started. Now, let me talk to you about some of the
equipment that we're going to be using today. This one I'm going to start out with, this
is called the Super Clamp without a sturd.

Now, Super Clamps are used for all kinds of
things. The nice things is that a Super Clamp can clamp on just about anything that's round
or square and it's really, really sturdy. There's this screw that clamps this down and
the thing with this guy is that it's so strong that you can actually crush things like ladders
and poles. So, you have to be sort of careful that you don't over-tighten this but it's
very, very secure.

Now this guy, actually behind us you can see
that we have some seamless paper that's held up on some auto poles. Well, that seamless
paper is also held up by these Super Clamps with some attachments on them. They also have
attachments like this, this is a, it's called a U-Hook and so it goes right in here and
it's very secure and so you can stick this on a pole and hold like background stands
and all kinds of different things on this U-Hook and this screw right here will hold
that secure. So, Super Clamps are really good for mounting
all kinds of different things.

So, what I've done is, on this ladder, I've already mounted
a Super Clamp to the ladder at the top rung of the ladder and it's really nice and secure.
Now, to attach to that, I'm going to use something else. This is called the Magic Arm, it's made by
Manfrotto. In fact, the Super Clamp and the Magic Arm are both made by Manfrotto. Now,
this Magic Arm's got this little lever right here and when I undo it, now this thing is
totally loose and I can move the ins, I can move these out.

And then when I have it in
position, well, I crank that, it locks into place and it's really, really secure. So,
that's the Magic Arm. Now, the nice thing is, most of these Magic
Arms come with something called a camera platform, it looks like this and it's got a place where
the Magic Arm can attach to that. So, what I'm going to do is, I'm going to take my camera
and I'm using this camera, this is a Canon 1ds mark II with a 24 to 70 mm lens, it's
an L-lens.

So, this is a pretty darn heavy camera, it's
about six pounds. So, I'm using this in purpose to show you how secure this is. So, we're
going to use a really heavy camera, and it's a little bit heavier than most cameras. And
then I'm just mounting this to the bottom of my camera.

Now, this has this middle attachment right
here that puts the screw in and then I can really tighten it up with this grey disc right
here. And this grey disc actually has a notch in it, so if I want to put a screwdriver,
something in there, to really tighten it down, I can. I'm not going to do it because hand-tightening
is going to get that to be tight enough for me. Now, the next thing I'm going to do is, I'm
going to take this and I am going to attach it to my Magic Arm.

So, just put this in here
like that, screw this down and so that is nice and secure. So, now I have this attached
to my Magic Arm and I'm going to take the other end of my magic Arm and I'm going to
attach it to my Super Clamp. So, it goes right in there like that. I will adjust this so
it's really nice and snug.

So, once I have that there, you can see I
can put this at whatever location I want. And when I get it, click, it's mounted. Now,
the nice thing is, because this Super Clamp can mount to just about anything, you can
mount this on ladders, you can mount it on poles. You can put it really high, you can
put it really low.

So, you'll get some really interesting perspective
using these Magic Arms and Super Clamps. And what I've done is, I've set up some really
cheesy flower arrangement that I grabbed here in the studio and I'm going to be taking a
picture of that flower arrangement. Now, I could be 20 feet in the air, I'm going
to climb up on the ladder here and I want to have a vertical shot instead of a horizontal
shot, so I'll loosen this. And I'll take this around here and I'll get it all positioned
exactly where I want it to go.

So, I've got that mounted up and I like that. So, now once
I have it, I've locked that down, now that's nice and secure. So, then I can just take
a shot and I've got my flowers and they look great! Now, this isn't as secure as a tripod but
normally when you have it mounted you're not touching it too much, so you can put that
on a ladder and it's going to hold really nice and secure, a lot more secure than being
handheld. Now, let's pretend this is 20 feet in the
air.

Well, I don't really want to climb up 20 feet and take a picture, I want to be able
to trigger this remotely and that's where these Pocket Wizards come in. So, what I have,
this is a Pocket Wizard Plus Two and what I'm going to do with this guy, this is a transceiver,
meaning that it can send and receive. So, I'm going to turn it on, first of all,
and then I'm going to mount that to my camera. I'm just putting it in my cameras' hot shoe.
And then the second thing I'm going to do is, I'm going to use this cable right here.
Now, this cable is made by Pocket Wizard and it's called a Pre-trigger cable.

Now, it's
called a pre-trigger cable because of the switch right here. Now, the switch allows me to turn this on
or off and when I turn it on, what it's doing, it's immolating me pushing my shutter release
half way, which is important if you want to be focusing remotely. So, what I've done on
my camera is, I've set my camera to continuous focus or AI-Servo mode, so it's always focusing
as along as I'm pushing my shutter release half way down. And with the switch immolating
that and as soon as I attach this, it automatically makes my camera always focus.

So, I'm just going to attach this to my camera
and this goes where the shutter release cable would normally go. So, I'm putting that there
and attaching the other end to my Pocket Wizard. Now, when I hit the test button on my Pocket
Wizard, you'll see that my camera is actually triggering. So, that means I can take a different Pocket
Wizard, so I've got this guy here, this is another Plus Two Pocket Wizard.

When I trigger
that my camera is triggering and because it's focusing all the time, I'm always going to
get something that's nice and crisp and in focus. Now, this is really cool because now I can
mount this, let's say, to the back of a basketball hoop or down low when there's a high jumper
or to the side or outside the car or something. You know, I can physically touch the camera
to fire it, I can just shoot with my Pocket Wizard and it will fire. Now, here's another trick that we really like.
So, I'm going to take another camera, this is a Canon 7d and I'm going to attach this
Pocket Wizard to this camera and turn the camera on.

And now, when I take a picture
with this camera, that camera fires as well. So, I'm taking the exact same shot from two
totally different locations, so I can get multiple points of view with two different
cameras and control everything by myself. So, now I'm going to take a shot of my camera
and my flowers and I'll do that ... Boom! And it will show you that I have a picture
of the flowers from this camera and a picture of the flowers from that camera at the exact
same time.

Now, the neat thing is, since these are Pocket Wizards, you could put one camera
as a receiver or two or three or four or 20 or 100 or 500. We can have a bunch of different cameras at
a bunch of different locations and you can trigger all of them from one location. It's
very, very nice and you can all kinds of interesting and you can get really interesting points
of view. So, there you have it! It's a couple of Pocket
Wizard Plus Two's, you can use a pre-trigger cable and then multiple cameras.

Now, the
pre-trigger cable, just so you know, is specific to your camera. And so, if you have an Icon
you need one that's specific to an Icon. If you have a D3X or a D90, you need to make
sure you get the right one. You can go to the Adorama website to look
and see which cable is the correct pre-trigger cable for your camera because they're brand
and camera specific.

And in the Pocket Wizards, you can use a Pocket Wizard Plus Two, you
can use the Pocket Wizard many-inflicts system, you can use the multi-max system as well,
so you don't have to just use the Plus Two's, there's a lot of options for you. So, if you own something that is not a Plus
Two, you're probably still are going to be just fine. Well, that was a lot of fun! Jenny,
thank you so much for that question. Well, if you have a question about photography or
photography related gear, remember you can send those to me at askmark@adorama.Com and
we just might use it in an upcoming episode.

Well, thanks for joining me this week, I'll
catch you at next week! Announcer: This episode is brought to you
by Adorama TV. Visit the Adorama Learning Center, where you'll find photography tips
and techniques, links to the gear used in this episode and related videos. For all the latest photography, video and
computer gear visit adorama.Com. And the next time you're in New York City, visit our store
located on 18th Street between 5th and 6th Avenue..

How to Shoot Wedding Day DetailsTips & Tricks!

Hey guys! Welcome back to my channel. This week we are going to be talking about
detail photographs. How I take them on a wedding day, what my
process looks like, and and some tips for you guys to take away to hopefully improve
your detail photos. But before we start, I first want to mention,
if you are not on my mailing list and getting free photo tips to your inbox every single
week, you should go get on it! Because if you're not, you are seriously missing
out! Ok let's dive in.

So the detail photographs are something that
I take first thing in the wedding day. So I arrive to the bridal suite, I say hi
to the bride, and I gather up the details. So while she is having hair and makeup finishing
touches done, I'm going to go shoot those details. Of her shoes, stationery, her dress, the rings,
stuff like that.

The first thing I want to tell you guys, the
first tip that I have for you, is that the wedding day details:the photographs and getting
the best possible photographs, starts long before the wedding day. So, a couple of weeks before the wedding day
you are going to want educate your client. You are going to want to talk to them about
what you need so that you don't have to go find all of these details once you get to
the bridal suite. So you are going to tell them, "hey! I want to shoot all these meaningful details
for you, and I want to make sure we can get this done in our allotted time, so have your
maid of honor, or mom, or you, put all of these important and significant items in a
box so that I dont miss anything.

Because I want to make sure I photograph every
single thing." So that's what I say. And it works like a charm! I arrive to the bridal suite, and everything
is ready for me. I can just go ahead and move on to my first
priority which is find good light. Even if there is an amazing background, maybe
there is a beautiful piece of furniture or a marble top table, which my heart would just
burst! But if it's not in a good lighted area and I can't move it to that beautiful lighted
area, it's not going to work.

Light is key. So I'm going to go find amazing light . I'm
going to find open shade or some window light where I can put my stationery on the ground,
have the window pour some light in and have a reflector to bounce it back. So find good light! After you find your good light, you're going
to want to find a good background.

I want to find something that doesn't distract
from any of the details and, if anything, can add. And can make it look consistent with the rest
of the day. So one little trick that I have - is I bring
a styling board to my wedding days. I do this because I don't know if I'm going
to be able to find a great background in a location that also has great light.

So this pretty much guarantees that if I'm
able to find good light, I can shoot there. So I have some neutral backgrounds and I have
a bunch of other colors of the styling board and some loose fabrics as well so I have some
good options there. So you have your good light, you have your
good background, and what I do is I work large to small. So I start with all the stationery and I create
a big stationery suite set up.

I put ribbons, and stamps, and any styling
aids that I'm going to add then. I pair back from there. So after I'm done shooting a vertical and
horizontal of the stationery, I move back and I start checking things off my list and
I start getting down to smaller items. So while I'm styling, I am kind of playing
around with positioning and I'm trying to make sure lines are straight, but my biggest
tip is that less is more.

When you're styling, if it feels forced or
cluttered, just remove some items because it's easier to do a simple ribbon and a pair
of shoes, than to have a million things going on and the viewer doesn't know where to look
in the picture. So less is more! Another item that I bring is ribbon. I have a bunch of different ribbon colors,
mostly in neutrals because sometimes they don't provide them or the bride doesn't have
any but you'd like to have a little ribbon so that can be really great. For my photos- For my detail photos- I have
a couple of little tools and styling aids that I use that I want to share with you guys.

Number 1- is this little tiny baby reflector. This is great. It has a gold side and a silver side. It's perfect for shooting rings and earrings
and small items where I want to get a little more sparkle or if there's not a whole lot
of light going on, I can bounce some back.

This is amazing for that! The second thing I have is kind of my holy
grail for ring shots, and that is this elmer's tac n' stick in the white. I can make rings stand up, and mesh into each
other and just get the perfect ring shots, even if the rings are not the right size ratio
to really make that happen. When the bride's ring is really tiny and the
room's ring is really big, and I can't get them to stand up, this is how I cheat at that!
And you can't even tell in the final photo. So this is definitely a must have if you're
into ring photos and you like to pose them.

I dont know if you can really pose a diamond...Set
them up? I don't know what the right word is. The other thing that I bring to a wedding
day is vintage stamps, so these are some vintage stamps that I have collected over the years
through I think mostly etsy shops. Possibly I've gotten some as gifts too. People know that I collect vintage stamps.

But these are just a really nice accent if
there aren't any stamps on the envelopes and it just looks better sometimes if there are
some stamps. Or just around. I work a lot in annapolis, so I have a lot
of nautical looking stamps. I think it just kind of adds a little extra
something to your images when you have those.

Another little trick I have for dress the
dress shot is this command hook. I take a command hook to every wedding and
that way I'm able to choose the dress shot location based on light and I can put this
on a hotel wall or even wall paper. I have a dress shot, I'm going to see if I
can throw it in here, where we were in the bride's kitchen and there was his little patch
of wall that was just really beautiful and it had some wall paper and I wanted to take
a dress shot there and we were able to do that with the command hooks. Alright guys! That is all I have for you - those
are my tips for getting amazing wedding day detail photographs .

I hope that you enjoyed
this video! If you did- like it, give it a thumbs up,
and subscribe and I'll see you guys next time! Bye.

Digital Photography 1 on 1 Episode 29 Self Portrait Adorama Photography TV

[Intro music] Female announcer: Adorama TV presents Digital
Photography One on One, where we answer your questions. Here's your host, Mark Wallace. Mark Wallace: Hey, everybody. Welcome to this
week's episode of Digital Photography One on One.

I'm Mark Wallace. Well, this week we have a great question from
DH about shooting a self-portrait when you don't have an assistant. [Music begins] Mark: DH asks, "First, are there some tips
I can frame myself easily? And secondly, how can you make sure that the camera will focus
at the right place?" [Music comes to an end] Mark: Well, DH, those are great questions,
and I have some techniques that I can show you to help you take a self-portrait. And
you can also use these techniques when you need to shoot something like kids, where you
need to be away from the camera so that you can entertain them so they're all happy and
stuff, and release the trigger, and make sure that the focus is tack-sharp.

It's a little
bit of a trick that I learned from Jack Reznicki, and I'm happy to pass it along to you. So let's go into the studio and look at how
to do this. [Transition sound effect] Mark: Well, we're here in the studio, and
DH was actually pretty specific about the setup that we had, so I've tried to mimic
that as closely as possible. I've got a 7D.

With a few Speedlites set up, and so my 550
is controlling a 580EX II and another 550 on remote stands. The other thing that DH
had that I don't have was a remote control to fire the camera, so I'm going to show you
how to do it without that to start with. Now, what I've done is: I have a little focus
target, and this focus target is just basically something you can download. You can Google
"focus target" and you can get a JPEG image or something like that and print it out.

I've
just printed this one out on an eight and a half by 11 piece of paper, and I've taped
it to a stand that I have. This is a reflector stand. Now, the important thing is: I've tried to
make sure that this is about as high as I. Am, about the same height.

And the most important
thing is that this is right where my face is, so I just stand right in front of this
and adjust it, so it's right in front of my face. And then the other thing is: I've measured
...Put a piece of tape right here. And so what I did was I stood in front and said,
OK, I want this to cut off about right there. Just put a little piece of tape on there.

And so now, I know where to frame my picture.
So if I'm shooting blind, this will help me out. Now, the second thing I've done is I've
put a piece of tape right on the floor so I know exactly where to stand, so I have my
stand right above that mark, and when I move this, I'll stand right on there when I'm taking
my picture. So now let me show you what I've done with
the camera. Now, this camera I have set up, it is in manual focus mode.

Now, manual focus
is going to allow me to do two things. First of all, I can frame up my shot by using the
little guides I have. And then I'll manually focus on my focus target to make sure it's
nice and locked in. Now, that means that I.

Can now go back and stand where I was, move
that stand and stand right on that dot and make sure that I'm still in focus. Now, I'm shooting in manual mode. I'm at ISO
100, and then I also have my shutter at 100, and my aperture, which is the most important
thing. I'm shooting at f/10 because I want a little leeway in my depth of field so if
I'm off just by a little bit, I won't fall out of focus.

Now, the other thing I've done, I've set my
drive mode to a 10-second delay so I can make it over, move my stand, stand in position,
and shoot. Now, this is the simplest way to do it. I'm going to show you a better way
to do it here in a second. So let's go ahead and try it.

[Camera starts beeping] Mark: So, my timer is going. I'm going to
move this out of the way. I've got a few seconds. I'll stand right here, compose myself.

[Flash fires] Mark: Bammo. I have a nice shot. Now, that
is the simplest way to do this. There is a much better way to do this, though, because
that one is sort of: set up, hope that you're in the good position.

Now, a better way to do this, if you really
want to see how things are working, is you can use just an inexpensive television. And
this is something I picked up for a couple hundred bucks, maybe, and I've hooked it up
to the Video Out on my camera. Now, most modern DSLRs have a Video Out that allow you to put
this on. And the nice thing is, the 7D has Live View, so I can turn that on.

Now, I'm keeping my focus; I haven't changed
my focus. It's still on manual focus to where I was, and so now, if I had a remote control,
I could come back over here, and I can look  ... Actually, I have to turn the TV on. Once
I turn this on, I can actually look in the television and see if I'm in the frame or
not.

So this is going to pop up here in a second. I've got my Live View set up, and
so now I can actually see what's going on. Now, I have to push this shutter release halfway
so that it ... There it goes.

And now I can actually position myself, and if I had a remote
control, I could click that and fire it and I am all good. Or I could still do the delay
and make sure I'm positioned correctly, taking a look at myself. OK, now, that's a little bit better way to
do it. Now, there is a way that's even better than that that we're going to do next.

Now,
this involves using some PocketWizards, so what I'm doing is I'm hooking up a PocketWizard
PLUS II Transceiver, and I'm just going to hang this off my tripod like that. And then
this cable is a pre-release cable, and so what that means is I can put this on here,
and if I don't have the television, so I'm going to unhook the television. And the reason I'm unhooking the television
is I don't want Live View on, and there's a very specific reason for that. I want my
focus mode; and I'm going to change my drive mode here really fast.

OK. I want my focus
mode to be on continuous focus, or with the Canon it's called AI Servo mode. And what I can do then is this pre-trigger
cable has a little switch on it, and when I turn that switch on, what its doing is it's
mimicking me holding down the shutter release halfway. And because my focus is on continuous
focus, it's always focusing.

And so then what I can do is turn on a second
PocketWizard, and then zip over here, and then... I don't actually have to be exactly
on the line. I can move a little bit forward. [Flash fires] Mark: I can move a little bit back.

[Flash fires] Mark: I can move around and do all kinds of
things. And the thing is, this is constantly going to be focusing on me, and so I'm sure
that my focus is absolutely stellar. What I don't know, though, is if I'm in the frame. So I could turn back on Live View, put it
on manual focus, and then trigger with my PocketWizard here.

But the nice thing about
this, and using auto-focus this way, is let's say you had some children or dogs or something
that were sort of hard to wrangle, and you couldn't be next to your camera. Well, doing this, having a PocketWizard with
a pre-release cable, with your camera on continuous focus, you could have a small child over here,
and be entertaining them, have a little rattle or something so they smile, and when they
do... [Flash fires] Mark: Boom. You can click, and make sure you
capture that moment.

You could be, maybe, beside your camera over here, going, "Hey,
look at over here, blah blah blah." [Flash fires] Mark: Click. And so you don't have to be exactly
at the camera, and you're going to get nice, perfectly-sharp images every single time.
So again, I'm going to stand right here, I'm going to put my thumbs up, and you'll see
that this image is exactly, perfectly in focus. [Flash fires] Mark: Perfect. OK, take a look at that image
and you'll see it looks good.

Everything is clear; everything is in focus. And that's
how you do it. A lot of different options, a lot of different ways you can do it, but
all of them are very simple and affordable. [Transition sound effect] Mark: Well, DH, I hope that helps you out.
Remember, if you're like DH and you have a question about photography, please send it
to me at askmark@adorama.Com.

You can also follow us on Twitter, or leave comments if
you have something to ask. We read all of them. Well, thanks for joining us this week, and
I'll catch you next time. [Outro music begins] Female announcer: This episode is brought
to you by Adorama TV.

Visit the Adorama Learning Center, where you'll find photography tips
and techniques, links to the gear used in this episode, and related videos. For all
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How To Look Your Best In Your Wedding Photos

You want to look your best in your wedding photos. Of course you do. Here's a tip to keep in mind. No good photos of you are going to come from having your chin up like this, smiling at the camera.

Okay? What you want to do, elongate your neck, drop your chin down, and then maintain eye contact with the camera. That's going to get you looking your best. You're welcome. And when you're ready to make your wedding fun, check us out.

We're Fun In The Sun Weddings here in the beautiful Mayan Riviera of Mexico. Adios!.