Category Archives: photo of the day

Streaming Live at 5 p.m. at BandH.com/wedding!

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This photo makes me happy because it was always my secret favorite from my latest Obama shoot, even if not the obvious choice. There’s a hint of storytelling and context to it with the woman’s hand, the man straightening his tie, and even Pete Souza poking around the corner. The President is still perfectly identifiable thanks to his famous ears, and it’s an angle you don’t get to see often because it is not easy to get two feet behind a sitting POTUS (I had to do a great deal of friendly negotiating with the Secret Service).

I’ve been lucky to be in lots of wild situations, and today brings a new and exciting challenge — I’ll be speaking about business and how I keep things fresh and exciting despite my massive workload today thank to B&H Photo Video Pro Audio, and we’re streaming it for FREE! at http://bandh.com/weddings. See you at 5 p.m. Eastern!

Camera: Nikon D4
Lens: Nikon 28mm f/1.8G


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Watching over Cristian (Viña Santa Rita wedding)

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This is probably my favorite “tilt-shift candid” I’ve taken. The groom, named Cristian, prays during his wedding ceremony in Viña Santa Rita – Copiapo, Chile. Thanks to Kyle Hepp for having Tatiana and I tag along for this gorgeous wedding. She’s just posted more photos and the slideshow on her blog: http://www.kylehepp.com/2014/03/matrimonio-vina-santa-rita-2/

Lens: 45mm f/2.8 PC-E
Camera: Nikon D4


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Going Nuts With Hues in the New Studio

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We’ve been up to a lot of big things behind the scenes over the off-season, and the biggest is a move to a new studio in Cobble Hill, Brooklyn! It’s coming together as a fantastic place for meeting clients and being relentlessly productive in style, but as a photographer one of the things I’ve been most excited about is the lighting. We have the place tricked out with Phillip Hue lights, smart LED bulbs that can transmit 16 million colors, controlled by software on your phone.

So I thought we’d get a little crazy. This whole scene, from key lights to hair lights to rim lights to the tonality on the walls, is lit just by the two light fixtures you see, and a third Hue on an extension cord, composited into a LOT of frames.

Yes, this is how Tatiana and I amuse ourselves on a Tuesday night. We get to create something a bit different than I’d ever seen before, practice iterations of some new techniques we’ll be tweaking a lot this year, and have a great time doing it.

This is just a small corner of the studio … you’ll see more soon!

Camera: Nikon D4
Lens: Sigma 12-24mm f/4.5-5.6


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The Year of the T.

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I’ll do a real “look back at 2013″ post on a week when I’m not shooting two weddings, but on a personal level this one is the only photo I need. 2013 had so many incredible ups and downs, but through it all it was colored and flavored by my extraordinary girlfriend Tatiana. My life has changed in so many ways … and I’ve eaten so many fantastic breakfasts … thanks to her and her spirit. And I can’t wait until 2014 and all the rest because of her.

Thank you, T.

Camera: Nikon D4
Lens: Sigma 12-24mm f/4.5-5.6


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Brooklyn On My Mind

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This picture from a recent engagement shoot with Brett and Annette makes me happy because it makes me think of home. I’ve just settled into Barcelona where I am working away, sitting an at Apple store just because it’s the only place with decent upload speeds I’ve found in the city, but I have happy thoughts of my clients, and of my own soon-to-return life in Brooklyn with a lovely lady and a feisty dog.

Camera: Nikon D4
Lens: Nikon 28mm f/1.8G


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Greetings from Spain!

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I’m in Sevilla, where I gave my first live-translated workshop today — and it went very well, so it won’t be my last. This is very much a working vacation as I have a lot of great weddings to show, but I wanted to take some pictures that shouted “SEVILLA!” while I was here. With the help of the fantastic flamenco dancer Marina Valiente and assistance from the lovely Tatiana we took to the streets for as long as we could stay warm at 2 a.m. — especially since I was lying in a dubious puddle to take this shot.

Camera: Nikon D4
Lens: Sigma 12-24mm f/4.5-5.6


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Don’t Rain on My Parade

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Weather geekery has it’s rewards.

At 3:15 p.m., before the ceremony, dark clouds started to roll in. Jillian looks at them nervously and says to Ryan (the other Ryan) “IS it going to rain?”

He says “No, we’ll be fine.”

“I don’t know …”

“You’re going to be OK,” I interject. “It won’t rain until just about the end of your reception, when it doesn’t matter anymore, but when it does come it will come fast and hard.

She considers it. “OK, him I trust.”

Six hours later, we stop outside for a quick night portrait. This scene is pitch black. 0.8 seconds, ISO 3200, f/1.8 — black to the eye, not to the camera. As we start, a few rain drops come down, and then a few more. I know to hurry. Since we were using video light and a long(ish) exposure, you get a different sort of effect than freezing raindrops with a flash. I like it, a different sort of accent to the scene. We shoot fast, I get them inside … and then the skies open, rain streaming down the windows.

Geeks have their day again.

Camera: Nikon D4
Lens: Nikon 28mm f/1.8G


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Big announcements all over!

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Yesterday I was honored to be on CreativeLIVE, the biggest educational program in the photography industry. It was wild being on camera live in front of thousands of people, and I applaud them for how they handled the insane logistics of Photo Week, their most ambitious program ever. My talk was on overcoming common problems on wedding days, with a focus on using compositing to overcome bad light, as well as a quick creative tool. We made the photo above, which only has one light source for both the warm and cool light, in 30 seconds of shooting and 15 seconds of Photoshop. Since I had three full hours, I also made sure we didn’t miss the forest for the trees — while it is easier to teach portrait techniques in this sort of format, the bulk of our time as wedding photographers, and the most uniquely important part, is documenting people and families on an incredibly complicated, emotional day. I spoke to ways to keep the fire inside you that will make EVERY photo better, as well as some important tips for increasing documentary skill. You can buy the program here for $49 — almost 40% off the regular price — here. Buying this session is the strongest possible vote you can give to tell CreativeLIVE to bring me in for a full three-day session (viewable for free!). Part 2 is here, I had the only double-length session so I’ll see if there’s any way to bundle them.

But there’s more…

For years people have been telling me that they’d love to try “The Brenizer Method,” but they just can’t figure it out. It can be really tricky until the light bulb goes off for the first time, and there are a lot of little tricks that can help. So I’ve been working tirelessly to produce an incredibly thorough video that takes you through this from start to finish, conceptualizing to shooting, to post-processing. And I want people all over the world to be able to afford to learn this, so I’m releasing it for just $10 with a pre-order of $8. Find out more at chill.com/ryanbrenizer/brenizer-method.


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Watch me on CreativeLIVE Photo Week on Thursday!

Quick Hit from this weekend

I’ll be hosting a double-length session at CreativeLIVE on Thursday from 1:45 to 5:30 p.m! For those who don’t know, CreativeLIVE is the biggest educational network in the entire photography industry, and Photo Week has been the biggest event in CreativeLIVE history, so I’m thrilled to be a part of it. This should be the working direct link to hit at 1:45 EST on Thursday!

I’ll be talking about how to do the very best work possible while dealing with the chaotic, problem-filled environment of a wedding day. Now you may think that, with clients like Jessica and Mike, and light as good as this, that this is an inappropriate image to use. But here we were dealing with the most common of wedding-day problems … a very strict time crunch. So here’s a little preview tip: The key to doing good work in these situations is the ability to pre-visualize a scene, knowing your equipment innately, and clear, direct communication of goals, costs and benefits. We were rushing to the limo and I said to Jessica, “Do you see that light over there? If we walk over there and I set you up in it just right, it will take three minutes total and you’ll get a great photo out of it. I know we’re in a hurry so I want to see what you think.” And happily she agreed.

Now, the real key then is that if you say three minutes, it should take two and a half at most. Every minute on a wedding day is precious. (And actually the shooting, including two panoramas, took 45 seconds.)

See you all on Thursday!


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