The Best of Wedding Photography.pdf - Free

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THE TRAIN Wedding dresses often include flowing trains. It is important to get several full-length portraits of the train draped out in front in a circular fashion or flowing behind. Include all of the train, as these may be the only photographs of her full wedding gown. If making a formal group, this might also be an appropriate time to reveal the full train pulled to the front. One way to make the train look natural is to pick it up and let it gently fall to the ground. THE VEIL Make sure to get some close-ups of the bride through her veil. It acts like a diffuser and produces romantic, beautiful results. Lighting should be from the side rather than head-on to avoid shadows on the bride’s face caused by the patterned mesh. GUEST PICTURES Guests often approach the wedding photographer to have pictures made of themselves. These images rarely produce sales and can take the photographer’s attention away from the paying clients: the bride and groom. This tip for dealing with such situations is from Monte Zucker. “What I do is to discuss this with the bride and groom prior to the wedding,” he says. “I explain to them that it happens all the time, but I’d usually get stuck with the pictures afterwards, because the guest would never place an order. What I finally began doing is to either make the bride and groom responsible for paying for ‘special-request’ pictures, or I’d make financial arrangements directly with the guests before I would take the picture. Usually, they’d select the latter option.” LEFT—Believe it or not, the bride and groom rarely kiss on their wedding day—the simple reason is that they are too busy to smooch. Still, these shots remain very popular among brides. David Beckstead always makes sure he gets plenty of these images because they always sell and because he believes in capturing a romantic rendition of the day’s events. RIGHT—The veil is an integral part of the wedding gown. David Beckstead highlighted the short veil by backlighting it and the bride against a waterfall. The effect is a very unusual but effective bridal portrait. HELPFUL TIPS 105
11. PROOFING AND PRINTING T here are many forms of proofing in use today. Regardless of the mode of presentation, though, editing is essential. Present only those proofs from the wedding that are high quality images. Concise editing will guarantee that the couple will be delighted with how great the pictures are. Because you’re the pro, the couple will look to you for advice on those difficult picture decisions. Because you know the dif- It’s hard to imagine the bride and groom not ordering this wonderful shot of their little flower girl with her front tooth coming in. Photograph by David Beckstead. 106 THE BEST OF WEDDING PHOTOGRAPHY ference between a good pose and bad, good lighting and bad and so on, your opinion will be important to them. PROOFS Paper Proofs. Until recently, paper proofs were the preferred method for reviewing a client’s work. With paper proofs, you are offering a representation of the final image to the customer, but without the benefits of color correction, retouching, and print finishing. Paper proofs not only fail to reflect the quality of the final image, they are a liability in an age when everyone seems to own a scanner. Multimedia Proofing. Some photographers take it a step further, producing a multimedia show of the wedding proofs. Brian and Judith Shindle have a very low-pressure, understated sales technique. After the wedding, the Shindles put on an elegant multimedia “premier night” party with catered food and fresh flowers and they invite guests from the wedding party. The event is held in the studio’s elaborately decorated viewing room. This elegant event produces great sales success, because it doesn’t resemble a sales session at all. Other photographers use commercial software, such as the Montage ® system, which produces projected images in a “suggested” album. First, the digital album images are brought into templates of any configuration, much like a page-layout program. The images are projected onto a large LCD screen already conceived as an album. Most couples, when they see the finished presentation, will want to buy the album with only minimal changes. Digital Proofs. Charles Maring accepts the fact that clients copying proofs is a reality. Maring has his digital images printed by the family-owned lab, Rlab. Each 2 1/2 x3 1/2-inch photograph is numbered with the file number at the bottom right corner of the print. According to Maring, one might copy a wallet-size print, but it would be a hassle to cut out the image from the proof book. These contacts come bound in book form with matte board for the covers and the whole concept costs only $.25 per image.
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WEDDING The Best of PHOTOGRAPHY Amh
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INTRODUCTION . . . . . . . . . . .
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T his is the third edition of The B
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1. THE EVOLUTION OF WEDDING PHOTOGR
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WEDDING PHOTOJOURNALISM: A MODIFIED
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things happen spontaneously and use
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2. THE WEDDING PHOTOGRAPHER’S MIN
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Joe Buissink has been known to work
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ABOVE—The photographer must be al
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LEFT—Greg Gibson has a finely hon
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Michael Schuhmann created this wond
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The slower the film speed or digita
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of four or five areas of the viewfi
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30 THE BEST OF WEDDING PHOTOGRAPHY
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ity or file size, it does affect le
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From outside the reception, Jerry D
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flash. Falloff is less than with ot
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4. CAMERA TECHNIQUE Whether you’v
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TOP—J.B. Sallee used a 70mm lens
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TOP—With a 17mm lens on his D1X,
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LEFT—A tricky exposure situation
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Since most wedding photographers op
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This is a beautiful pose created by
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LEFT—Marcus Bell created this han
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Tom Muñoz has a great deal of resp
Page 55 and 56: LEFT—There is something special a
Page 57 and 58: form the pattern. They are used to
Page 59 and 60: Marcus Bell is brilliant at posing
Page 61 and 62: On location, sometimes you can find
Page 63: LEFT—The natural lighting pattern
Page 66 and 67: from the camera lens. It is a drama
Page 68 and 69: ecommended unless your only concern
Page 70: Backlighting with direct sunlight c
Page 73 and 74: TOP—David Worthington created thi
Page 75: ABOVE—Melanie Nashan captured the
Page 79 and 80: Metering and Exposure. Here is how
Page 81 and 82: Al Gordon is a virtuoso of flash fi
Page 83 and 84: the light, you’ll find that it is
Page 85 and 86: BUILD A GOOD RELATIONSHIP Alisha an
Page 87: his best man. Bridesmaids will arri
Page 90 and 91: As part of the wedding photography,
Page 93 and 94: LEFT—Working as a pair or trio of
Page 95 and 96: What couple would not be thrilled w
Page 97 and 98: LEFT—Joe Photo always makes it a
Page 99 and 100: 10. HELPFUL TIPS The following is a
Page 102 and 103: THE BOUQUET Make sure a large bouqu
Page 105: REMEMBERING NAMES Photographer Fran
Page 109 and 110: ABOVE—Very few truly romantic ima
Page 111 and 112: Learning to recognize shapes as pag
Page 113 and 114: Three very simple images and a bold
Page 115 and 116: album-page layouts in Photoshop. Th
Page 117 and 118: Dream a Little. With digital, we ha
Page 119 and 120: David Williams brings sophisticatio
Page 121 and 122: THE PHOTOGRAPHERS T o illustrate th
Page 123 and 124: Charles and Jennifer Maring—Charl
Page 125 and 126: INDEX A Albums, 109-18 design princ
Page 127 and 128: Also by Bill Hurter . . . OTHER BOO
Page 129: Joe Buissink Ron Capobianco Anthony
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