The Best of Wedding Photography.pdf - Free

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LEFT—One of the reasons to create an image like this is so that it can be sold to the couple as fine art, over and above their print and album purchases. A fine image like this could hang in the couple’s new home or either parent’s home. Photograph by Becky Burgin. Fine art print made by Robert Cavalli. RIGHT—This image exemplifies why the successful wedding photographer is so handsomely rewarded: he or she must be an expert at many different photographic disciplines. Joe Photo makes sure to capture the place settings and table settings before the guests enter the reception area. He does this partially so he can reward the various vendors (who also help him network with other brides) with a print, but also so he can add depth and uniqueness to his albums. This lavish exposure was made with a tripod-mounted D1X and 28mm lens. The image was exposed for 1/6 second at f/4.5 to fully open up the shadows and record detail throughout the image. The “correct” color of the foreground table was achieved by firing a bounce flash during the long exposure. This system takes very little time. Instead of spending hours putting proofs in a proof album, the proofs come back deliverable and bound, book-style. Maring then designs and prints a suggested wall portrait for the cover of the book. When they offered this concept to their couples instead of proofs, every couple preferred the smaller digital prints. No one wants to carry around a thousand full-size proofs in two full-size albums—and no photographer wants to pay for full-size proofs or proof albums, then spend hours on end organizing the images. Other Options. Digital projection involves a LCD projector and slide show treatment or DVD of the proofs, which is then given to the clients to take home after viewing the show. Both of the above methods involve scheduling an appointment for the bride and groom to view the proofs. Once the images have been viewed, many photographers send their clients away with a digital proof book. Using your digital files, you can print contact sheets of the images (that include the file name and number). These can be placed in a small but nice proof album for the couple to take with them. PRINTING Many photographers have the equipment and staff to print their own wedding images in house. It gives them a level PROOFING AND PRINTING 107
ABOVE—Very few truly romantic images are made of the bride and groom on their wedding day. The reason is that the bride, groom, and photographer are usually too busy. This image by Natasha Staszak is a definite keeper for the bride and groom. RIGHT—This is an example of a 32x70-inch print made by David Williams’ lab, the Edge. Note how there isn’t a square inch of wasted space. The print is made on a Durst Lamda at 400dpi, to deliver the best photographic quality. of control over the process that even the best lab cannot provide. Other photographers have devised interesting ways to save money by employing the lab’s wide-format printers. David Anthony Williams, for example, uses a lab called The Edge, in Melbourne, Australia. The Edge uses a Durst Lamda Digital Laser Imager, which produces full continuous-tone images straight from Macintosh or PC files on photographic media. Williams prepares Photoshop files of finished album pages, panoramas, small prints and proofs on a 32-inch wide file (the width of the lab’s Lamda), utilizing every square inch of space. The 32x32-inch, 32x50inch, or 32x70-inch files are output at one time very inexpensively. The lab even trims all of the images for Williams, thus increasing his productivity and lowering his costs. 108 THE BEST OF WEDDING PHOTOGRAPHY David follows the guidelines of the lab and works in the Adobe RGB (1998) color space at the gamma recommended for either PCs or Macs. The files may be TIFFS or JPEGs at 200 or 400dpi. The Edge will even provide a calibration kit on request to better coordinate your color space to that of the lab’s.
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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
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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 and 106: REMEMBERING NAMES Photographer Fran
Page 107: 11. PROOFING AND PRINTING T here ar
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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