The Best of Wedding Photography.pdf - Free

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T he big payoff of the wedding day is the album. It’s what every wedding photographer has worked so hard to produce and it is the object that the couple will cherish for a lifetime. The wedding album is changing drastically, as you will see. Still, album design is basically the same thing as laying out a book, and there are some basic design principles that should be followed. Like any good story, a wedding album has a beginning, a middle, and an end. For the most part, albums are chronological. However, there are now vast differences in the presentation, primarily caused by the digital page-layout process. Often, events are jumbled in favor of themes or other methods of organization. There must be some logic to the layout, though, and it should be apparent to everyone. ALBUM TYPES Traditional Albums. Album companies offer a variety of different album-page configurations for placing horizontal or vertical images in tandem on a page, or combining any number of small images. Individual pages are post-mounted and the album can be as thick or thin as the number of pages. TOP—Magazine-style albums allow you to incorporate digitally designed composites on every page. Note that these pages are not bleed-mounted so that the pages can be handled more frequently without showing signs of wear. Photo courtesy of Albums Australia. RIGHT—Digital albums come in all sizes and bindings. Note the little “purse” albums, which go to work with the new bride instead of the priceless full-size album. Photo courtesy of Digicraft Albums. 12. WEDDING ALBUMS WEDDING ALBUMS 109
Learning to recognize shapes as page elements will make you a better designer. Here, a perfect C (or inverted-9) shape makes this an ideal lefthand page. As a single image it has uniqueness and strong design, but in a layout, the eye will follow the spiral staircase through to the righthand page. Photo by David Worthington. Bound Albums. In a bound album, the images are permanently mounted to each page and the book is bound by a bookbinder. These are elegant and very popular. Since the photos are dry-mounted to each page, the individual pages can support any type of layout from “double-truck” (two bleed pages) layouts to a combination of any number of smaller images. 110 THE BEST OF WEDDING PHOTOGRAPHY Library Binding. Yet another type of album uses conventional photographic prints made to the actual page size. These prints are then mounted, trimmed and bound in an elegant leather album that is actually a custom-made book. If you want to create album pages with multiple images, your lab must prepare these prints to size before submitting them to the album company for binding.
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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
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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 and 108: 11. PROOFING AND PRINTING T here ar
Page 109: ABOVE—Very few truly romantic ima
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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