The Best of Wedding Photography.pdf - Free

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David Williams puts together unique image constructions he calls “detail minis.” Here is an album page using sixteen detail minis. There is crafty design work in the assembly of the images—the photographer/designer’s goal always to keep the eye in motion and to keep the subject matter rich and interesting. He records all of these minis with a 50mm f/1.2 lens wide open to minimize depth of field and to speed up his shooting. DAVID ANTHONY WILLIAMS: A MAJESTIC APPROACH One of the elements David Anthony Williams brings to his albums is pure life. His album pages are living, moving entities. This design philosophy is the same as his theory about wedding photography. “If you’ve studied and practiced posing, observed lighting, and learned to assess an environment, you’re halfway there. But how good are the images going to be if your priorities are with the technical, and not with the activity and life happening before you?” Williams is practiced at the art of image construction. He says, “Advertising photographers deal with them every day. But still we come back to the essential of a people picture that goes far beyond technique. And that is the photographer giving life to the creation they have assembled.” His image constructions, for example, might be of the many faces of the bride’s emotions, with the wedding dress as a blurry backdrop and inset photos defining her many moods. Or he might do a montage of details—the ring, the flowers, the fabric of her dress—and combine them with a pensive portrait of the bride, imagining these things. Williams also uses the technique of providing a series of eight or sixteen identically sized images across two pages— a window-frame effect. The pages are laid out in perfect, brutal symmetry. However, the motion and direction come from the elements within the pictures or the content of the pictures. He will also contrast this symmetry by creating a series of vertical image constructions within the horizontal space of the album page. Almost like raindrops, these panels de- WEDDING ALBUMS 117
David Williams brings sophistication to his albums, employing transparency, overlapping, and lots of visual motion. He like to use small color images to balance large monotone areas and he uses a very light gray panel on each page of the album to help provide a consistent style and uniformity throughout. mand your attention—to examine both the content of the images and the overall flow of the design. They contrast the starkness of the white horizontal space, giving the page a startling quality. Williams studies the great editorial portraits of our time, citing Vanity Fair as the ultimate in this genre. He 118 THE BEST OF WEDDING PHOTOGRAPHY says these portraits teach us the importance of interaction and communication between photographer and subject. He sums up his outlook this way: “The coming together of all our abilities makes us great photographers. But the absence or minimization of life in our subjects makes us professionally adequate.”
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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
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Marcus Bell is brilliant at posing
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On location, sometimes you can find
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LEFT—The natural lighting pattern
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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 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: Dream a Little. With digital, we ha
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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