The Best of Wedding Photography.pdf - Free

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TOP—Look at the stories going on in this Marcus Bell photograph. The relaxed bride gets her face on while her toenails dry on the window ledge. The young flower girls have become engrossed in other things. And all the while, the world outside the windows goes on in perfect harmony. ABOVE—This is a good example of a traditional portrait made with contemporary style and vision. This beach formal by Tibor Imely captures the emotion between the couple, yet relies on excellent posing and pinpoint control of exposure. The composition is dynamic and dramatic. LEFT—Masters of the medium, like Yervant Zanazanian from Australia, are gifted at creating the subtle intangibles in an image. In addition to flawless posing and design, note the hourglass-shaped highlight covering the steps. Artful burning and dodging on the digital file were required to produce such a skillful effect. THE EVOLUTION OF WEDDING PHOTOGRAPHY 11
things happen spontaneously and use my background and experience to put myself in the right position to anticipate those moments.” When asked about what kind of wedding photojournalist he is, Gibson responded, “I’m not a true fly on the 12 THE BEST OF WEDDING PHOTOGRAPHY wall. I laugh and joke with the client, getting them to relax with my presence. We’re going to spend a lot of time together and I don’t want them to feel like there’s a stranger in the room. If I find myself constantly in conversations with the bride and family members, then I withdraw a bit. I don’t want to be talking and not taking photos.” TRADITIONALISTS FIGHT BACK Those photographers who still provide traditional coverage argue that the wedding photojournalist’s coverage produces below-average photographs. In truth, the photojournalists (who do not disrupt the flow of the day to make pictures and don’t isolate the bride and groom) can’t possibly be as in tune with posing and lighting principles as the masters of the traditional style. They don’t claim to be—nor do they stop the natural action to dictate posing, which, in their view, ruins the flow of things. However, in the traditionalists’ defense, one must acknowledge that the most elegant features of traditional portraiture are being thrown out in this “creative new” approach. Looking at a masterful bridal portrait taken by a photojournalist, the trained eye will often observe hands posed poorly (or not at all), a confused head and shoulder axis, unflattering overhead lighting, and so on. The photojournalistic portrait may be spontaneous and the expression full of life, but many feel the classic refinements still need to be preserved. For example, in 1909 a Muñoz opened a small photography studio in Cuba. Nearly a hundred years later, the Muñoz family still takes pride in their history. Fathers taught sons, and grandfathers taught grandsons, the skill that it took to be known as a Muñoz photographer. Today, there are six independently owned Muñoz studios in the South Florida area. Twenty-something Tom Muñoz, is a master wedding photographer who photographed his first full wedding alone at the age of twelve (even though he had to have the couple drive him everywhere as he had “no ride”). As a fourth-generation photographer, Tom appreciates and TOP—Tom Muñoz believes in good solid posing and “treating his brides like princesses.” Here Tom used a small softbox positioned to the right of camera to illuminate the couple with elegant studio light. LEFT— Tom Muñoz is a fourth-generation photographer and well schooled in the traditional techniques of posing and lighting. His images are a blend of traditional and modern as you can see here, where he combined Photoshop softening and grain effects with a beautiful, formally posed portrait.
Page 1: WEDDING The Best of PHOTOGRAPHY Amh
Page 4 and 5: INTRODUCTION . . . . . . . . . . .
Page 6 and 7: T his is the third edition of The B
Page 8 and 9: 1. THE EVOLUTION OF WEDDING PHOTOGR
Page 11: WEDDING PHOTOJOURNALISM: A MODIFIED
Page 15: 2. THE WEDDING PHOTOGRAPHER’S MIN
Page 19 and 20: Joe Buissink has been known to work
Page 21 and 22: ABOVE—The photographer must be al
Page 23 and 24: LEFT—Greg Gibson has a finely hon
Page 25 and 26: Michael Schuhmann created this wond
Page 27 and 28: The slower the film speed or digita
Page 29 and 30: of four or five areas of the viewfi
Page 31 and 32: 30 THE BEST OF WEDDING PHOTOGRAPHY
Page 33 and 34: ity or file size, it does affect le
Page 35 and 36: From outside the reception, Jerry D
Page 37 and 38: flash. Falloff is less than with ot
Page 39 and 40: 4. CAMERA TECHNIQUE Whether you’v
Page 41 and 42: TOP—J.B. Sallee used a 70mm lens
Page 43 and 44: TOP—With a 17mm lens on his D1X,
Page 45 and 46: LEFT—A tricky exposure situation
Page 47 and 48: Since most wedding photographers op
Page 49 and 50: This is a beautiful pose created by
Page 51 and 52: LEFT—Marcus Bell created this han
Page 53 and 54: 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 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 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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