The Best of Wedding Photography.pdf - Free

CAMERA HEIGHT
When photographing people with average features, there
are a few general rules that govern camera height in relation
to the subject. These rules will produce normal (not
exaggerated) perspective.
For head-and-shoulders portraits, the camera height
should be the same height as the tip of the subject’s nose.
For three-quarter-length portraits, the camera should be at
a height midway between the subject’s waist and neck. In
full-length portraits, the camera should be the same height
as the subject’s waist. In each case, the camera is at a height
that divides the subject into two equal halves in the
viewfinder. This is so that the features above and below
the lens/subject axis will be the same distance from the
lens, and thus recede equally for “normal” perspective.
When the camera is raised or lowered, the perspective
(the size relationship between parts of the photo) changes.
This is particularly exaggerated with wide-angle lenses. By
controlling perspective, you can alter the subject’s traits.
By raising the camera height in a three-quarter- or fulllength
portrait, you enlarge the head-and-shoulders region
of the subject, but slim the hips and legs. Conversely, if
you lower the camera, you reduce the size of the head, but
enlarge the size of the legs and thighs. Tilting the camera
down when raising the camera (and up when lowering it)
increases these effects. The closer the camera is to the subject,
the more pronounced the changes are. If, after you
adjust camera height for a desired effect, you find that
there is no change, move the camera in closer to the subject
and observe the effect again.
When you raise or lower the camera in a head-andshoulders
portrait, the effects are even more dramatic.
Raising or lowering the camera above or below nose
height is a prime means of correcting facial irregularities.
Raising the camera height lengthens the nose, narrows the
chin and jaw line and broadens the forehead. Lowering
camera height shortens the nose, de-emphasizes the forehead
and widens the jaw line, while accentuating the chin.
While there is little time for many such corrections on
the wedding day, knowing these rules and introducing
them into the way you photograph people will help make
many of these techniques second nature.
EYEGLASSES
Eyeglasses can present major problems on the wedding
day, especially in group pictures. When working with
bounce flash or when using flash-fill outdoors, you can
pick up specular reflections on eyeglasses and not even notice
the problem until later. The best bet is to ask the person
to remove their glasses—but don’t be surprised if they
decline. Many people wear glasses all the time and they
may feel extremely self-conscious without them.
One rule of light to remember when you encounter
eyeglasses is this: the angle of incidence equals the angle of
reflection. Light directed head-on toward a group will
more than likely produce an unwanted eyeglass reflection.
Instead, move the main light to the side and raise it so that
the angle of reflection is directed away from the camera
lens. Any fill light should be adjusted laterally away from
the camera until its reflection disappears. If you cannot
eliminate the fill light’s reflection, try bouncing the fill
light off the ceiling. Another trick is to ask the person to
tilt his or her glasses down slightly. This should solve most
problems with reflections.
When your subject is wearing thick glasses, it is not unusual
for the eyes to record darker than the rest of the face.
The colors and contrast are loud and brassy in this cross-processed
David De Dios bridal “formal” made in a deserted swimming pool.
All of loud color contrasts with the sweet simplicity of the pose. Notice
that with all good full-length posing, a triangle base is formed by the
basic arrangement of the forms.
POSING BASICS 53