The Best of Wedding Photography.pdf - Free

Head-and-Shoulder Portraits. With close-up portraits
of one or more people, it is important to tilt the head
and retain good head-and-shoulder axis positioning. The
shoulders should be at an angle to the camera lens and the
angle of the person’s head should be at a slightly different
angle. Often, head-and-shoulders portraits are of the face
alone—as in a beauty shot. In such an image, it is important
to have a dynamic element, such as a diagonal line,
which will create visual interest.
In a head-and-shoulders portrait, all of your camera
technique will be evident, so focus is critical (start with the
eyes) and lighting must be flawless. Use changes in camera
height to correct any irregularities (see page 53). Don’t
be afraid to fill the frame with the bride or bride and
groom’s faces. They will never look as good again as they
do on their wedding day!
GROUP PORTRAITS
Noted group portrait specialist Robert Love has a simple
rule for photographing groups: each person must look
great—as if the portrait were being made solely of that individual.
Achieving this ideal means calling on both compositional
and posing skills.
Form, Line, and Direction. Designing groups depends
on your ability to manage the implied and inferred
lines and shapes within a composition. Line is an artistic element
used to create visual motion within the image. It
may be implied by the arrangement of the group, or inferred,
by grouping various elements within the scene. It
might also be literal, as well, like a fallen tree used as a posing
bench that runs diagonally through the composition.
Shapes are groupings of like elements: diamond shapes,
circles, pyramids, etc. It is usually a collection of faces that
Norman Phillips created this romantic pose by having the couple lean in to kiss. The connection is intimate and the moment is memorable. Note
that each person’s shoulders are angled in toward each other.
POSING BASICS 55