The Best of Wedding Photography.pdf - Free

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T his is the third edition of The Best of Wedding Photography. A lot has happened since the first edition of this book appeared more than five years ago. Then, most wedding photographers shot with film. Those who shot with digital represented less than half of wedding photographers. Now, closer to 90 percent shoot digitally. When the first edition appeared, about half of all weddings were also photographed in a traditional manner. INTRODUCTION That number has dwindled and now many other styles are seen influencing wedding photography. While photojournalism has, for a number of years, been principle among these, virtually dominating the industry, the work of today’s most successful photographers shows us that the evolution of wedding photography is far from over. As you will see, there are some surprising new twists. Unlike photojournalistic purists, the new breed of wedding photographer has no problem “directing” (i.e., pos- The focus of the modern wedding photograph is emotion and intimacy and, through tools like digital capture and Photoshop, the end result is romance. Photograph by Marcus Bell. INTRODUCTION 5
ing) an image, as long as the results look spontaneous and are emotion-filled. Also evident is a move towards fine-art imagery, complete with abstraction, symbolism, and the finer points of design. Filmmaking techniques have even begun to make their way into the wedding album as the world embraces the panoramic format as “normal.” And perhaps the most surprising recent development of all is a resurgence of formal posing techniques, particularly in group portraits. Group portraits sell because they are a record of all who attended the wedding. While there are some very creative methods of photographing groups in other styles, the tried and true methods of the traditionalists also seem to be regaining their popularity because they recall an era of elegance. 6 THE BEST OF WEDDING PHOTOGRAPHY Tom Muñoz, in his twenties, is a fourth-generation photographer who learned the fundamentals from his father and grandfather. He sees today’s bride returning to a desire for the romantic formals of yesterday, replete with elegant posing and lighting. The difference between then and now is that all the tools are digital and the range of tools is much more extensive than ever before. There is also a noticeable swing back toward formally posed bridal portraits, with their flawless lighting and beautiful posing. You can see the latest trends by looking at a handful of current bridal magazines. The range of styles is as diverse as the types of gowns worn by today’s brides. While nothing can equal years of wedding photography experience, it is my hope that you will learn from the masters whose images and techniques appear in this book how the best wedding photography is created—with style, artistry, technical excellence and professionalism. —Bill Hurter
Page 1: WEDDING The Best of PHOTOGRAPHY Amh
Page 4 and 5: INTRODUCTION . . . . . . . . . . .
Page 8 and 9: 1. THE EVOLUTION OF WEDDING PHOTOGR
Page 11 and 12: WEDDING PHOTOJOURNALISM: A MODIFIED
Page 13 and 14: things happen spontaneously and use
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
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BUILD A GOOD RELATIONSHIP Alisha an
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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
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THE PHOTOGRAPHERS T o illustrate th
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Charles and Jennifer Maring—Charl
Page 125 and 126:
INDEX A Albums, 109-18 design princ
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Also by Bill Hurter . . . OTHER BOO
Page 129:
Joe Buissink Ron Capobianco Anthony
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