The Best of Wedding Photography.pdf - Free
The Best of Wedding Photography.pdf - Free
The Best of Wedding Photography.pdf - Free
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
TOP—David Worthington created this elegant<br />
window-lit bridal formal by positioning the bride<br />
where the s<strong>of</strong>t glow <strong>of</strong> the light illuminated her from<br />
head to tow. <strong>The</strong> white columns act like a fill light<br />
source and bounce light back into the shadow side <strong>of</strong><br />
the bride. <strong>The</strong> stately archways add formality to this<br />
beautiful portrait. BOTTOM—Window light can be<br />
one <strong>of</strong> the most beautiful and directional portrait<br />
lights there is. Here John Poppleton captured this<br />
bride in an old glassless window. Shooting from outside<br />
the window, he was able to harness the full s<strong>of</strong>t<br />
directional quality <strong>of</strong> the light. <strong>The</strong> light is so s<strong>of</strong>t<br />
that it actually looks like a s<strong>of</strong>tbox was used. A careful<br />
inspection <strong>of</strong> the catchlights reveals a large area<br />
across from the window that is illuminated by a<br />
mixture <strong>of</strong> sunlight and shade. A little selective diffusion<br />
and a contrasting frame edge were applied<br />
in Photoshop.<br />
this manner has the warm feeling <strong>of</strong> sunlight<br />
but without the harsh shadows.<br />
If the light is still too harsh, try doubling<br />
the thickness <strong>of</strong> the acetate for more<br />
diffusion. Since the light is so scattered<br />
by the diffusers, you may not need a fill<br />
source, unless working with a larger<br />
group. In that case, use reflectors to kick<br />
light back into the faces <strong>of</strong> those farthest<br />
from the window.<br />
MAIN LIGHT<br />
A Single Main Light—Always. It is important<br />
to have only one main light in<br />
your images. This is fundamental. Other<br />
lights can modify the main light, but there<br />
should always be a single defining light<br />
source. Most photographers who shoot a<br />
lot <strong>of</strong> outdoor portraits subscribe to the<br />
use <strong>of</strong> a single main light for groups, indoors<br />
or out, and fill the shadows <strong>of</strong> the<br />
main light with one or more flash units.<br />
Flash on Overcast Days. When the<br />
flash exposure and the daylight exposure<br />
are identical, the effect is like creating your<br />
own sunlight. This technique works particularly<br />
well on overcast days when using<br />
barebulb flash, which is a point light<br />
source like the sun. Position the flash to<br />
the right or left <strong>of</strong> the subject(s) and raise
Change language