By Bill Hurter
From taking pictures formal family members snap shots in a dimly lit church to taking pictures full of life candids at a bustling reception, this valuable reference provides a hundred assistance for dealing with the method from begin to finish—choosing the simplest apparatus, taking pictures the simplest moments on movie, and embellishing and featuring them afterwards. quite a few execs supply precious recommendation for electronic marriage ceremony photography, giving technical guidance on lights, publicity and metering, and colour administration, in addition to principles for scouting destinations, facing worried brides, and photographing huge teams. considerable time is spent at the many elements of posing and lighting—for either formal and casual situations—with a watch towards bettering the potency of the shoot and the average attractiveness of the resulting images.
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Additional info for 100 Techniques for Professional Wedding Photographers
This reduces the size of the calves, since the leg that is farther from the camera becomes more prominent. Whenever possible, have a slight space between the subject’s leg and the chair, as this will slim down the thighs and calves. 46 100 techniques for professional wedding photographers LEFT—Great posing is evident in this image by Tom Muñoz. Here are some things to look at: weight on the back foot (both); bend in the forward knee (both); hand slightly out of pocket showing cuff for good tonal separation (groom); great posture, elbow out from the body, bouquet at waist height (bride); good hands with separation between fingers (both).
Marc Wesiberg simply adjusted his vantage point to get all of the majority of faces visible. BOTTOM RIGHT—Ken Sklute is a master at posing groups. Here, the bride and bridesmaids are lit by available light from the patio doors. Two armchairs attractively seat four girls, while three stand behind in a highly symmetrical but pleasing composition. Note how the girls seated in the armchairs are forward on the edge of the cushion. TOP LEFT—This is the “bouquet of flowers” treatment for groups. Shooting from directly above to capitalize on the symmetry of the composition, Dan Doke created a beautiful portrait of the bride and her maids.
Michael O’Neill on Exposure According to Michael O’Neill, “My digital camera [a Nikon D2X] is home for intimate available-light portraits of the bride, her par- set in the manual-exposure mode about 90 percent of the time. ents and her bridesmaids. All of my ceremony shots are done in My camera does not know that it is a digital camera with awe- manual exposure mode and most are done pre-focused with the some 3D Color Matrix metering capabilities. It does, however, camera’s autofocus capabilities turned off.