100 Techniques for Professional Wedding Photographers

128 Pages·2009·6.89 MB·English

by  Bill Hurter

100
TECHNIQUES
for
PROFESSIONAL
WEDDING
PHOTOGRAPHERS
BILL HURTER Amherst Media
®
PUBLISHEROFPHOTOGRAPHYBOOKS
AboutTheAuthor
Bill Hurter has been involved in the photographic industry for the past thirty years. He is the former editor of Petersen’s
PhotoGraphicmagazineandcurrentlytheeditorofbothAfterCaptureandRangefindermagazines.Hehasauthoredover
thirty books on photography and hundreds of articles on photography and photographic technique. He is a graduate of
AmericanUniversityandBrooksInstituteofPhotography,fromwhichheholdsaBFAandHonoraryMastersofScience
andMastersofFineArtdegrees.HeiscurrentlyamemberoftheBrooksBoardofGovernors.Earlyinhiscareer,hecov-
eredCapitalHillduringtheWatergateHearingsandworkedforthreeseasonsasastringerfortheL.A.Dodgers.Heismar-
riedandlivesinWestCovina,CA.
Copyright©2009byBillHurter.
Allrightsreserved.
FrontcoverphotographbyTomMuñoz.
BackcoverphotographbyBruceDorn.
Publishedby:
AmherstMedia,Inc.
P.O.Box586
Buffalo,N.Y.14226
Fax:[phone]
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Publisher:CraigAlesse
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AssistantEditor:BarbaraA.Lynch-Johnt
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ISBN-13:978-1-58428-245-7
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Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechani-
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Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The au-
thorandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.
Table of Contents
Introduction Meters ....................................31
WhatMakesa MeterCalibration............................31
GreatWeddingPhotographer?.................7
QuickExposureEvaluation ....................32
Consistency ......................................7
11. ChoosetheRightShutterSpeed .........32
Likability ........................................8
12. ChoosetheRightAperture ..............35
CoolUnderPressure ...............................8
13. SelecttheOptimalColorSpace .........36
UptoDate.......................................8
14. WhiteBalanceSavesTime ................37
AGreatObserver ..................................9
TheAbilitytoIdealize .............................10
CreativeVision ...................................11
Immersion ......................................12
1. DevelopYourPeopleSkills ...............14
2. RecognizeWhat’sSpecial.................16
3. ShootPeakAction ........................19
BePrepared .................................19
ObserveandReactQuickly .....................19
4. WorkUnobtrusively ......................21
5. SyncYourCameras .......................23
6. PackThreeCameraBags:
ATipFromMarcusBell ...................23
7. HaveBackupand
EmergencyEquipment .....................24
8. CleanYourImageSensor .................25
9. MakeCalculatedLensChoices ...........26
PrimeorZoom?..............................26
WideAngles ................................28
Telephotos ..................................28
Neill.
TheNormalLens.............................29 O’
hael
PerspectiveandDistortion ......................29 Mic
by
10. GettheExposureRight ...................31 h
p
gra
AccuracyisCritical............................31 oto
h
P
tableofcontents 3
15. WatchYourISOSettings .................38 21. Refinethe
Head-and-ShouldersAxis .................47
16. FileFormat:Speedvs.Versatility .........40
22. ConsidertheFacialViews ................47
RAWFiles .................................40
TheSeven-EightsView........................47
JPEG .....................................40
TheThree-QuarterView ......................48
OtherUsefulFormats.........................41
Profile ....................................48
17. WatchtheFileCompression..............42
23. WatchtheEyesandSmile ................48
LZW .....................................43
TheEyes ..................................48
JPEG .....................................43
TheSmile ..................................48
ZIP ......................................43
24. EvaluatetheArmsandHands ............49
18. Chimping:EvaluatinganImage ............43
Arms .....................................49
19. UnderstandPosingEssentials ...........44
Hands ....................................50
GivingDirections ............................44
25. PuttheWeightontheBackFoot .........51
SubjectComfort .............................44
26. ControltheCameraHeight ..............52
20. ChooseaPortraitLength ................45
27. PosingCouples ..........................53
HeadandShoulders ..........................45
28. AddingaThirdPerson ...................55
Three-QuarterandFull-LengthPoses.............45
29. AddingaFourthandFifthPerson ........55
30. PhotographingLargerGroups ...........56
31. SpeedingUpYourGroupPortraits........57
32. ControltheFocusField .................58
AdjusttheCameraAngle ......................58
AdjusttheSubjectDistance ....................59
33. RefinetheMainandFillLights ...........59
34. ControltheHairLight ...................60
35. UseaBackgroundLight ..................61
36. AddKickerLights ........................62
37. ChooseBroadorShortLighting .........63
38. LightingTips
FromMauricioDonelli ...................63
39. LookfortheClassic
LightingPatterns ........................65
ParamountLighting ..........................66
LoopLighting ..............................67
RembrandtLighting ..........................67
SplitLighting ...............................68
ProfileorRimLighting .......................68
40. AvoidDoubleShadowsand
DoubleCatchlights .....................69
n.
or 41. UnderstandLightingRatios ..............69
D
Bruce 42. AvoidOverlighting .......................69
by
ph 43. EvaluateYourOptions ...................70
gra
o
ot 44. FindandUseOpenShade .................70
h
P
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o
to
g
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h
b
y
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o
rd
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.
45. WorkingwithDirectSunlight ............71 57. StudioFlashSystemsonLocation ........82
46. WatchtheRoomLight ....................74 58. UseUmbrellas ...........................83
47. TakeAdvantageofWindowLight .........74 59. TryHandheldVideoLights ...............84
48. ReflectorsforFill ......................75 60. BefriendtheCouple .....................85
49. GettingtheMostFrom 61. GettoKnowtheEvent ...................85
On-CameraFlash ........................76 62. EngagementPortraits
50. KnowYourFlash-SyncSpeed .............77 SmooththePath .........................86
51. FlashOptions ...........................77 63. MakeaBridalPortrait,Too ..............87
Barebulb ..................................77 64. HaveaMasterSchedule .................89
DiffusedFlash ..............................77 65. LearnEverybody’sNames ................89
52. FlawlessFill-FlashExposure ............78 66. WorkwithanAssistant ..................90
53. FLashfortheMainLight .................78 67. DressforSuccess .......................92
AtTwilight .................................78 68. AttheBride’sHouse/HotelRoom ........93
OnOvercastDays............................79 69. PhotographingtheBride’sAttire.........94
54. AddingBounceFlash ....................79 TheWeddingDress ..........................94
BounceFlashOffWallsandCeilings ..............79 TheBouquet ...............................95
TheVeil ...................................95
Bounce-FlashDevices .........................80
70. WorkingwithLateBrides ................97
55. UsingRemotetriggeringDevices .........80
71. WorkingwiththeGuys ...................98
56. TrytheNikon
SpeedlightCommander ..................82 72. CoveringtheCeremony ..................99
tableofcontents 5
Ph
o
to
g
rap
h
b
y
Jerry
G
h
io
n
is.
73. LeavingtheChurch .....................101 89. ManageColor .........................112
74. Tacklethe MonitorProfiles ...........................112
FormalPortraitsQuickly ...............101
PrinterProfiles ............................113
75. HaveFunwiththeWeddingParty ........102
CameraProfiles ...........................113
76. PosingtheBridalPortraits .............102
90. LearnPhotoshop,
77. Photographing ButDon’tRelyOnIt ...................114
theBrideandGroom ....................103
91. RetouchwithLayers ...................115
78. DisplaytheRings .......................103
92. LearntoUseMasks ....................116
79. CaptureaKiss ..........................104
93. RemoveBlemishes .....................116
80. TakingVenueShots .....................104
94. ReduceShininessandWrinkles ........117
81. DocumenttheReception ................105
95. AddSofteningEffects .................118
82. TheFirstDance .........................107
96. MaximizetheEyes ......................118
83. TheBouquetToss .......................107
97. ApplytheLiquifyFilter ................119
84. Travelingto
98. ApplyToningandSoftColor ...........119
DestinationWeddings...................108
99. BeSmartAboutSharpening ............120
85. BackUpandReformat ..................109
100. UseColorSampling ...................121
86. DanDoke’sWeddingWorkflow .........110
87. MikeColón’sWiFiWorkflow ............111
Conclusion ..................................122
88. UseMetadata ...........................112
ThePhotographers ..........................123
Index ........................................126
6 100techniquesforprofessionalweddingphotographers
introduction
What Makes a Great Wedding Photographer?
T
he rewards of being a successful professional wedding photographer
aregreat—notonlyfinancially,butalsointermsofcommunitystatus.
Theweddingphotographerofthenewmillenniumisnotregardedmerely
A sense of fashion and style is all-impor-
asacraftsman,butasanartistandanimportantmemberofthecommunity.
tanttotheweddingcaptures.NickAdams
createdaboldcroppinginordertoisolate ThroughmyassociationwithWeddingandPortraitPhotographersIn-
the beautiful features and necklaces of
ternational(WPPI)andRangefindermagazine,Italktohundredsofwed-
thisbride.Nickuseda4x3-footsoftboxas
a main light and two monolights behind ding photographers each year. So, in preparing the text for this book, I
a 6x8-foot scrim. The two main light
drewonourconversationsasIsearchedfortherightwordstodefinewhat
sources were used on either side of the
camera. The fill lights were dialed way makes “great” wedding photography and, consequently, “great” wedding
downinintensityforthisshot.Reflectors
photographers.Thefollowingareafewqualitiestheyseemtoshare.
were used at either side of the model to
helpredirectstraylight.Amonolightwith Consistency. Consistency is surely one ingredient of greatness. Those
beauty dish was also used and placed photographers who produce splendid albums each time out are well on
about nine feet high and angled down to
theirwaytogreatness.
createaneleganthairlight.
LEFT—CharlesMaringblendsfashionandeditorialcoverageintoallhisweddingshots.
Here,ashotofthebridethroughtheveilisexecutedasifitwereaspreadtotheopen-
ingofanarticle,withnegativespacetotheleftandtightcroppingonthebride’sface.
RIGHT—Someweddingphotographerstakestyletothenextlevel.MichaelSchuhmann,
forexample,saysofhiswork,“It’sdifferent;it’sfashion,it’sstyle.”Thisimageisquite
unliketheoriginalcapture,havingbeenalteredconsiderablyinPhotoshop.
Likability. A common thread among the really good ones is affability
andlikability.Theyarefullyateasewithotherpeopleandtheyhaveasense
ofpersonalconfidencethatinspirestrust.Forexample,acclaimedphotog-
rapher David Williams says, “I just love it when people think I’m a friend
ofthecouple—someonetheyjusthaven’tmetyetwhohappenstodopho-
tography.”Maximizingthesepersonalinteractionsallowsthebestwedding
photographers to create animated, filled-with-life portraits—images that
bringoutoftherealpersonalityandvitalityofthesubject.
Cool Under Pressure.Theabilitytoworkunderpressureisalsocriti-
cal.Tobesuccessful,weddingphotographersmustnotonlymasteravari- Successrequires
ety of types of photography but also perform them in a very limited time
calmnervesandtheability
frame.Thecoupleandtheirfamilieshavemademonthsofdetailedprepa-
toperformatthehighest
rations(nottomentionaconsiderablefinancialinvestment)forthisonce-
levelsunderstress.
in-a-lifetime event, and expectations are high. Couples don’t just want a
photographic“record”oftheday’sevents,theywantinspired,imaginative
images and an unforgettable presentation—and there are no second
chances. This means that, aside from technical skills, achieving success re-
quires calm nerves and the ability to perform at the highest levels under
stress.Thispressureiswhymanygiftedphotographersdonotpursuewed-
dingphotographyastheirmainoccupation.
Up to Date. To stay on the cutting edge, the leading wedding pho-
tographers also scour bridal magazines, studying the latest looks in edito-
rial and advertising photography. These magazines are what prospective
8 100techniquesforprofessionalweddingphotographers
brideslookatandwanttoseeintheirownweddingimages.Consequently,
editorialstylehasbecomeahugeinfluenceonweddingphotography—per-
hapsthesinglebiggestinfluenceatthiswriting.NotedAustralianwedding
photographer Martin Schembri calls the style of the contemporary wed-
dingcoveragea“magazine”stylewitha“clean,straightlook.”
A Great Observer. The truly gifted wedding photographer is also a
great observer. He or she sees and captures the myriad of special, fleeting
moments that often go unrecorded. Through keen observation, a skill set
thatcanbeclearlyenhancedthroughpractice,thephotographerbeginsto
Nick Adams does remarkable bridal formals. Of this image he says, “This session
startedacoupleofhoursearlier,butwefoundourselvesworkingwellaftersundown,
soIhadtolighteverythingthatIwantedtoseeinthephotograph.Iusedonemono-
lightshootingintoa4-footumbrellaforamainlight,poweredbyaportablebattery.
Itwassetaboutsevenoreightfeethighandfeatheredalittleinfrontofthesubject.
Two Nikon SB800s added light to the back part of the scene, one on each side. I
neededtheselightstodothreethings:1)lightthewall,2)lightthegardenflowersand
groundbehindthebride,and3)addsomeedgelighttothebride.Iputtheplasticdif-
fusercapsonthemtomakethelightlessdirectionalandraisedthemupaboutnine
ortenfeethigh,angledabout45degreesdowntolightthefacesoftheflowers—sort
oflikesunlight.”Nickhasgottenprettygoodatthistypeofon-locationproblemsolv-
ing,adding,“IcheckmylightingwhileIwork,usingtestimages.Withthehistogram
andimagereview(andalotofpractice!)Icanworkquicklyonlocationwithoutalight
meter.”Thesecondshotincludedhereshowstheeffectofthebackgroundlightswith-
outtheumbrellamainlight.
developtheknackofpredictingwhatwillhappennextandmakingsurehe
orsheisreadytocaptureit.Themoreweddingsyouphotograph,themore
Anothertraitthatseparates
accustomedyoubecometotheirrhythmandflow—butthesenseofantic-
ipationisalsoafunctionofclearlyseeingwhatistranspiringinfrontofyou thecompetentphotographer
andreactingtoitquickly. fromthegreatoneisthe
The Ability to Idealize. Another trait that separates the competent
abilitytoidealize.
photographerfromthegreatoneistheabilitytoidealize.Theexceptional
photographerproducesimagesinwhichthepeoplelookgreat.Thismeans
thatthephotographermustbeskilledathidingpoundsandrecognizinga
person’s“bestside.”Thisrecognitionmustbeinstantaneousandthepho-
Ken Sklute is a master at idealizing his
brides. Here, she appears to be leaning
against the adobe wall—but she actually
isn’t; this would cause her to look larger
tothecamera.Kenusedthebeautifulpor-
tico lighting and a wonderful pose, look-
ingawayfromthecamera,tobringoutthe
innatebeautyofthislovelybride.