Wedding Photography Field Guide

192 Pages·2011·13.7 MB·english

by  Michelle R. Turner

Michelle turner
THE wEdding
PHoTograPHY
FiELd gUidE
Capturing the perfect day with your digital SLR camera
I L E X
First published in the UK in 2011 by CONTENTS
ILEX
210 High Street
Lewes
East Sussex BN7 2NS Introduction 6 the WeddinG day 74 Tips and Tricks in Lightroom 152
www.ilex-press.com venue 78 Photoshop essentials 156
Gear 8 Preparations 80 dodging and Burning via
Copyright © 2011 The Ilex Press Limited
Cameras 12 The First Look 82 Adjustment Layers 158
Publisher: Alastair Campbell Lenses 14 Ceremonies 84 Textures and Overlays 160
Creative Director: Peter Bridgewater Lights and Transmitters 18 Formals 88 Black and white 162
Associate Publisher: Adam Juniper Other Accessories 20 wedding Party 90
Managing Editor: Natalia Price-Cabrera OuTPuT 164
Computers and Software 22 Choosing different Locations for
Editorial Assistant: Tara Gallagher Blogs 166
Editor: Steve Luck CAmerA SeTTIngS 26 the Bride and groom Portraits 94 Online Proofing and Ordering 168
Art Director: James Hollywell Bride and groom 96
dvd Proofing 169
Designer: Jon Allan, TwoSheds Design OTher ThIngS YOu ShOuLd KnOw 30 Large group Shots 100
Colour Origination: Ivy Press Reprographics The Cocktail hour 102 hard-Copy Proofing 170
Slideshows 171
PreParation 32 reception details 104
Any copy of this book issued by the publisher is sold Food 106 Social media 172
subject to the condition that it shall not by way of trade envIrOnmenTAL POrTrAITS Printing Solutions 173
or otherwise be lent, resold, hired out or otherwise And POSIng 33 ChILdren And PeTS 108 Specialty Products 174
circulated without the publisher’s prior consent in any Step One: vision 34 Speeches 110 design 176
form of binding or cover other than that in which it is
Step Two: Placement of the Couple in The First dance 112 Albums 177
published and without a similar condition including
these words being imposed on a subsequent purchaser. the Frame 36 Cutting the Cake 114 Publication 178
Step Three: Position 38 Other events 116
KeePIng IT FreSh 180
British Library Cataloguing-in-Publication Data Step Four: Action and Interaction 40 Open dancing 118
A catalogue record for this book is available from Step Five: Choose Your Perspective The Photobooth 120 networking/model Shoots 182
the British Library. Inspiration 184
and Settings 42 The Send-Off 122
Online Communities 185
ISBN: 978-1-907579-25-7 Step Six: Tweak the Pose and Take reAL weddIngS 124
the Shot 44
wedding 1: Sasha and Sam 124 glossary 188
All rights reserved. No part of this publication
may be reproduced or used in any form, or by any STYLe And TeChnIqueS 46 wedding 2: Abby and Colby 126 Index 190
means – graphic, electronic or mechanical, including documentary Photography 46 wedding 3: erin and damien 128 Acknowledgments 192
photocopying, recording or information storage-and- Lighting a room 50 wedding 4: Julia and Andrew 130
retrieval systems – without the prior permission of Capturing Flare 54 wedding 5: Jess and Jimmy 132
the publisher.
Capturing the Sunset: Silhouettes wedding 6: Sarah and Brandon 134
and Fill Flash 56 wedding 7: megan and Brett 136
Capturing Fireworks 58
TrASh The dreSS 138
Capturing the venue at night 60
engAgemenT SeSSIOnS 62 Post Production 142
Session 1: Cate and Saro—urban 64 workflow 143
Session 2: Abby and Colby—Country 66 Importing, Sorting and renaming
Session 3: dinah maria and Tom—Beach 68 in Lightroom 146
Culling in Lightroom 148
BOudOIr 70
editing in Lightroom 150
ilex instant
INTRODUCTION
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Photographing a wedding is a rewarding experience. The world of wedding photography d
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It is a joyous occasion, full of touching moments, is changing. Gone are the days of ct
the cookie-cutter approach; increasingly io
beautiful details, and a couple decked out in their couples are looking for a creative wedding n
finest. It can also be a stressful experience if you don’t photography that will capture the essence
of who they are as a couple. Often they
know what to expect. Whether you make wedding want photographs of the two of them
6 photography your hobby or your career, weddings interacting with one another and being 77
spontaneous rather than just another
are once-in-a-lifetime events and you need to be photograph of them looking straight at
prepared to cover them to the best of your ability. the camera. Many couples want a dual
approach —documentary wedding
photography combined with interesting
portraiture—and they are willing to give
their photographer total creative license
to achieve something unique.
left Take your couple into different environments for
a trendy “urban grunge” look. Keep an eye out for
well-drawn or at least suitably colored graffiti (and
remember, you can always airbrush out the odd tag).
right A modern couple in a classic environment. Even
in the most traditional of settings it’s possible to find new
and interesting angles.
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Technology is ever-changing, and as a photographer There is no right or wrong kit to buy— Before you go out and buy a new kit, it
it can be a daunting task to navigate the jungle of gear Nikon vs Canon, prime lenses vs zoom is important to assess your needs. First and
lenses, Mac vs PC—at the end of the day foremost, know what your budget is. Keep in
on the market from year to year. It seems that every the only thing that is important is that mind that it is important to have a backup
time you turn around a new camera body, computer, you buy a system that works for you. You camera (even two backups) at each and every
need to have a system that will help you wedding that you photograph if you are
or lens is being announced. With new cameras and produce the photographs that you want going to be the primary photographer. While
8 technology constantly being developed, it is to produce. Your camera, your lenses and the backup does not need to be the same 9
your computers are only the tools with model as your primary camera (and many
sometimes difficult to know where to start. which you can realize your artistic vision. photographers do spend less money on their Pre
Simply having the most expensive tools backup equipment), you need to be sure that pa
available will not make you a fabulous you would be comfortable shooting the entire ratio
photographer—the camera will only be event on your backup camera. There are no n
as good as the person using it. There are do-overs in wedding photography, and you
many professional photographers out there need to make sure that you have adequate
who could take award-winning photographs backup in case of an accident (I have had a
using just a disposable camera. camera smashed out of my hands on the
dance floor before) or equipment failure
(I once had a camera fail early in the day,
when the bride was putting on her dress).
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You should also have backups for everything he
else—your most-used lens, your flash and W
extra-memory cards. Whether photography ed
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is a hobby or a profession for you, it is going in
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spend up-front. ay
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left Regardless of the weather, you can capture memorable
and intimate shots of the couple. Just make sure you have
the right kit and you are ready for all eventualities. Creativity
is often key, as is an eye for the unusual.
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In the following chapters I will talk about informed decision about your purchase. First, There are four essentials for useful websites W
the different products available. It is important, my most valuable online resource has been photographers in the digital age: the camera opposite Digital Wedding Forum is a valuable online edd
however, that you go to camera and computer the Digital Wedding Forum (http://www. bodies; the lenses; the computers and the resource, made up of thousands of working professionals. in
stores and try the products out for yourself. digitalweddingforum.com). software. There are also many extras that It also has a useful forum dedicated to gear. g D
Find the gear that you are comfortable with. I will mention this resource again later, are available: on-camera flashes; off-camera ay
Find the camera system that is easy for you but suffice to say that the DWF is made up of strobes; specialty lights and specialty
to understand and the computer system that thousands of working professionals and has a cameras. The sheer volume of equipment above DPReview reviews all the cameras on the market.
It also shows sample photographs from each camera,
you find to be the most intuitive. If possible, forum that is dedicated to gear. Another great available can be a bit daunting—hopefully available in Raw and jpeg.
rent or borrow a few different systems and resource can be found at DPReview (http:// the next few chapters will help you navigate
test them out in real-world situations before www.dpreview.com). They review all new the world of photography equipment.
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you Rspeaedn dre av ileowt so fo mn opnroedy.ucts before you buy, ceaamche craasm aenrda ahvaaviela sbalem ipnl eR apwho atnodg rjappehgs. Ffrroemd ost P
but remember to take them with a grain of Miranda’s website (http://www.fredmiranda. rod
salt. Some of the reviewers are sponsored by com) and Luminous Landscape (http://www. uc
the camera companies, so make sure that you luminous-landscape.com) are also great tio
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read reviews from a variety of sources. Talk websites to peruse if you are in the market for
to the professionals that use the camera a new camera or lens. If you are looking for
systems and look at images from each Nikon lenses, I have found Bjørn Rørslett’s
camera. Fortunately, there are several sites website (http://www.naturfotograf.com) to be
that are available to help you make an a great place to start.
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Cameras
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Unless you photograph with a film just getting better and better. I now regularly 300mm instead of 200mm. So, if you body since I do a lot of sessions outdoors in
camera, it can be incredibly difficult photograph at an ISO of 6400 during certain routinely photograph large weddings (or the wind on the beach, so the Nikon D3S (and
to keep up with the ever-changing camera parts of my reception (I shoot with the Nikon you photograph wildlife), you may prefer a the Nikon D3 before it) was the camera body
models. Nikon and Canon announce new D3S), and the lack of digital noise in a cropped sensor. Price may also be a factor that I needed. You may find that your needs
camera models every year, and the well-exposed file from the D3S at 6400 in your choice—on the Nikon side of the are different, so do your research (check out
ever-expanding line of cameras has blurred is astonishing. equation, the full-frame cameras are the some of the reviews and sample images at
the distinction between professional, When you are choosing a camera, it is most expensive by far. places like dpreview.com and some of the
12 prosumer and consumer models. important to know whether the body has a It is also important to look at some of photo magazines) and test out your camera 13
The two big players in the DSLR market cropped sensor or whether it is full-frame. the other specs on the camera before you of choice (if possible) before buying.
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right now are Nikon and Canon. I personally You may have a preference—for example, purchase anything—for example, what is the re
shoot Nikon and have done so since the I prefer shooting full-frame and the latest maximum ISO? Does your camera have dual pa
beginning of my career, but I have assistants Nikon top-of-the-line DSLRs have all been card slots? Does it allow you to shoot video? ratio
who shoot Canon and I have worked with the full-frame. However, there are several Canon The model of camera that you prefer may be n
files enough to say that the files coming out and Nikon DSLRs that have cropped sensors, dictated by your answer to those questions. I
of the top-of-the-line cameras from both and I know that some professionals prefer like shooting at high ISOs with available light,
companies are simply incredible. With them because the cropped sensor will give and I like shooting dual-card slots (I shoot
updates to the professional, prosumer and them the extra reach from their lenses. one card of Raw files on one card and shoot
consumer DSLRs coming every year, the For example, the maximum reach of the jpegs of the same images simultaneously on
cameras and the files that they output are 70–200mm on a 1.5x crop factor will be the second card), and I need a rugged camera
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NikON D3s eOs 5D Mark ii din
The Nikon D3S—the most The EOS 5D Mark II is a g
current professional DSLR popular choice amongst Da
from Nikon. photographers. y
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Lenses
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14–24mm ƒ/2.8) as a specialty lens for open 70–200mm ƒ/2.8 rather than my trusty 85mm
dancing on dance floors where space is at a ƒ/1.4. If I am trying to photograph the shy
premium and for fireworks and sparklers. child in the wedding party who tries to hide
Zooms also have their place, and I know under the table whenever I approach, I
many professional photographers who will photograph her with my 70–200mm
choose zooms over prime lenses. Zooms are somewhere in the 180–200mm range so that
wonderful because of the flexibility that they I can get a great shot of her without getting
14 afford. In addition to the Nikon 14–24mm close. When I use the 70–200mm, my subjects 15
ƒ/2.8, I own several top-of-the-line Nikon usually have no idea that they are being
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zooms. I keep them primarily as backup, photographed, which produces very re
but I do use them if the situation calls for it. real expressions. pa
As important as which camera to buy is 24MM 1.4 Fiso rre esxtraimctepdle o, irf imf Iy h aacvcee slism tiote tdh em coebreilmityo ny below Long lenses are great for photographing ration
the decision regarding which lenses to My favorite wide-angle lens from Nikon, the 24mm 1.4 during the ceremony for some reason and children because you can do it without drawing
use. In general, I always recommend that (released in 2010). I know that I am going to need to be in their attention. The same is true for ceremonies,
when you don’t wish to be obtrusive. Here is a
photographers buy the most expensive, 50MM 1.4 the 100–200mm range, I will choose to photograph of a child during a ceremony. Taken
fastest lenses that they can afford. Why? photograph the ceremony with my Nikon at 200mm with Nikon’s 80–200mm 2.8 lens.
The new Nikon 50mm 1.4 with improved bokeh
Because you could have the best camera out
and handling.
there, but if you don’t have good glass it
will go to waste. Choose carefully—the you are planning an upgrade to one in the
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lenses in your wedding kit could cost you near future, it would probably be a wise he
more than the camera itself, so I would decision to pass over the DX lens line entirely. W
suggest that you rent or borrow some of the Prime vs. zoom is a popular debate—I ed
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different lenses that are available to figure believe that it all comes down to style and in
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out what would work for you before you personal preference. Primes have a wider D
purchase anything. There are several great maximum aperture than their zoom ay
online lens rental companies, and many counterparts, allowing you to choose a very
camera shops that cater to pros offer shallow aperture of up to 1.4 (for some Nikon
rental programs. lenses) or 1.2 (for some Canon lenses). I shoot
Many of the professional camera bodies primes because I like to shoot available light
are now full-frame. However, there are still whenever possible, and shooting at an aperture
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specifically for camera bodies without cropped the shallow depth of field that they give me. rod
sensors. In the Nikon line, they are called DX I can throw the background out of focus while uc
lenses. The 35mm 1.8 ƒ/2.8 and the 10.5mm my subject remains in sharp focus. I also tio
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ƒ/2.8 are two examples of DX lenses. For the appreciate the lighter weight (although there
most part, you do not want to use DX lenses are some heavy primes out there) of primes
on a full-frame camera body (although there and feel comfortable shooting one-handed if
are some exceptions to this rule). If you are there is a prime lens on my camera body. I do
starting out with a full-frame camera or if currently use one zoom lens (the Nikon
Ilex Instant Ilex Instant
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fisheye
left Here is an example of
a fisheye shot—notice the
rounded horizon. This was
16 taken with the Sigma 16mm 17
on the D2X. I photographed
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my camera’s meter. It was ara
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right Professional-grade
tilt-and-shift lenses include
detailed controls.
leNsbaby
below right Similar effects
can be had with the LensBaby
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investment than a traditional e
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The fisheye lens is another tool that some ƒ/2.8 are all great options) or you can am covering a wedding that requires me
photographers choose to use—it is extremely purchase software that will allow you to to carry all of my equipment on my person
wide and produces a warping effect around de-fish your shot. There are several products rather than stashing a bag somewhere (or
the edges of the photograph. I love my available that will help you to do this, but the leaving one in the car), I will leave my macro
fisheye—it adds variety to my ceremony best that I have found is carried by DxO at home and opt to use my 35mm ƒ/2
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the entire scene. I also use my fisheye for detail shots. I love to use my 60mm ƒ/2.8 lens to the macro lens is a set of macro filters that photographers that do amazing work with rod
different portraiture, although I am always to photograph so many of the small details, can be placed on your lens to allow you to these types of lenses. The Lensbaby is uc
careful to keep my subjects in the center of including the rings, the cufflinks, place cards simulate the look of a macro lens. another fun option—it gives you the ability tio
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the frame to avoid warping of faces. If you are and more. If you do not want to spend a large There are other specialty lenses which you to choose a small part of the frame that will
not fond of the fisheye look but like the extra amount of money on a lens that might see may choose to utilize. The tilt-shift lens will be in focus and then it gives you a graduated
width, you can take a look at the wide lens limited time on your camera, check out the allow you greater control and creativity when blur from that spot of focus. You can control
options (in the Nikon line-up the 14–24mm minimum shooting distance on some of the it comes to depth of field and perspective, the amount of blur and the precision with
ƒ/2.8, 17–35mm ƒ/2.8, 24mm ƒ/1.4 and 14mm lenses that you already own. For example, if I and there are some professional wedding the type of Lensbaby that you choose.
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Lights and Transmitters
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Even if you prefer to shoot with available SC–28 or SC–29 work well for Nikon) is a
light, it is almost always necessary to simple solution, although it limits you in
have a flash or secondary lighting source terms of the number of lights that can be
with you. I will talk about how I light a used and the distance from the camera that
reception in a later chapter, but for now you can place the lights. You can also use a
let me recommend that at the very least set of smart speedlights that “speak” to each
you purchase an on-camera flash. Not other (Nikon speedlights offer a creative
18 all on-camera flashes are created equal— wireless speedlight system in which one 19
purchase one of the latest models and you camera acts as a master and controls the
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will have an intelligent flash that works well others). While these are great, they usually re
on TTL mode and also allows for full manual require a line of sight to the master pa
control, as well as a flash head that swivels speedlight to function properly. The option ratio
in all directions allowing you maximum that offers you the most flexibility would be n
creativity when it comes to lighting a set of radio transmitters. There are some
your reception. great brands out there, and each comes at
There are many photographers that also a slightly different size, price point, and with
choose to work with a video light. A video different options on board. I have a set of
light is a great tool for adding a creative Pocket Wizards that work well, and I have
touch of light to the scene. There are many also played with a set of Radio Poppers and
models, from the $30 Sima SL20–LX (which I found them to be excellent. If you would like
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my good friend Jamison Wexler uses with to do more research on radio transmitters to he
great success) to Lowel kits costing hundreds see which set might work well for you, head W
(if not thousands) of dollars. Once again, your over to the Strobist forum (http://www. ed
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selection should come down to budget, strobist.blogspot.com) where you will find in
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portability and practicality—whether you a wealth of information on this and other D
work with an assistant, or how often you see lighting-related topics. Whether you work with ay
yourself using the video light, for example. one light on-camera, one light off-camera, or
If you are planning to work with several lights spread over a few locations, it
off-camera lighting, then a flash cord (the is always a good idea to have backup flashes
on hand as these can and do burn out from
time to time.
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Off-caMera light
The Nikon Speedlight SB–900 is one of many
options for mobile off-camera light.
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