Table Of Content

WEDDING PHOTOGRAPHY Advanced Techniques for Digital Photographers Bill Hurter Amherst Media ® PUBLISHEROFPHOTOGRAPHYBOOKS ABOUTTHEAUTHOR BillHurterhasbeeninvolvedinthephotographicindustryforthepastthirtyyears.HeistheformereditorofPetersen’s PhotoGraphicmagazineandcurrentlytheeditorofbothAfterCaptureandRangefindermagazines.Hehasauthoredover thirty books on photography and hundreds of articles on photography and photographic technique. He is a graduate ofAmericanUniversityandBrooksInstituteofPhotography,fromwhichheholdsaBFAandHonoraryMastersofScience andMastersofFineArtdegrees.HeiscurrentlyamemberoftheBrooksBoardofGovernors.Earlyinhiscareer,hecov- eredCapitalHillduringtheWatergateHearingsandworkedforthreeseasonsasastringerfortheL.A.Dodgers.Heis marriedandlivesinWestCovina,CA. CheckoutAmherstMedia’sblogsat:http://portrait-photographer.blogspot.com/ http://weddingphotographer-amherstmedia.blogspot.com/ Copyright©2010byBillHurter. Allrightsreserved. FrontcoverphotographbyBruceDorn. BackcoverphotographbyBenChen. Publishedby: AmherstMedia,Inc. P.O.Box586 Buffalo,N.Y.14226 Fax:716-874-4508 www.AmherstMedia.com Publisher:CraigAlesse SeniorEditor/ProductionManager:MichellePerkins AssistantEditor:BarbaraA.Lynch-Johnt EditorialAssistancefrom:SallyJarzab,JohnS.Loder ISBN-13:978-1-58428-990-6 LibraryofCongressControlNumber:2009911196 PrintedinKorea. 10 9 8 7 6 5 4 3 2 1 Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechanical, photocopied,recordedorotherwise,withoutpriorwrittenconsentfromthepublisher. NoticeofDisclaimer:Theinformationcontainedinthisbookisbasedontheauthor’sexperienceandopinions.Theauthor andpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook. Table of Contents WithAmbientLight .......................21 CHAPTER1 WhatMakesaWeddingPhotographerGreat? ......7 ImageStabilization ........................21 WorkingWellUnderPressure ...................7 WhiteBalance ..............................22 CapturingStyleandElegance ...................7 ACleanImageSensor ........................23 BeingaSkilledObserver .......................8 SIDEBAR:SyncThemUp ........................23 GoodTiming ...............................8 Preparation ...............................9 AMS. D A ReactionTime ............................9 CK NI SIDEBAR:GraphicDesignSense ....................9 HBY AP TheAbilitytoIdealize ........................10 R G O T Immersion ................................11 O H P Reactivevs.Proactive ........................11 SIDEBAR:It’sAboutSeeing ......................11 GoodPeopleSkills ..........................13 StorytellingSkills ...........................14 LovingWhatYouDo ........................14 SIDEBAR:ShootMore,NotLess ...................16 CHAPTER2 TechnicalConsiderations ....................17 ExposureandMetering .......................17 ExposureLatitude ........................17 WeddingsPresenttheUltimateinExtremes .....18 SIDEBAR:WhyDoYouNeedaFlashmeter? ...........18 ANoteAboutShootingRAW ...............19 IncidentLightMeters ......................19 EvaluatingExposure .......................19 ColorSpace ...............................19 Metadata ..................................20 TheRightShutterSpeed ......................21 WithFlash ..............................21 K. Light-Actuated ...........................41 A V NO Infrared ................................41 A R AU Radio(DigitalorAnalog) ...................41 L Y HB SpareBatteries .............................41 AP OGR SIDEBAR:InternationalTravelwithGeneHiga ........41 T O H P CHAPTER3 PosingPrinciples ...........................42 GivingDirections ...........................42 SubjectComfort ............................43 FacialPositions .............................43 TopLensChoices ...........................24 TheSeven-EighthsView ....................43 FastLenses ..............................24 TheThree-QuartersView ...................44 PrimeLenses ............................24 TheProfile ..............................44 SIDEBAR:MarcusBell’sThreeCameraBags ..........24 TheEyes ..................................44 Wide-AngleLenses ........................26 TheSmile .................................45 ZoomLenses ............................26 SIDEBAR:TheKiss .............................45 TelephotoLenses .........................27 TheShoulders ..............................46 NormalLenses ...........................28 TheArms .................................46 FocalLengthandPerspective ..................29 TheHands ................................47 TelephotoLenses .........................29 HandsinGroups .........................49 SIDEBAR:FocalLengthFactors ...................29 HandswithStandingSubjects ................49 NormalLenses ...........................31 SIDEBAR:PosingPortraitsofSeatedMen ............49 Wide-AngleLenses ........................32 WeightontheBackFoot......................50 FocusandDepthofField .....................32 PortraitLengths ............................50 SIDEBAR:EvaluatinganLCDImage ................32 Head-and-ShouldersPortraits ................50 ISOSettingsandNoise .......................33 Three-Quarter-andFull-LengthPortraits .......51 FileFormats ...............................34 CameraHeight .............................52 JPEGFormat ............................34 GroupPortraits .............................53 JPEG2000Format........................35 Couples ................................54 RAWFormat ............................35 AddingaThirdPerson .....................55 AdobeDNGFormat.......................35 AddingaFourthandFifthPerson .............56 GIFFormat .............................36 SIDEBAR:TheArmchairasaPosingTool ............56 TIFFFormat ............................36 SixPeopleandUp ........................57 PhotoshopEPSFormat ....................37 FormalsofBiggerGroups ...................57 DCSFormat .............................37 SIDEBAR:IsItPosingorDirecting? .................57 PSDFormat .............................37 GettingEveryoneinthePicture ..............59 FileCompression ...........................38 SIDEBAR:KeepingtheCameraBack SIDEBAR:CaptureSharpeningvs.OutputSharpening ...38 ParalleltotheSubjects .................59 WorkflowIssues ............................39 SIDEBAR:SpeedingUpYourGroupPortraits .........59 ProtectingYourSourceFiles .................39 DanDoke’sWeddingWorkflow ..............39 CHAPTER4 MikeColón’sWiFiWorkflow ................40 LightingPrinciples ..........................60 BackupandEmergencyEquipment ..............40 BasicPortraitLighting .......................60 RemoteTriggeringDevices ....................41 MainLightandFillLight ...................61 4ADVANCEDWEDDINGPHOTOGRAPHYHANDBOOK HairLight ..............................61 ChecktheCustoms ..........................89 BackgroundLight.........................62 CreateaMasterSchedule .....................90 KickerLight .............................63 BeaTeamPlayer ............................90 SIDEBAR:LightingTipsfromMauricioDonelli ........63 Assistants .................................91 BroadandShortLighting .....................64 APositive,RelaxedAttitude ...................92 BasicPortraitLightingSetups ..................64 ParamountLighting .......................64 CHAPTER7 LoopLighting ...........................64 TheKeyShots .............................93 RembrandtLighting .......................65 EngagementPortrait .........................93 SplitLighting ............................66 TheBrideGettingReady .....................93 ProfileorRimLighting ....................66 TheGroomBeforetheWedding ................94 AdaptingtheFormalLightingPatterns TheCeremony .............................95 toSuittheSituation .....................67 FormalPortraits ............................95 DoubleShadowsandCatchlights ...............67 TheBrideandGroom .....................96 LightingRatios .............................68 TheBrideAlone ..........................97 SIDEBAR:ASpecialGroupPortrait .................68 TheWeddingParty ..........................99 Overlighting ...............................69 SIDEBAR:KevinJairaj’sBridalSessions ..............99 StudioLightingonLocation ...................69 TheRings ................................100 CHAPTER5 OutdoorandMixedLighting ..................70 LocationLightingEquipment ..................70 Reflectors ...............................70 ElectronicFlash ..........................71 BarebulbFlash ...........................73 Studio-FlashSystems ......................74 HandheldVideoLights ....................75 Umbrellas ...............................76 WorkingwiththeAvailableLight ...............77 DirectSunlight ...........................77 OpenShade .............................79 SIDEBAR:TheDirectionoftheLight................79 WindowLight ...........................80 FlashTechniquesonLocation ..................82 FlashforFillLight ........................82 FlashastheMainLight .....................83 SIDEBAR:RoomLamps .........................83 BounceFlash ............................84 FlashOutput ............................85 K. N CHAPTER6 UISSI PreparationandPlanning ....................86 OEB J TheConsultation ...........................86 BY H TheEngagementPortrait .....................88 RAP G O T VisittheVenues ............................88 O H P TABLEOFCONTENTS5 LeavingtheChurch ........................101 PhotoshopToolsandTechniques ..............108 TheReceptionSite .........................101 LayersandMasks ........................108 TheReception ............................101 UsingLayers ............................108 TheCakeCutting ........................103 UsingLayerMasks .......................109 TheFirstDance .........................103 RetouchingTechniques ......................109 TheBouquetToss .......................103 RemovingBlemishes ......................109 TableShots .............................104 EliminatingShininessandWrinkles ...........109 Kids ..................................104 SelectiveSoftFocus ......................110 SmoothingtheSkin ......................110 EnhancingtheEyes ......................111 CHAPTER8 PostproductionandAlbumDesign ............105 MoreonEyes ...........................111 ColorManagement .........................105 ColorCorrectionandToning ...............111 MonitorProfiles .........................105 TargetingWhite&GrayPointsinLevels ....111 PrinterProfiles ..........................106 SelectiveColor ........................111 CameraProfiles .........................106 SIDEBAR:KodakColorPrintViewingFilterKit .......111 SIDEBAR:OptimalViewing ......................106 Sepia/BlueTone ......................112 ThePhotoshopRevolution ...................107 SoftColor ...........................112 SIDEBAR:PhotoshopDoesn’t Liquify ................................112 MakethePhotographer ..................107 Single-ChannelSharpening .................113 ColorSampling .........................113 A. TSL WeddingAlbums...........................114 ME A AlbumTypes ...........................114 K NI AN AlbumDesign ..........................114 Y B H TitlePage ..............................114 AP R OG LeftandRightPages .....................114 T O PH Variety ................................114 VisualWeight ...........................114 ReadingDirection .......................114 SIDEBAR:CreativityCounts .....................114 Conclusion ...............................115 ThePhotographers ........................116 Glossary .................................120 Index ...................................123 C H A P T E R 1 What Makes a Wedding Photographer Great? The rewards of being a successful wedding photographer can be great—not only financially, but also in terms of community status. The wedding photographer of the new millennium is not regarded merely as a craftsman, or as a “weekend warrior,” but as an artist and an important member of the community. In preparing the text for this book, I searched for the presentation. Additionally, there are no second chances if right words to define what makes “great” wedding pho- anythingshouldgowrongphotographically. tography and, consequently, “great” wedding photogra- Asaresult,weddingphotographersmustmasterawide phers. Consistency is surely one ingredient of greatness. variety of different types of photography and be able to Thosephotographerswhoproducesplendidalbumseach performunderpressureinaverylimitedtimeframe.This timeoutarewellontheirwaytogreatness.Greatwedding pressureiswhymanygiftedphotographersdonotpursue photographers also seem to have highest-quality people weddingphotographyastheirmainoccupation. skills. Through my association with WPPI and Range- findermagazine,Italktohundredsofweddingphotogra- CAPTURINGSTYLEANDELEGANCE pherseachyear.Acommonthreadamongthereallygood Today’sweddingcoveragereflectsaneditorialstylethatis ones is affability and likability. They are fully at ease with pulleddirectlyfromthepagesofbridalmagazines.Noted otherpeopleandtheyhaveasenseofpersonalconfidence Australian wedding photographer Martin Schembri calls thatinspirestrust. thisformofweddingcoveragea“magazinestyle”ofwed- dingphotography,“aclean,straightlook.”It’sreminiscent WORKINGWELLUNDERPRESSURE of advertising/fashion photography—and, in fact, if you Each couple, and their families, make months of detailed studythebridalmagazinesyou’llnoticethatthereisoften preparations—nottomentionaconsiderablefinancialin- verylittledifferencebetweentheadvertisingphotographs vestment—intheironce-in-a-lifetimeevent.Itisthedayof andtheeditorialones. dreamsand,assuch,expectationsarehigh.Couplesdon’t These magazines are what prospective brides look at justwantaphotographic“record”oftheday’sevents,they constantly.It’showtheywanttobefeaturedintheirown want inspired, imaginative images and an unforgettable wedding pictures. As a result, most successful wedding WHATMAKESAWEDDINGPHOTOGRAPHERGREAT?7 photographers scour the bridal magazines, studying the thesespecialmomentsandthatmemorializingthemisthe various examples of editorial and advertising photogra- essenceofgreatweddingphotography. phy—just to ensure they are ready to deliver the latest Withexperiencecomesanintuitivesenseoftherhythm looks. and flow of such events; through keen observation, the photographer begins to develop a knack for predicting BEINGASKILLEDOBSERVER whatwillhappennext.Greatweddingphotographersare Great wedding photographers are invariably great ob- always watching and monitoring the events—and usually servers.Theysee—andcapture—theinnumerablefleeting morethanoneeventatatime. moments that often go unnoticed. The experienced pro- fessionalknowsthattheweddingdayisoverflowingwith GOODTIMING Being in the right place at the right time—and ready to capturethatperfectimage—isafunctionofgoodprepara- tion,experiencedobservation,andquickreactiontime. LEFT—NickAdamscreatedaboldcroppingtoisolatethebeautiful featuresandnecklacesofthisbride.Nickusedasingle4x3-foot softboxasafrontalmainlightandtwomonolightsbehinda6x8- footscrimbehindthebride.Thetwobacklightswereusedat45- degreeanglestothebrideandwereusedtoaddcrisphighlights toherhairandthelineofhershoulders.Reflectorswereusedat either side of the model to help redirect stray light. The image wasmadewithaNikonD2Xand17–55mmf/2.8lensatISO100. Theexposurewas1/160secondatf/8.BELOW—Evenwithgreataf- ternoon backlighting and a beautiful location, the single most definingelementofthisengagementportraitistiming.Knowing when the moment and interaction were at their peak made this photoagreatone.PhotographbyRobertoValenzuela. GRAPHIC DESIGN SENSE Preparation. Great wedding photographers do their Charles Maring is as much a graphic designer as he is a homework.Afterall,themoreyouknowaboutthesched- top wedding photographer, with studios in Connecticut uledeventsandtheirorder,thebetteryoucandetermine and New York City. He assimilates design elements from thebestwaystodocumenteachone.Basedonthisinfor- thelandscapeofthewedding—color,shape,line,architec- mation the photographer can better choreograph his ture, light and shadow—and he also studies the dress, shoes, rings, accessories, the color of the bridesmaids’ movementstobeintheoptimumpositionforeachphase dresses, etc., and then works on creating an overall work of the wedding day. The confidence that this kind of ofart(i.e.,thealbum)thatreflectsthesedesignelements preparation provides is immeasurable. (For more on the oneverypage. importanceofpreparation,seechapter6.) Reaction Time. The better you know an event, the betteryourreflexeswillbecome.However,thereisalsoan CliffMautnerblendsfashionandphotojournalisticcoverageinto allhisweddingshots.Here,Clifftookadvantageofexistinglight and fast optics and a high ISO to get this priceless shot. Notice thefourcouplesinthebackgroundlookingintentlyatthebride andgroom.TheshotwasmadewithaNikonD3and28mmf/1.4 lensatISO3200.TheimagewasmadeinRAWmodeandthecolor temperaturewarmedupto2800Ktogivetheimageanold-time look. intangible aspect to reaction time that all photographers must hone: instinct, the internal messaging system that triggersreaction.Youmusttrainyourselftotranslateinput intoreaction,analyzingwhatyouseeanddeterminingthe criticalmomenttohittheshutterrelease.Masterwedding photojournalistJoeBuissinksays,“Trustyourintuitionso thatyoucanreact.Donotthink.Justreact—oritwillbe toolate.” Keepinmindthatthereisanebbandflowtoeveryac- tion.Imagineapole-vaulter;atonemomentheisascend- ingandinthenextmomentheisfalling—butinbetween those two moments, there is an instant of peak action. That is what the photographer should strive to isolate. Someweddingphotographerstakestyletothenextlevel.Michael Witharefinedsenseoftimingandgoodobservationskills Schuhmann,forexample,saysofhiswork,“It’sdifferent;it’sfash- youwillgreatlyincreaseyourchancesforsuccessfulexpo- ion,it’sstyle.”Thisimageisquiteunliketheoriginal,havingbeen suresinweddingsituations. alteredconsiderablyinPhotoshop. WHATMAKESAWEDDINGPHOTOGRAPHERGREAT?9