100 Techniques for Professional Wedding Photographers.pdf
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100 Techniques for Professional Wedding Photographers
100
TECHNIQUES
for
PROFESSIONAL
WEDDING
PHOTOGRAPHERS
BILL HURTER
Amherst Media
®
PUBLISHER OF PHOTOGRAPHY BOOKS
About The Author
Bill Hurter has been involved in the photographic industry for the past thirty years. He is the former editor of
Petersen’s
PhotoGraphic
magazine and currently the editor of both
AfterCapture
and
Rangefinder
magazines. He has authored over
thirty books on photography and hundreds of articles on photography and photographic technique. He is a graduate of
American University and Brooks Institute of Photography, from which he holds a BFA and Honorary Masters of Science
and Masters of Fine Art degrees. He is currently a member of the Brooks Board of Governors. Early in his career, he cov-
ered Capital Hill during the Watergate Hearings and worked for three seasons as a stringer for the L.A. Dodgers. He is mar-
ried and lives in West Covina, CA.
Copyright © 2009 by Bill Hurter.
All rights reserved.
Front cover photograph by Tom Muñoz.
Back cover photograph by Bruce Dorn.
Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com
Publisher: Craig Alesse
Senior Editor/Production Manager: Michelle Perkins
Assistant Editor: Barbara A. Lynch-Johnt
Editorial Assistance from: John S. Loder, Carey A. Maines, Charles Schweizer
ISBN-13: 978-1-58428-245-7
Library of Congress Control Number: 2007926665
Printed in Korea.
10 9 8 7 6 5 4 3 2 1
No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechani-
cal, photocopied, recorded or otherwise, without prior written consent from the publisher.
Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The au-
thor and publisher will not be held liable for the use or misuse of the information in this book.
Table of Contents
Introduction
What Makes a
Great Wedding Photographer? . . . . . . . . . . . . . . . . .7
Consistency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Likability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Cool Under Pressure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
Up to Date . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
A Great Observer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
The Ability to Idealize . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Creative Vision . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Immersion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Meter Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Quick Exposure Evaluation . . . . . . . . . . . . . . . . . . . .32
11. Choose the Right Shutter Speed . . . . . . . . .32
12. Choose the Right Aperture . . . . . . . . . . . . . .35
13. Select the Optimal Color Space . . . . . . . . .36
14. White Balance Saves Time . . . . . . . . . . . . . . . .37
1. Develop Your People Skills . . . . . . . . . . . . . . .14
2. Recognize What’s Special . . . . . . . . . . . . . . . . .16
3. Shoot Peak Action . . . . . . . . . . . . . . . . . . . . . . . .19
Be Prepared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Observe and React Quickly . . . . . . . . . . . . . . . . . . . . .19
4. Work Unobtrusively . . . . . . . . . . . . . . . . . . . . . .21
5. Sync Your Cameras . . . . . . . . . . . . . . . . . . . . . . .23
6. Pack Three Camera Bags:
A Tip From Marcus Bell . . . . . . . . . . . . . . . . . . .23
7. Have Backup and
Emergency Equipment . . . . . . . . . . . . . . . . . . . . .24
8. Clean Your Image Sensor . . . . . . . . . . . . . . . . .25
9. Make Calculated Lens Choices . . . . . . . . . . .26
Prime or Zoom? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Wide Angles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Telephotos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
The Normal Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Perspective and Distortion . . . . . . . . . . . . . . . . . . . . . .29
10. Get the Exposure Right . . . . . . . . . . . . . . . . . . .31
Accuracy is Critical . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
table of contents
3
15. Watch Your ISO Settings . . . . . . . . . . . . . . . . .38
21. Refine the
Head-and-Shoulders Axis . . . . . . . . . . . . . . . . .47
22. Consider the Facial Views . . . . . . . . . . . . . . . .47
16. File Format: Speed vs. Versatility . . . . . . . . .40
RAW Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
The Seven-Eights View . . . . . . . . . . . . . . . . . . . . . . . .47
Other Useful Formats . . . . . . . . . . . . . . . . . . . . . . . . .41
17. Watch the File Compression . . . . . . . . . . . . . .42
The Three-Quarter View . . . . . . . . . . . . . . . . . . . . . .48
Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
LZW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
23. Watch the Eyes and Smile . . . . . . . . . . . . . . . .48
The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
JPEG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
ZIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
The Smile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
18. Chimping: Evaluating an Image . . . . . . . . . . . .43
19. Understand Posing Essentials . . . . . . . . . . .44
24. Evaluate the Arms and Hands . . . . . . . . . . . .49
Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Giving Directions . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
25. Put the Weight on the Back Foot . . . . . . . . .51
Subject Comfort . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
20. Choose a Portrait Length . . . . . . . . . . . . . . . .45
26. Control the Camera Height . . . . . . . . . . . . . .52
Head and Shoulders . . . . . . . . . . . . . . . . . . . . . . . . . .45
Three-Quarter and Full-Length Poses . . . . . . . . . . . . .45
27. Posing Couples . . . . . . . . . . . . . . . . . . . . . . . . . .53
28. Adding a Third Person . . . . . . . . . . . . . . . . . . .55
29. Adding a Fourth and Fifth Person . . . . . . . .55
30. Photographing Larger Groups . . . . . . . . . . .56
31. Speeding Up Your Group Portraits . . . . . . . .57
32. Control the Focus Field . . . . . . . . . . . . . . . . .58
Adjust the Camera Angle . . . . . . . . . . . . . . . . . . . . . .58
Adjust the Subject Distance . . . . . . . . . . . . . . . . . . . .59
33. Refine the Main and Fill Lights . . . . . . . . . . .59
34. Control the Hair Light . . . . . . . . . . . . . . . . . . .60
35. Use a Background Light . . . . . . . . . . . . . . . . . .61
36. Add Kicker Lights . . . . . . . . . . . . . . . . . . . . . . . .62
37. Choose Broad or Short Lighting . . . . . . . . .63
38. Lighting Tips
From Mauricio Donelli . . . . . . . . . . . . . . . . . . .63
39. Look for the Classic
Lighting Patterns . . . . . . . . . . . . . . . . . . . . . . . .65
Paramount Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .66
Loop Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Rembrandt Lighting . . . . . . . . . . . . . . . . . . . . . . . . . .67
Split Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
Profile or Rim Lighting . . . . . . . . . . . . . . . . . . . . . . .68
40. Avoid Double Shadows and
Double Catchlights . . . . . . . . . . . . . . . . . . . . .69
41. Understand Lighting Ratios . . . . . . . . . . . . . .69
42. Avoid Overlighting . . . . . . . . . . . . . . . . . . . . . . .69
43. Evaluate Your Options . . . . . . . . . . . . . . . . . . .70
44. Find and Use Open Shade . . . . . . . . . . . . . . . . .70
45. Working with Direct Sunlight . . . . . . . . . . . .71
57. Studio Flash Systems on Location . . . . . . . .82
46. Watch the Room Light . . . . . . . . . . . . . . . . . . . .74
58. Use Umbrellas . . . . . . . . . . . . . . . . . . . . . . . . . . .83
47. Take Advantage of Window Light . . . . . . . . .74
59. Try Handheld Video Lights . . . . . . . . . . . . . . .84
60. Befriend the Couple . . . . . . . . . . . . . . . . . . . . .85
48. Reflectors for Fill . . . . . . . . . . . . . . . . . . . . . .75
49. Getting the Most From
On-Camera Flash . . . . . . . . . . . . . . . . . . . . . . . .76
61. Get to Know the Event . . . . . . . . . . . . . . . . . . .85
62. Engagement Portraits
Smooth the Path . . . . . . . . . . . . . . . . . . . . . . . . .86
50. Know Your Flash-Sync Speed . . . . . . . . . . . . .77
51. Flash Options . . . . . . . . . . . . . . . . . . . . . . . . . . .77
63. Make a Bridal Portrait, Too . . . . . . . . . . . . . .87
64. Have a Master Schedule . . . . . . . . . . . . . . . . .89
Barebulb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Diffused Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
52. Flawless Fill-Flash Exposure . . . . . . . . . . . .78
65. Learn Everybody’s Names . . . . . . . . . . . . . . . .89
66. Work with an Assistant . . . . . . . . . . . . . . . . . .90
67. Dress for Success . . . . . . . . . . . . . . . . . . . . . . .92
53. FLash for the Main Light . . . . . . . . . . . . . . . . .78
At Twilight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
68. At the Bride’s House/Hotel Room . . . . . . . .93
On Overcast Days . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
69. Photographing the Bride’s Attire . . . . . . . . .94
The Wedding Dress . . . . . . . . . . . . . . . . . . . . . . . . . .94
54. Adding Bounce Flash . . . . . . . . . . . . . . . . . . . .79
Bounce Flash Off Walls and Ceilings . . . . . . . . . . . . . .79
The Bouquet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Bounce-Flash Devices . . . . . . . . . . . . . . . . . . . . . . . . .80
55. Using Remote triggering Devices . . . . . . . . .80
The Veil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
70. Working with Late Brides . . . . . . . . . . . . . . . .97
56. Try the Nikon
Speedlight Commander . . . . . . . . . . . . . . . . . .82
71. Working with the Guys . . . . . . . . . . . . . . . . . . .98
72. Covering the Ceremony . . . . . . . . . . . . . . . . . .99
table of contents
5
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