Wedding Photography E-Book

Terry Hewlett

• Herausgeber: Crowood
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 267

Veröffentlichungsjahr: 2014

Beschreibung

Weddings are beautiful and exciting occasions, but they are a tense challenge for the photographer. This practical book explains how to take romantic signature shots, as well as how to capture the spontaneous moments of the day. Written by an experienced professional and teacher, it gives essential tips to managing the day and covers the small details that will ensure your photography is cherished for a lifetime. It introduces different styles of wedding photography and advises on building a business, as well as explaining photographic techniques. It runs through the day's timeline and suggests how to prepare the final photographs. This practical book will teach you how to take stunning photographs of the bride and groom, their wedding and the story of the day. Beautifully illustrated with 172 colour photographs.

Leseprobe

Wedding Photography

Art and Techniques

Terry Hewlett ARPS

THE CROWOOD PRESS

First published in 2012 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

www.crowood.com

This e-book first published in 2014

© Terry Hewlett 2012

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.

ISBN 978 1 84797 849 3

All photographs are by the author, with the exception of page 22 by Andy Cubin

Dedication

To my supportive and caring wife, Vivienne

CONTENTS

Foreword by Andy Cubin MBE, ASIFGP

Introduction

1

Developing Your Style

2

Starting Your Business

3

The Bag of Tricks

4

Working and Shaping the Light

5

Seeing the Picture

6

Planning the Day

7

Signature Shots

8

Group Shots

9

Working the Day: The Ceremony

10

Working the Day: The Reception

11

Digital Workflow

12

Albums and End Products

Conclusion

Appendix: The ‘Must-get’ Shots

Further Information

Index

Foreword

I have known the author for a healthy number of years. Our relationship is an odd one in that it would be befitting of many descriptions; master/student, business partners, friendly rivals, confidants and mutual critics would all be or would have been apt at some time. Certainly, we have become fast friends and will doubtlessly remain so whilst both of us are still drawing breath.

I first met him at a photographic convention and, on our first encounter, we barely exchanged ten words. Since then we have exchanged hundreds of thousands of words. So it should have been a simple matter to set down a few more in this foreword – it is after all a well-known subject. Only when I started to put finger to keyboard did I begin to realize what a mammoth task writing a book on wedding photography must have been.

Today, wedding photography is saturated with thousands of people (not photographers) who have invested in an SLR and go out without any education or training and offer their services at appealingly low prices to the budget-conscious couple-to-be. And many of these couples fall into the trap only to be disappointed at the final results on what should have been their most important of days – this book is not for them.

Being a competent wedding photographer is much more than just having the ability to take impressive pictures – that in itself should be an essential skill that, sadly, many photographers fail to achieve. In order to command a respectable level of remuneration for photographing the big day, the image-maker must be creative and efficient within the time allotted to him or her – and that takes knowledge and practice.

There is no substitute for practical experience but, in addition, the wedding photographer needs to be a tactician, comedian, diplomat, motivator, suppressor, improviser, sergeant-major, sympathizer, clairvoyant, detective and all round problem-solver. He or she needs not only to possess all these character traits, but also be able to switch from one to another instantly and to keep it up for ten hours or more come (and in) rain or shine.

This book provides a vital part of the aspiring or improving wedding photographer’s education. It is well-established that knowledge and experience are skills without which the wedding photographer would surely fail. Knowledge is an essential requirement that the wedding photographer needs in order to be ahead of the game and/or to cope with the unexpected – and the unexpected always happens.

Within these chapters lie words of wisdom borne from decades of experience of photographing hundreds of weddings and from years of training wedding photographers on how to make a success of this business.

This book is likely to be one of the most comprehensive tomes written on the subject, by one of the most experienced and qualified photographers in the industry. It is specifically aimed at the serious aspiring wedding photographer who wants to successfully negotiate the hurdles of a wedding day, meet and exceed the expectations of the newlyweds, and command a credible income for their work. Enjoy…

Andy Cubin MBE, ASIFGP

Introduction

Photographmg weddings is one of the most rewarding, inspiring and creative assignments that any photographer can have, producing creative images that the couple will cherish and enjoy for many years to come.

Driven by emotion and anticipation, a wedding is about the excitement that starts when the bride begins to prepare for the thrilling day ahead, with the delivery of the flowers and the fitting of the dress, the anticipation and excitement growing with the arrival at the ceremony and everyone’s eyes on the bride as she makes her entrance towards the waiting groom. The fairytale builds through the ceremony and on to the reception, with the photographer capturing the couple’s experiences in a creative and imaginative style.

A wedding photographer requires a significant number of techniques to enable a successful outcome, and it will come as no surprise that being a good photographer is essential, but what kind of photographer do you need to be? Wedding photography calls upon a number of talents to produce quality images that will not only be cherished but will also sell. Your skills will include portraiture, fashion photography, landscape and architectural photography, still life and food photography, and photojournalism.

You will need to produce creative and inspirational photography while exhibiting a wide range of social skills. Are you able to handle the pressure that the day will generate, dealing with timings that run late, shooting the groups in less than half an hour, producing quality images every time? Are you able to handle your camera functions and flash intuitively and instinctively, adjusting for the changing lighting conditions without interrupting the flow of the day? Can you communicate your instructions and directions effectively to the wedding party and all the time keeping an eye on the timings? If not, then wedding photography is not for you.

However if you thrive on challenging situations and enjoy an adrenaline rush and can handle all the above, then there is nothing more rewarding than completing a wedding shoot successfully, taking stunning, creative and quality images and at the same time receiving compliments from the bride, groom and guests on how you have handled the day in a humorous and professional manner. Your role as a wedding photographer is to capture the memories of the day through your images and imagination. After all, in years to come it will be those images that will evoke the couple’s memories.

Chapter 1

Developing Your Style

Any wedding will call upon a diverse range of photographic styles. The photographs will inevitably include some formal elements sprinkled with the candid shots. So the best advice is to broaden your skills and make your style eclectic. Your photography should reflect all of the following.

REPORTAGE, PHOTOJOURNALISTIC OR STORYBOOK

The current trend is towards photojournalistic wedding photography. As a photographer with this style you are more than likely to consider yourself a storyteller as opposed to just recording the day. You could be asked for photography that is natural and candid, less rigid and not intrusive, that is, to take images that capture moments unobtrusively. You will respond as the timeline unfolds with possibly unpredictable results; however, it is that unpredictability that can be so enchanting about this style.

This style of wedding photography may only represent about ten per cent of the total shoot, the balance being taken up with more formal images and records of the ceremony. The style lends itself to more oblique angles and a spontaneous approach to the day. More often than not you will be using oncamera flash (not the desired position), or on a flash bracket, using natural light in an informal style.

You will provide the story of the day, recording events as they happen with a natural feel. You will take photographs as the day develops, capturing elements as they happen, rather than shooting set-up shots. Not to be confused with natural shots, storybook will not show any specific group or have any kind of structure.

Photojournalistic/Reportage tells the story of the day, capturing events as they happen. 200mm @ ƒ2.8 1/50sec

The digital age has opened up the opportunities for photographers producing a storybook style of wedding photography. 200mm @ ƒ3.2 1/60sec

Arrival at the ceremony, using a 70/200mm lens to reduce the depth of field and make the subject stand out from the background. 190mm @ ƒ2.8 1/160sec

It is possible to take natural and spontaneous images with an element of control being exercised by the photographer: the fitting of the dress, pageboys and bridesmaids, groom and the best man and ushers. As the photographer, you will need to take some control, whilst at the same time being virtually invisible, possibly being a little forward and somewhat assertive to capture the moment.

This style of photography has evolved over recent years since the advent of digital photography, given that you can now shoot hundreds, if not thousands, of images without increasing your costs. However it does impose a greater workload upon the photographer in post-production. With this style of photography there is the danger of machine-gun shooting instead of the sniper approach. There is more to reportage or storybook wedding photography than putting your camera on power drive and hoping for the best. Be sure that you know why you are shooting an image and what you want it to convey to the viewer, and do not leave it to chance.

Try to capture the details at the speeches that reflect the mood and occasion. 200mm @ ƒ4 1/60sec

Look out for the impromptu cameo images that happen only once. 155mm @ ƒ4.5 1/100sec

During the day you will be looking for the spontaneous romantic moments – the loving kiss, holding of hands, affection and humour that are spontaneous and will disappear in an instant.

Providing a diverse mix in the couple’s wedding album will ensure that it reflects the emotional tone and feel of the day, and will help add balance to the layout, producing an album that reflects the whole day and tells the story.

FORMAL/TRADITIONAL

In the days before digital the number of images was dictated by the amount of film that was taken to a wedding, and if shooting in medium format, you would more than likely be restricted to twelve rolls of film that would produce 144 images, requiring the photographer to be very selective and make every shot count.

This formal approach produced very formal images, contrived and orchestrated, giving this style a rather tarnished reputation, somewhat undeserved. In any wedding there will always be the requirement to capture the families and generations, providing a balance to the opportunistic and photojournalistic style.

The formal approach to wedding photography is a thing of the past and is not generally desired by the current generation of couples getting married, who are influenced by contemporary magazines that depict natural and spontaneous images.

This does not mean, however, that the formal shots should be boring and mundane. On the contrary it will be your responsibility to put people and groups at ease, posing them naturally and producing an image that does not look too contrived.

After the ceremony, if the couple wish to do so, consider going back inside the venue for a formal pose or signature shot. 34mm @ ƒ4 1/60sec

At some point during the reception, you may be able to find some time to shoot the couple in a more relaxed environment. 24mm @ ƒ2.8 1/160sec

The exchange of rings is a ‘must-get’ shot, representing the union between the couple. 25mm @ ƒ8 1/250sec

AVANT-GARDE/CONTEMPORARY

Avant-garde is a style that can be related to art, music, written texts and photography. It was first introduced by a group of musicians, artists and writers who wanted to experiment with ideas that were very different to the norm, and these included new concepts and techniques. This genre edits the conventional methods, and is made up of a variety of informal characteristics of photography and other arts.

Avant-garde is a French term meaning a vanguard or advance guard that goes forward ahead of the rest. In art and photography it is synonymous with modern and applies to those that are experimental and innovative, and very often pushing the boundaries exploring new forms, the result of a creative mind. Salvador Dali was a key player in the avant-garde movement, a master of surrealism, taking the movement to a whole new level.

Given the experimental nature of this format and the fact that it will not suit every couple, you should use it sparingly.

Avant-garde represents an artistic theatrical approach that by its very nature will no doubt in time become the merely accepted, much like photojournalistic photography has become the norm these days.

Using unconventional angles will add something to your images. 15mm @ ƒ2.8 1/100sec

Look out for the creative shots that are different. 155mm @ ƒ22 1/60sec

A fish-eye lens is not everyone’s choice of lens; however, creative imagery can be captured, producing shots that are different. 15mm @ ƒ5.6 1/60sec

ROMANTIC

Capturing the love, laughter, romance and affection of a couple is what romantic wedding photography is all about, playing with soft images, different angles and capturing the romance of the wedding.

Very often these are what could be called the signature shots or creatives, taken at the time when you are alone with the couple – maybe after the ceremony or at some point during the reception. In post-production you will do some judicious processing using vignettes and soft-edge focus to add to the atmosphere.

Romance should be evident throughout the day. Not only the couple themselves but guests who have just become engaged, or new and developing relationships will all produce imagery that has a romantic element.

This image conveys the love and affection between the couple in the church after the ceremony. 24mm @ ƒ3.5 1/60sec

The romance, working around the couple as they take their first dance together. 35mm @ ƒ2.8 1/100sec

Watch out for the spontaneous moments that will pass in the blink of an eye. 70mm @ ƒ3.5 1/100sec

CREATIVE

The creative style is a crossover between various styles and allows you, the photographer, to be really creative and to improvise. You can use your artistry to wow the couple, working with new lighting effects, shadows and angles, viewpoint and imagination to add energy and dynamism to your work. The advent of cameras that seem to do almost everything for you does not enhance photography as a unique art form – that is still up to the photographer.

Creativity is the ability to generate new ideas, making your work stand out amongst the crowd, so it becomes a work of art and not just a record of the day. The ability to think outside the box will expand your work beyond the average. Aim for something different, so that every time the viewer looks at your photography they will experience elements they had not noticed the first time of looking.

With the advent of the digital age and all the postproduction options available these days, wedding photography has moved into a new vibrant era with techniques like HDR (high dynamic range) imaging, panoramic format, colour manipulation, creative lighting techniques and using a photojournalistic style as you are not limited to shooting ten rolls of medium format film on the day, resulting in just 120 shots.

Photographing children can produce some charming candid images, particularly if they are shy of the camera. This can work well in black and white. 190mm @ ƒ2.8 1/160sec

Look out for the creative angles, turning a mundane image into a work of art. 130mm @ ƒ13 1/200sec

Selecting a high viewpoint to show the reception will add another dimension to your photographs, in this case using the architectural constructions as a lead into the festivities. 15mm @ ƒ4.5 1/200sec

ILLUSTRATIVE

Illustrative photography produces an unambiguous, sometimes edgy image that speaks a thousand words, creating the right mood and attracting careful consideration through the use of an appropriate location, lighting and light modifiers that reveal a third dimension in a medium that has only two. High technical skills and a complete understanding of how light works, the placement of the subject and attention to detail and design are a pre-requisite for this style.

Be careful when working in this style, however, as there is a danger that in the quest for perfection and careful attention to detail, by scripting the image you miss out on the spontaneity, freedom, atmosphere and mood of the day.

The fixing of the buttonhole will provide many a shot during the process of getting ready and can be taken from many angles, using tight cropping if required, just to show the hands. 30mm @ ƒ2.8 1/160sec

GLAMOUR/BQUDQIR

There is a growing market for brides who want you to create a loving, sexy image to please their partner and commemorate the day. This field of photography is so easy to get wrong and needs a great deal of experience not to make it look tacky.

Most boudoir photography is done in the studio or hotel suites, where the lighting and environment can be controlled to produce sensual and flattering images. It is not advised that this genre of photography is done on the wedding day due to the pressure and time constraints the day will impose. If the bride wants some sensual images it is best to either arrange the shoot prior to the wedding or upon the couple’s return from their honeymoon.

Boudoir photography is a developing market and should be taken cautiously, as it is so easy to get wrong. This genre of photography should not be done on the day of the wedding. 60mm @ ƒ10 1/200sec

Boudoir is often requested by the bride for her partner and requires a delicate approach. 70mm @ ƒ7.1 1/125sec

BLACK AND WHITE

Black and white stands out in a sea of colour and is increasingly popular. Whilst appearing to be the simplest and at the same time the most sophisticated style, it can look artistic and very flattering, as it displays shades and contours beautifully. Black and white images are timeless, evoking atmosphere and nostalgia, and they allow the viewer to make their own interpretation, whereas colour is more a statement of fact (assuming your colour balance is correct).

Shooting for black and white requires close attention to lighting, composition and subject matter, as the eye will not be distracted by any colour. The image will need to show black and white with a wide range of mid tones. There is the danger that black and white is used simply because the original colour image has not been balanced correctly and it seems the easy option.

The processional is an important part of the build-up to the actual ceremony. How you shoot this is your choice; however, bear in mind that the bride needs to be shown walking down the aisle with her guests looking on, so a wide-angle lens is required. 15mm @ ƒ6.3 1/125sec

High jinks – if the groom’s men are having fun, then capture the occasion. Shooting with a 70/200mm lens on shutter priority at 1/500sec ensured that the subject matter here was sharp. 70mm @ ƒ6.3 1/500sec

Most people will shoot in colour and convert to black and white, as it doesn’t work the other way around. It is not advisable to shoot entirely in black and white, as details such as the flowers, table decorations and bridesmaid’s dresses will be remembered more clearly when shot in colour. You should ideally be shooting in RAW (if your camera allows you to do so) as it allows greater control when translating to black and white. When shooting in RAW on some cameras, switching to the black and white mode will enable you to see your image on the rear of the camera in black and white, with the camera recording all the information, including colour.

Noise can be an issue with black and white images so shooting with the lowest ISO is advisable. However grain and noise are often used for creative effect. Noise in digital imaging is similar in nature to that of grain in high ISO film images; it manifests itself as random dots or grains and is generated by heat in the sensor that might free up electrons contaminating the image capture. Noise can also be generated when using higher ISO settings, but the latest generation of cameras is improving this situation.

COLOUR POPPING/SELECTIVE COLOUR

Before the introduction of computer technology and digital cameras photographers would paint onto the negative to highlight a particular object. Nowadays a similar effect is created on screen.

This is a somewhat overused technique that is designed to draw attention to elements or focal points within the image in colour, and leaving the rest as black and white. The technique is frequently used on the bride’s bouquet where the flowers are shown in colour but the rest of the photograph is black and white. Whilst this can be recognized as a style it should be used very sparingly. Keeping the selective colour understated will add a subtlety to the procedure. Beware, as it could easily be one of those techniques that moves out of fashion as quickly as it entered, making images somewhat dated.

Pew end flowers or flowers at the reception make for a great image, in this case using selective colour or colour popping to accentuate the flowers. 15mm @ ƒ3.2 1/100sec

Colour popping has been a popular creative element, demonstrated famously in Stephen Speilberg’s film Schindler’s List, with the little girl in the red coat. 24mm @ ƒ5.6 1/60sec

USING DIGITAL EFFECTS

Gone are the days of grey and cloudy skies in wedding photographs. If the sun decides not to appear on the wedding day, then there is no need to worry because a good photographer will be able to change photographs of dull weather into a bright blue sky in post-production. Digital effects have been around as long as photography, with manipulation of the final print from the negative in the darkroom, with techniques such as dodging and burning as well as vignettes. So today’s manipulation is just a natural extension of those techniques, with the computer offering greater creativity. In wedding films these days couples are subjected to digital effects to the extent that it has almost become an accepted style in its own right.

The downside with this technique is the corruption of the original image to such an extent that the photographer changes the memory map of their client; in other words, it is not as it was on the day and as they want to remember it. However, there are occasions where, for creative effect, some digital manipulation will add a punch to the image and turn a somewhat ordinary image into something artistic.

One consideration when using digital or computer enhancement is the amount of time that can be spent on working a single image – you can get carried away with the creative process. The danger is that you could be spending far more time in front of the computer than taking the photographs, and after all, in the professional world time is money.

Adding a couple of dogs, mist and sunburst has added extra interest to the image. However, only add additional elements if the couple request it as this is not what happened on the day. 24mm @ ƒ8.0 1/125sec

Digital manipulation can be an effective tool. However, it must be treated with care; if it is what the couple want then so be it, but only use it on images that work well with it. 66mm @ ƒ5 1/200sec

Creative use of the shutter speed and balanced flash help develop the sky detail. 16mm @ ƒ20 1/200sec

Colour enhancement has lifted this image – the star burst may be an acquired taste. 27mm @ ƒ11 1/125sec

Chapter 2

Starting Your Business

It may be the case that not everyone reading this book will be interested in developing a full-blown wedding empire. However it would be remiss not to include a short introduction to the business of wedding photography.

Remember that there are three unique selling opportunities in any wedding photography business. First there are your images: these will be the first impression your potential clients will have of your work, so make sure you display your very best. Secondly your pricing: keep it competitive, but do not undersell yourself. And finally there’s you: your personality should shine through when you meet your clients – after all, you are going to be so much a part of their important day.

DIGITAL VS ALBUM?

What are you going to provide your clients? In this digital age technology is moving rapidly. There is no guarantee that years from now the digital format in which you supply the images will be capable of retrieval, unlike a printed wedding album that transcends generations and will become the family heirloom to be cherished.

Portfolio images are those photographs that showcase your work and style. However, when showing a couple your work make sure it also shows a complete wedding and not just your ‘cherry-picked’ images. 70mm @ ƒ2.8 1/1000sec

Look out for interesting locations that showcase your work; very often a derelict location will help emphasize the softness and beauty of the bride. 54mm @ ƒ4.5 1/2500sec

There is a market where couples just want the digital negatives on a disc, not worrying about having them printed by a professional laboratory; after all they can have them printed very cheaply from a local outlet. The problem with this strategy is the total lack of control you will have over the final results. The images subsequently passed around friends and family as your work may be produced on poor quality paper or compiled into a homemade album, designed without any creativity and not doing justice to your work.

All couples will have budget limitations; however, these days there is no reason why a modest album cannot be created that tells the story of their day, designed in a professional manner with impact, something that a disk of images cannot provide. The album should be a work of art that reinforces the couple’s memories as well as displaying your work in a format that does you proud and will continue to inspire and promote your business to all who view it.

These days there are many suppliers offering a wide variety of albums ranging from the photobook through to the top end magazine format albums. You will be able to find one that allows you to present the couple’s images in a creative and imaginative format while keeping to a reasonable budget.

FINDING YOUR MARKET AND CLIENTS

It is a mistake to jump straight into the market with the notion that it is an easy route to making money. Many a photographer, having been asked by friends or family to photograph their wedding, can testify that it is not as easy as it looks. However if it is an arena of photography that you think works for you, here are a few indicators to finding your market and building the business.

Market Research

As an artist will combine the paint on his palette to create a work of art, mix your products and pricing in such a way as to create the desired marketing mix that you think best suits your clients. For example do you reduce the emphasis given to the price, in favour of the brand or end product, or are you or your images the key selling point?

Research into your competition in what is a saturated market is an integral and fundamental element in the foundation of your business. What competition do you have, what threats do they represent, how much are they charging, what is their work like, does it justify the rate being charged? All these questions, and many more, need to be answered before you go into business.

Descriptive backgrounds can add something to the wedding images. It’s amazing what some photographers find to shoot against – it need not be the traditional background. 32mm @ ƒ11 1/200sec

10 KEY MARKETING QUESTIONS

1.

Is the market saturated in your area?

2.

Do you have what the market wants?

3.

What are your unique selling points?

4.

What is your brand?

5.

What is the competition doing?

6.

Do you match your charges to your promises?

7.

How do you reach your target market?

8.

Where should you target your advertising?

9.

Do you need a website?

10.

Can you meet the demands of the market?

First and foremost you need to set out your principle objectives, in both the short and long term, and set out your route to market. You will need some kind of financial plan setting out all the costs, when and where they occur. You will then need to take a look at the geographical area in which you intend to work: are there enough weddings in the area to support your intended lifestyle, and how far will you have to travel to fulfil the commitment to the couple, given that you may well have to meet them on more than one occasion. What and where is the competition, and what will you be offering that gives you the edge and elevate you to the top of the tree?

Photographers in your area will no doubt be charging a range of prices from low-end budget to high-end quality, as well as offering a diverse assortment of products to the couple. Whilst your pricing strategy should reflect your level of expertise, underpricing yourself will make it difficult for you to obtain a decent income and will become a problem when you need to make the transition into the higher-end market – in other words do not undersell yourself. Making yourself unique in the marketplace and creating a brand that is distinctive is the challenge, not offering the same old product that all your competitors are providing,

Advertising

Reaching your target market, once you have established where it is, can be a little like casting fine sand into the wind, hoping that some will land in the bucket. A strong website is paramount, with good strong content and clearly visible contact details.

With the advent of social networking the route to market has become more immediate. Communication to potential markets is now achievable on the move, developing your own market segment and community, generating immediate response and measurable responses.

Consumers are relating and accepting social media into their lives to a greater extent, which provides advertisers with significantly more opportunities than hard copy advertising does, and this helps to improve the targeting and relevance of your advertising. Never forget that as a photographer you are selling images and memories, and therefore a strong portfolio of pictures is vital. Your advertising needs to go after your target audience, hence you need strong market research to determine your niche market. To highlight your competitive advantage and grab attention and interest at the outset, illustrate the key benefits with a clear and concise message: why should a couple book you as their wedding photographer in preference to someone else? And remember, saying less is often the best way.

Looking for different angles from which to shoot, even at the signing of the register, will add diversity to the photographs. 27mm @ ƒ3.5 1/60sec

Wedding Fairs