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PHOTOGRAPHY

WEDDING

Advanced Techniques for

Digital 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

married and lives in West Covina, CA.

Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/

http://weddingphotographer-amherstmedia.blogspot.com/

Front cover photograph by Bruce Dorn.

Back cover photograph by Ben Chen.

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: Sally Jarzab, John S. Loder

ISBN-13: 978-1-58428-990-6

Library of Congress Control Number: 2009911196

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, mechanical,

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 author

and publisher will not be held liable for the use or misuse of the information in this book.

Table of Contents

CHAPTER 1

What Makes a Wedding Photographer Great? . . . . . .7

Working Well Under Pressure . . . . . . . . . . . . . . . . . . .7

Capturing Style and Elegance . . . . . . . . . . . . . . . . . . .7

Being a Skilled Observer . . . . . . . . . . . . . . . . . . . . . . .8

Good Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Reaction Time . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

SIDEBAR : Graphic Design Sense . . . . . . . . . . . . . . . . . . . .9

The Ability to Idealize . . . . . . . . . . . . . . . . . . . . . . . .10

Immersion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Reactive vs. Proactive . . . . . . . . . . . . . . . . . . . . . . . .11

SIDEBAR : It’s About Seeing . . . . . . . . . . . . . . . . . . . . . .11

Good People Skills . . . . . . . . . . . . . . . . . . . . . . . . . .13

Storytelling Skills . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Loving What You Do . . . . . . . . . . . . . . . . . . . . . . . .14

SIDEBAR : Shoot More, Not Less . . . . . . . . . . . . . . . . . . .16

With Ambient Light . . . . . . . . . . . . . . . . . . . . . . .21

Image Stabilization . . . . . . . . . . . . . . . . . . . . . . . .21

White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

A Clean Image Sensor . . . . . . . . . . . . . . . . . . . . . . . .23

SIDEBAR : Sync Them Up . . . . . . . . . . . . . . . . . . . . . . . .23

CHAPTER 2

Technical Considerations . . . . . . . . . . . . . . . . . . . .17

Exposure and Metering . . . . . . . . . . . . . . . . . . . . . . .17

Exposure Latitude . . . . . . . . . . . . . . . . . . . . . . . .17

Weddings Present the Ultimate in Extremes . . . . .18

SIDEBAR : Why Do You Need a Flashmeter? . . . . . . . . . . .18

A Note About Shooting RAW . . . . . . . . . . . . . . .19

Incident Light Meters . . . . . . . . . . . . . . . . . . . . . .19

Evaluating Exposure . . . . . . . . . . . . . . . . . . . . . . .19

Color Space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

The Right Shutter Speed . . . . . . . . . . . . . . . . . . . . . .21

With Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Light-Actuated . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Infrared . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Radio (Digital or Analog) . . . . . . . . . . . . . . . . . . .41

Spare Batteries . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

SIDEBAR : International Travel with Gene Higa . . . . . . . .41

Top Lens Choices . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Fast Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Prime Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

SIDEBAR : Marcus Bell’s Three Camera Bags . . . . . . . . . .24

Wide-Angle Lenses . . . . . . . . . . . . . . . . . . . . . . . .26

Zoom Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Telephoto Lenses . . . . . . . . . . . . . . . . . . . . . . . . .27

Normal Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Focal Length and Perspective . . . . . . . . . . . . . . . . . .29

Telephoto Lenses . . . . . . . . . . . . . . . . . . . . . . . . .29

SIDEBAR : Focal Length Factors . . . . . . . . . . . . . . . . . . .29

Normal Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Wide-Angle Lenses . . . . . . . . . . . . . . . . . . . . . . . .32

Focus and Depth of Field . . . . . . . . . . . . . . . . . . . . .32

SIDEBAR : Evaluating an LCD Image . . . . . . . . . . . . . . . .32

ISO Settings and Noise . . . . . . . . . . . . . . . . . . . . . . .33

File Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

JPEG Format . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

JPEG 2000 Format . . . . . . . . . . . . . . . . . . . . . . . .35

RAW Format . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Adobe DNG Format . . . . . . . . . . . . . . . . . . . . . . .35

GIF Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

TIFF Format . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Photoshop EPS Format . . . . . . . . . . . . . . . . . . . .37

DCS Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

PSD Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

File Compression . . . . . . . . . . . . . . . . . . . . . . . . . . .38

SIDEBAR : Capture Sharpening vs. Output Sharpening . . .38

Workflow Issues . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Protecting Your Source Files . . . . . . . . . . . . . . . . .39

Dan Doke’s Wedding Workflow . . . . . . . . . . . . . .39

Mike Colón’s WiFi Workflow . . . . . . . . . . . . . . . .40

Backup and Emergency Equipment . . . . . . . . . . . . . .40

Remote Triggering Devices . . . . . . . . . . . . . . . . . . . .41

CHAPTER 3

Posing Principles . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Giving Directions . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Subject Comfort . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Facial Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

The Seven-Eighths View . . . . . . . . . . . . . . . . . . . .43

The Three-Quarters View . . . . . . . . . . . . . . . . . . .44

The Profile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

The Smile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

SIDEBAR : The Kiss . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

The Shoulders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

The Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

The Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Hands in Groups . . . . . . . . . . . . . . . . . . . . . . . . .49

Hands with Standing Subjects . . . . . . . . . . . . . . . .49

SIDEBAR : Posing Portraits of Seated Men . . . . . . . . . . . .49

Weight on the Back Foot . . . . . . . . . . . . . . . . . . . . . .50

Portrait Lengths . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Head-and-Shoulders Portraits . . . . . . . . . . . . . . . .50

Three-Quarter- and Full-Length Portraits . . . . . . .51

Camera Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Group Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Couples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Adding a Third Person . . . . . . . . . . . . . . . . . . . . .55

Adding a Fourth and Fifth Person . . . . . . . . . . . . .56

SIDEBAR : The Armchair as a Posing Tool . . . . . . . . . . . .56

Six People and Up . . . . . . . . . . . . . . . . . . . . . . . .57

Formals of Bigger Groups . . . . . . . . . . . . . . . . . . .57

SIDEBAR : Is It Posing or Directing? . . . . . . . . . . . . . . . . .57

Getting Everyone in the Picture . . . . . . . . . . . . . .59

SIDEBAR : Keeping the Camera Back

Parallel to the Subjects . . . . . . . . . . . . . . . . .59

SIDEBAR : Speeding Up Your Group Portraits . . . . . . . . .59

CHAPTER 4

Lighting Principles . . . . . . . . . . . . . . . . . . . . . . . . . .60

Basic Portrait Lighting . . . . . . . . . . . . . . . . . . . . . . .60

Main Light and Fill Light . . . . . . . . . . . . . . . . . . .61

4 ADVANCED WEDDING PHOTOGRAPHY HANDBOOK

Hair Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Background Light . . . . . . . . . . . . . . . . . . . . . . . . .62

Kicker Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

SIDEBAR : Lighting Tips from Mauricio Donelli . . . . . . . .63

Broad and Short Lighting . . . . . . . . . . . . . . . . . . . . .64

Basic Portrait Lighting Setups . . . . . . . . . . . . . . . . . .64

Paramount Lighting . . . . . . . . . . . . . . . . . . . . . . .64

Loop Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Rembrandt Lighting . . . . . . . . . . . . . . . . . . . . . . .65

Split Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Profile or Rim Lighting . . . . . . . . . . . . . . . . . . . .66

Adapting the Formal Lighting Patterns

to Suit the Situation . . . . . . . . . . . . . . . . . . . . .67

Double Shadows and Catchlights . . . . . . . . . . . . . . .67

Lighting Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

SIDEBAR : A Special Group Portrait . . . . . . . . . . . . . . . . .68

Overlighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Studio Lighting on Location . . . . . . . . . . . . . . . . . . .69

Check the Customs . . . . . . . . . . . . . . . . . . . . . . . . . .89

Create a Master Schedule . . . . . . . . . . . . . . . . . . . . .90

Be a Team Player . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

A Positive, Relaxed Attitude . . . . . . . . . . . . . . . . . . .92

CHAPTER 7

The Key Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Engagement Portrait . . . . . . . . . . . . . . . . . . . . . . . . .93

The Bride Getting Ready . . . . . . . . . . . . . . . . . . . . .93

The Groom Before the Wedding . . . . . . . . . . . . . . . .94

The Ceremony . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

Formal Portraits . . . . . . . . . . . . . . . . . . . . . . . . . . . .95

The Bride and Groom . . . . . . . . . . . . . . . . . . . . .96

The Bride Alone . . . . . . . . . . . . . . . . . . . . . . . . . .97

The Wedding Party . . . . . . . . . . . . . . . . . . . . . . . . . .99

SIDEBAR : Kevin Jairaj’s Bridal Sessions . . . . . . . . . . . . . .99

The Rings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

CHAPTER 5

Outdoor and Mixed Lighting . . . . . . . . . . . . . . . . . .70

Location Lighting Equipment . . . . . . . . . . . . . . . . . .70

Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Electronic Flash . . . . . . . . . . . . . . . . . . . . . . . . . .71

Barebulb Flash . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Studio-Flash Systems . . . . . . . . . . . . . . . . . . . . . .74

Handheld Video Lights . . . . . . . . . . . . . . . . . . . .75

Umbrellas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Working with the Available Light . . . . . . . . . . . . . . .77

Direct Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Open Shade . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

SIDEBAR : The Direction of the Light . . . . . . . . . . . . . . . .79

Window Light . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Flash Techniques on Location . . . . . . . . . . . . . . . . . .82

Flash for Fill Light . . . . . . . . . . . . . . . . . . . . . . . .82

Flash as the Main Light . . . . . . . . . . . . . . . . . . . . .83

SIDEBAR : Room Lamps . . . . . . . . . . . . . . . . . . . . . . . . .83

Bounce Flash . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Flash Output . . . . . . . . . . . . . . . . . . . . . . . . . . . .85

CHAPTER 6

Preparation and Planning . . . . . . . . . . . . . . . . . . . .86

The Consultation . . . . . . . . . . . . . . . . . . . . . . . . . . .86

The Engagement Portrait . . . . . . . . . . . . . . . . . . . . .88

Visit the Venues . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

TABLE OF CONTENTS 5

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