50 mẹo chụp ảnh
Tài liệu tiếng anh về kĩ thuật chụp ảnh đẹp. "Joe D Miles of ImageCapture is one of the
photographers with Online Weddings and he
uses digital cameras on assignment. He aims to
capture spontaneous images that create an
accurate portrayal of the wedding day. His
approach is to be amicable, fi tting in with and
adapting to the occasion."
Technique Photo
Summer light too harsh? Turn it to your
advantage by making shadows a feature
of your photograph
50 top tips for
wedding photography
The wedding season is upon us, so sharpen up your skills with some insider knowledge from
the professionals. Karl Foster speaks to five of the UK’s leading wedding photographers, each of
whom has wisdom borne of long experience
048
Techniq
JOE D MILES
THE SPONTANEOUS APPROACH
Use a wide aperture Use light
1 The use of the widest aperture that your lens
permits (for a narrow depth of field) can create
a very appealing effect for wedding photography,
keeping your subject in focus while making the
5 patterns creatively
If there are any interesting light patterns outside
the church or register office, you can use them to
add impact and drama to your images. Be aware,
background blurred – although you need to be sure you however, that such patterns may come and go as the
focus accurately. day progresses, so you may have to work quickly to
capture them.
Try slow-synch flash
2 If using flash, try as slow a shutter speed as
possible – 1/15th to 1/25th second, say – to
make the most of ambient lighting. Try panning with
moving subjects while you fire the flash to freeze the
6 Frame the couple
When taking pictures of the bride and groom
with their bridal car, try being creative by using
the windows to frame them, or even jump inside the
subject and blur a distant background. car, if it’s OK with them
3
Pose the bride
For flattering images of a bride, make sure she doesn’t have her
arms bent (a slight bend is best, but not straight) while holding her
bouquet. If possible, ask her to create an ‘S’ bend with her body, similar to
the way fashion models pose. Look through women’s magazines like
Vogue and Cosmopolitan to see how the models pose to get an idea.
Look for lines Tilt the camera
4 Try to make the most of strong architectural
lines, such as pillars, for backdrops to your 7 Camera tilt adds a sense of motion to an image.
This works on some shots very well – you
Find the shade
wedding photographs. Remember, if you sort out the
background, the foreground falls into place to create
the perfect composition. Scout out the venue
beforehand to see which architectural elements might
work best.
don’t have to always keep the camera landscape or
portrait format, be adventurous and align the
composition lines at diagonals in the image to create
impact. As with all techniques don’t over do this – one
or two images is ample.
8 If you’re shooting a wedding on a day with
very strong sunshine, try to move the coup
or group into the shade for a better exposure, usin
fill-in, or forced flash to balance the scene. You’ll fi
the fill flash setting by cycling through the camera
flash modes.
Add some blur
9 Try experimenting with pictures of the first
dance using a very slow shutter speed to g
your images a sense of movement. And, if possible
only ambient light to accentuate the mood. Again
may need to increase the ISO sensitivity of the cam
– although noise will become more obvious in dar
indoor conditions.
Use a Strobeframe
10 flash bracket
Attach your flash unit to a Strobefra
bracket to lift the flash a few inches above the lens
eliminating shadows on the subject. The frame
works on a hinge mechanism and enables you to
move the flash for portrait shots or landscape form
shots accordingly.
■ www.onlineweddings.co.uk
Joe D Miles of ImageCapture is one of the
photographers with Online Weddings and he
uses digital cameras on assignment. He aims to
capture spontaneous images that create an
accurate portrayal of the wedding day. His
approach is to be amicable, fitting in with and
adapting to the occasion.
■ www.markrobinson.co.uk
Mark Robinson likes to remain unobtrusive at
weddings, employing long lenses to zoom in on
action. He works alone, although he’s happy to
work alongside a traditional photographer who c
serve as a useful distraction.
MARK ROBINSON
THE LONG LENS APPROACH
11 Look the other way
Weddings don’t just happen in front of
you. Look around for other photo
opportunities that may be behind you. After all, you’ll
be looking at what your subjects can see, so if you’re
16 Try a telephoto
Long lenses keep you out of the action
as an observer. They also create
interesting perspective effects, which can add drama to
photos. Be careful to avoid camera shake that can be
18 Don’t be intrusive
If someone doesn’t want their phot
taken, leave them alone. There’s litt
point in taking shots of people who don’t like bein
front of the lens. They’ll not look comfortable and
aiming to capture their memories of the day, look at induced when wielding such lenses – a sturdy tripod is a you could end up causing offence. With experienc
what they’re looking at. handy accessory in such situations. you’ll get to recognise the signals that the camera-
give out.
12
Pay attention to detail
Look for the small stuff as well as the big picture. Often,
details may go unnoticed by the wedding guests, and yet
19 Listen for laughter
Weddings are happy occasions, so
an ear out for laughter. Shots in wh
people look happy and relaxed work very well, so
you ears as well as your eyes to monitor the dynam
when they see a detail shot, memories will come flooding back. So be the wedding party and move in on where the
aware of everything around you and don’t be afraid to photograph it. merriment’s taking place.
You’ll not be wasting any film, after all…
13 Go low
Try shooting from a low vantage point.
Avoid crouching on your haunches, 17 Make friends with
the organisers
They know what’s actually happening, as
20 Use the wind
If it’s windy, face people into the w
and get lots of movement. The brid
dress in particular can look wonderfully dynamic w
there’s a breeze – its lines will flow out with the
however. Such a stance makes you unsteady and you opposed to what should be. The organisers can tip you movement of air. However, if you’re using a came
may find your shots ruined by camera shake. If the off about who’s going to be where and when, so it’s with interchangeable lenses, get out of the wind w
ground is dry, kneel down, or even lie down, in order to wise to consult them in order to be in the right place at you’re changing them to avoid dirt blowing into th
stand a better chance of keeping the camera steady. the right time. camera body.
14 Wait a second
Let other people take their photographs
and then capture the subjects as they
relax. Formal, posed shots are OK for the record, but
when aiming to capture the emotion of the event,
people come across better in photos when they’re
happy, relaxed and unworried about people taking
pictures of them.
15 Add grain
Grain can add atmosphere and lack of
flash can keep attention from you.
The last thing you want is for a flash to distract the
wedding guests, drawing attention to yourself. The
high ISO settings used in low-light photography may
induce noise into the photos, which can give them a lot
of character.
050
Techniq
ANDREW JOHN
THE CONSIDERED APPROACH
21
Consult beforehand
Always have a pre-wedding
consultation with the couple to get to
know them and find out what they want first. It’s
their day, not yours, so it’s wise to have a clear idea
of how they envisage the occasion. Be polite and
don’t promise anything that you can’t deliver.
■ www.andrewjohnphotography.co.uk
Andrew John’s tagline is ‘your wedding, your style’. He’s won numerous
photographic awards for his unique wedding photographs and for his other
speciality, portraits. As with many pro wedding photographers, he offers a
service which enables people to view and buy images online.
22 Smile a lot
If you smile at people, they smile back,
so make lots of eye contact. Don’t hide
behind your camera. Someone with a big lump of
technology permanently attached to their face can be
25 Compose subtly
Pre-focus and compose your subject
through the lens, then get their attention
by talking or smiling at them – they won’t know you’re
taking the photograph. When they do realise, they’ll
28 Use the crowd
If people are in the background in
places, just let them be there.
Sometimes it’s good to take pictures of strangers
wishing them the best – take a look at wedding al
off-putting and you’ll likely end up missing a lot of laugh and you can then take more natural-looking on Andrew John’s website titled ‘beach burbo ban
potentially excellent shots. photographs. The more relaxed people are, the better was supposed to be a clear beach, but when he go
the shots will turn out. there it was packed with people!
23 Give the couple space
After the ceremony, give the couple time
and space to be congratulated. This
helps you when you come to the organised
photographs – people won’t keep coming up and
26 Go with the flow
Don’t fight the rain, wind, people and
time. There’s always a way to get round
a problem, so think laterally. As you become more
29 Manage your time
You should always have enough tim
you don’t, you didn’t ask the right
questions at the consultation. Be aware of the sche
getting in your way as they attempt to pass on their confident and experienced, you’ll develop numerous of the day, how you’re going to get from A to B an
best wishes to the bride and groom. ways of making the unexpected play into your hands, so where the wedding party will be and when. The
exercise your problem-solving skills to the full. disorganised photographer will miss out on key
24 Be candid
While the couple are busy being
congratulated, you can go round and
get some candid shots of the guests. They’ll be happily
distracted and therefore more relaxed than when they
27 Plan for rain
If it’s raining, use brollies. It’s handy to
have a white one and a black one in your
car. Get the couple walking with them, kissing each
moments, so don’t let it be you.
30 Enjoy yourself
Wedding photography can be a lo
fun, but not if you’re fretting abou
feel they have to pose for the camera. The unobtrusive other and so on. They make excellent props, and can camera or the light. Relax and have a good time, j
photographer can have some of the best shots of the save your expensive digital camera from a soaking, the rest of the attendees are meant to be doing. Y
wedding day. which is unlikely to do it much good. may find that your photography improves as a res
Technique Photo
■ www.docuwedding.
Tony is a fully qualified photojou
regularly works for national broa
newspapers and magazines; hen
true expert at reportage photogr
aims to be unobtrusive, capturin
day without ordering people aro
TONY @ DOCUWEDDING
THE REPORTAGE APPROACH
35
Tell a story
31 Use your inside
knowledge of the family
to get shots
If some relatives haven’t seen each other for 20 years,
Adopt a photojournalistic approach – look for pictures th
tell the story of the day. The classic way is to get three
a shot of when they first meet at the church could be
very emotional. Think about the attendees and how
pictures of each moment, not necessarily taken at the same time. For
they get on, then use that knowledge to plan your example, a close up of the cake, a medium shot of the couple cutting th
shooting schedule.
cake and then a wide angle of the guests’ reactions.
32 Avoid shooting when
people are eating
Don’t take pictures of people eating.
They never look good and no one will thank you for it.
You may as well pack away the camera during the meal
36 Take your own confetti
To make sure you get a good confetti
shot, take your own confetti. Frame the
shot and throw the confetti high in the air, not at the
39 Don’t let your came
sharpen the shots
Turn off any automatic in-camera
sharpening. This is best done on the computer afte
and have some food yourself while you wait for the couple. Try a small aperture (f11), slow shutter (15th) you’ve resized the images. If possible, always shoo
speeches, which provide far more opportunities for and fill-in flash. Just make sure the wind isn’t blowing RAW format. This transfers the data from the imag
good people shots. towards you, or you’ll look like an idiot. chip directly to memory without compressing it,
although the file sizes will be much larger than wh
33 No chimping
Don’t ‘chimp’ after each shot (chimping
is looking at the camera’s screen to check
your pictures). It uses up the batteries and takes your
37 Listen for stories
When mingling with the guests listen
out for someone telling a story. There
are typically numerous characters at the wedding, each
shooting with JPEG capture, so you’ll need high-
capacity memory cards, or a portable storage devi
copy your images onto over dinner…
eye off the action. You’re better off reviewing the
photos en masse occasionally, being careful to delete
only those that you can’t feasibly use.
with something to say, so let them warm up the crowd
for you and be ready to capture their reactions.
40 Underexpose in
bright light
In bright sunlight, try to retain the
34 Bounce the flash
When shooting indoors, bounce your
flash off the ceiling and balance the
exposure with the ambient light. Bounced flash is far
38 Edit ruthlessly
When you get back home, edit the
pictures then edit them again. Remove
any shots in which the bride and groom don’t look at
their best. Retouch any blemishes from their faces, and
in the bride’s dress by underexposing by 1 EV and
bringing the shot up to the correct exposure on the
computer. Digital cameras have excellent dynamic
range, so shadow detail should be recoverable – it’
highlights which is where they tend to have proble
more diffuse, so you won’t end up with those harsh so forth. Then edit the pictures again – only let people Again, shooting in RAW as opposed to JPEG really
shadows that are characteristic of amateur snaps. see the best shots, not hundreds of average ones. helps in this situation.
052
Techniq
STEVE ASHTON
THE CONTEMPORARY APPROACH
graphic shapes. The lines of a church’s interior can look windowsill to make your compositions stand out fr
spectacular when wide-angle lenses distort them. Just the rest.
avoid taking portraits with them – people’s faces will
distort in a strange, bulbous way.
46 Go slow indoors
Practice slow-sync flash methods,
which can transform interior shots. The
48 The best man’s spee
Watch for reaction from the bride
groom during the best man’s spee
This can be the funniest point in the whole day, so
an eye on their faces as he talks. When the inevita
camera’s flash will fire to illuminate foreground subjects funny stories start coming out, the couple’s reactio
and the shutter will stay open longer so that the will be well worth capturing.
background’s properly exposed. Rest your camera on a
tripod, though, otherwise you’ll introduce unwanted
motion blur.
49 Use exposure lock
Make good use of the camera’s
exposure lock – yours may have an
47 Aim high
Where possible, try high angles (or low
ones) to get shots that are different from
those taken by the rest of the guests. Most people will
shoot from head height, so get on a chair, table or
AE-L button, or it can be locked by half-depressing
shutter – and take spot meter readings from faces
ensure you get the correct exposure. People are
automatically drawn to faces in a photo, so you do
want them under- or overexposed. ■
50
Use a reflector
41 Find a position
Try to get a position in the church about
two or three rows back from the altar and
to the side of the bride and groom. You can capture
some fantastic emotional images throughout the
Where possible, use a reflector and natural light.
They’re cheap, you can clearly see the effect and it’s
better than flash. The reflector helps to reduce the harsh shadows
ceremony. And make sure you turn the camera’s sound caused by strong, directional light, which is particularly handy when
effects off so you don’t disturb people seated nearby.
aiming to take flattering portraits.
42 Plan for key events
Think beforehand at what points you’ll
be able to capture emotional or funny
images – for example, during the ceremony itself, and
the couple’s interaction while register is being signed.
This is often the first time they’ve spoken together on
the day and their reactions can produce some
wonderful images.
43 Soften your flash
Never use direct flash – as well as
using an off-camera flash bar, place a
diffuser over the flash head. Sto-fen’s white plastic caps
are affordable and great for helping flash pictures
(www.stofen.com). They soften the flash, reducing
those harsh shadows that can make photographs
look amateurish.
44 Avoid effects
Keep away from too many digital
effects on the camera. If you want to
create a sepia print, or even solarize the happy couple,
shoot in colour as normal and convert the shot in an
image editor later. If you shoot with special effects,
you’ll not be able to turn the image into a standard
colour shot afterwards.
45 Go wide on
architecture
Use wide-angle lenses, or the widest-
angle setting of your compact, to capture interesting
■ www.steveashtonphotography.com
Steve and his wife Stephanie pride themselves on
customer care and have a contemporary approach.
Their photos are modern in style, featuring a wide
range of vibrant, spontaneous images.