Wedding Photography Basics |  |
- Wedding Photography Basics
- How to Introduce Motion into Flash Photography
- Photographing a Little House Through the Changing Seasons and Times of Day
| Posted: 11 Oct 2013 08:33 PM PDT Shooting a wedding takes a lot more than technical knowledge. Photographers must capture intimacy and fleeting moments in a way that creates powerful memories for the couple and their friends and family. Joe Buissink is a fine art wedding photographer who started shooting weddings after he attended some friends’ weddings and watched the hired photographers taking only formal shots. It seemed they were paying more attention to mechanics than story-telling. Buissink felt something was missing. He wanted to capture the love and emotion he saw and felt. In this basic wedding photography workshop, he explains how to connect with people and approach weddings artistically (for those of you reading this by email, the seminar can be seen here): Wedding photography used to be more about who was at the ceremony rather than the details of what was taking place. Buissink uses a photojournalistic style to capture the details that let us know that every wedding is unique. Each couple’s story unfolds differently. In order to maximize his artistic freedom, he hires primary shooters who capture the basics of the wedding and the formal shots. This practice lets him be the second shooter. He can focus on creating art. Technically speaking, Buissink sticks to the basics to remain unencumbered by equipment. Bright flashes tend to take something away from tender moments. Though he knows how to bounce light when needed, Buissink prefers to work with available light as much as he can. He achieves this by using fast lenses and high ISOs. Both film and digital cameras are used for his photographs.
Buissink’s work is emotional because he is emotional. In the video, he shares his personal story of childhood adversity. The abused child inside him feeds off all the love he sees at weddings, and his attraction to human emotion is apparent in his images.
Buissink uses his gift of emotional sensitivity to sell his clients on an experience rather than on commodities or services. He know that clients want a photographer who wants to be at the wedding rather than someone who treats photography as nothing more than a job. Clearly, it’s important to know how your camera works, but when photographing a couple on their life-changing day, it’s even more valuable to know how to connect with people in order to create imagery that elicits feeling. Go to full article: Wedding Photography Basics |
| How to Introduce Motion into Flash Photography Posted: 11 Oct 2013 06:35 PM PDT Joe McNally is widely regarded as an expert photographer, so when he offers to share some of the knowledge he possess you may want to tune in and listen. In the video clip below, he discussed and dissects the lighting setup he used to create an open and airy portrait. He also explains how he was able to capture movement in the models hair while using speedlights. Take a look (for those of you reading this by email, the video tutorial can be seen here): The main light source in this portrait, the one creating the big soft light is the wall that is directly behind the photographer. By setting up two v shaped cards on both sides of the camera and firing a speedlight into them, the light is reflected off the cards onto the wall where it is bounced a second time, this time on the model. Here’s the basic setup:
Because the bounced light is soft and not overpowering, McNally was able to set a fan up to the left of the camera to slightly blow the models hair and shoot on a slow enough shutter speed (1/120 sec) to still be able to capture the movement without overexposing the portrait. Go to full article: How to Introduce Motion into Flash Photography |
| Photographing a Little House Through the Changing Seasons and Times of Day Posted: 11 Oct 2013 02:23 PM PDT What if a photograph were about more than the moment in time it depicts? What if the photographer wasn’t showing you what he saw, but was merely suggesting possibilities for what you could see, if only you looked closely enough? That’s what Italian photographer Manuel Cosentino had in mind when he created his series, “Behind a Little House.” The very patient Cosentino spent two years photographing an unremarkable house perched atop a hill—from the same vantage point—in all different kinds of light and weather (for those of you reading this by email, the photo album can be seen here): But Cosentino wasn’t content to just photograph and display these. The tiny house means something to him, and the eight photographs he picked to display out of the hundreds—if not thousands—he must have taken were carefully chosen and arranged in such a way as to communicate a bit of the story he sees in the scene.
This thought process led Cosentino to wonder how other people might relate to the little house; as a result, when the series is shown at a gallery it becomes a participatory experience. The final photograph shows the little house against a completely white sky. As part of the exhibit, an artist’s book—with this final photograph on each page—sits on a table, inviting the viewer to draw whatever she wants as a backdrop, to project her own story on to the house. The book starts off with Cosentino’s own contribution: a simple line drawing of a nuclear power plant looming over the structure. Those simple lines change the whole tone of the image, revealing just how ephemeral the scenes that photographers capture really are. It’s a thought-provoking experience and experiment, and also serves as a reminder that those of us behind the lens are doing more than just extracting a still image from the world; we are all to some extent recording ourselves in the scene, as well. What’s behind your little house? Go to full article: Photographing a Little House Through the Changing Seasons and Times of Day |
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