Fearless Photographer Weddings by Joseph Salvatore Prezioso, Cathleen D. (con) Small

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By Joseph Salvatore Prezioso, Cathleen D. (con) Small

Written for the photographer who's searching for a clean, new angle to marriage ceremony images. overlaying new kinds and ideas for taking pictures resembling model bridal images and photojournalism, Fearless Photographer: Weddings, teaches readers the right way to use either their gear and their humans abilities to seize attractive and artistic photographs of weddings that really exhibit the character and the sentiments of the day. The ebook additionally exhibits how you can take advantage of out of any atmosphere to get nice pictures regardless of the marriage ceremony place should be.

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Digital has allowed more flexibility in that respect. We need to start somewhere, so let’s start with the Sunny 16 rule. 6, and so on. Once you know the overall exposure for a scene, you can dial up or down your aperture and shutter in conjunction—one up and one down or one down and one up—until you get the desired outcome. It’s a matter of ratio. As your shutter speed increases or decreases, you have to open up or stop down on your aperture correspondingly so that the given amount of light needed can be allowed in.

I wanted to freeze the group but also show that they were dancing and having a good time. 40 CHAPTER 3 7242_ch03_036-047_FearlessPhotographerSA_Int 7/28/10 1:49 PM Page 41 A general rule of thumb is to try to keep your shutter speed to at least the focal length of your lens or faster. So with a 50mm, you’d want a shutter speed no slower than 1/60. With a 300mm, you’d want a shutter speed no slower than 1/300 or 1/250. This is just a guideline to help keep your hands from shaking the camera and causing blur.

Be creative! Get the safe shot and then move into the sun’s light. If I’m working with just a bride and a groom, then I can have harsh shadows and be okay with it as long as they’re looking at each other and not me, so that I don’t see the harshness but rather I see their bodies and their pose as the subject. 52 CHAPTER 4 You can always go into the shade and work with dappled lighting, too. That can be pretty, depending on how spotty the light shining through is, or it can be messy, with hot spots all over your image.

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