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Monthly Archives: April 2017

Attract More Wedding Clients with These Wedding Photography Packages

Engagement Photo Sessions

Many photographers will add an engagement photo session of the couple to their wedding package. This is a great incentive for couples wanting to publish professional engagement photos in their local newspaper or later use their engagement photos in a showcase album at the wedding.

Engagement Photos Showcased At Wedding

Engagement photos are showcased in an album that is later used at the wedding reception as a guest book. The photographer’s engagement photos of the couple are showcased in the album and guests then add their handwritten sentiments and warm wishes on the album pages – a keepsake that is a lasting reminder of the day (and the photographer).

Wedding Photo Website

A website that hosts the engagement and wedding photos is a wonderful way for the couple’s out-of-town guests who couldn’t make it to the wedding feel as if they were a part of it. It also gives the couple an opportunity to stay in touch with their guests with fun pictures of the wedding and wedding reception.

Custom Parent Albums

Creating a custom album for each set of parents can boost the currency of the new son or daughter in law in addition to making a very special and personal gift. The albums feature photographs that are meaningful to each set of parents in a beautifully bound and personally created coffee table album for them to enjoy for years to come.

Hi-Resolution CD

Having a high resolution CD of all their photos gives the couple the ability to have prints made long after their wedding day is over – for family gifts, to frame and send to friends as a reminder of that special day or even to get shots printed and framed for their new home.

Reduced Rates for Enlargements

This incentive is especially meaningful to couples with large families. With a reduced rate for print enlargements, the couple can provide their close family members with more than a few 4 x 6 wedding prints.

 

Natural and Artificial Lights in Photography

Natural light generally refers to daylight, although moonlight qualifies too. For photographers, light during the day can vary. There might be a bright or hazy sun that causes shadows. Or it could be heavy and overcast. Daylight also exists in the shade, where subjects are shielded from the direct rays of the sun. Daylight exists indoors, too so not all natural light shots are taken outdoors.

Artificial light is illumination produced by man. It may be an ordinary light bulb, a fluorescent tube, a bright photoflood, a tungsten halogen lamp, an electronic flash, or many other types. Since these types of illumination can be used outdoors, too, not all photographs shot with artificial light are taken indoors.

Photographers also talk about ambient light, existing light and available light. Regardless of the term, this is light – whether natural or artificial- that is already present in the subject area. A photographer who shoots by ambient, existing, or available does not provide any of his own illumination.

Just as there are types of light, there are types of lighting that have special significance for photographers. For instance, directional lighting, such as that provided by the sun, flash, or tungsten halogen bulbs in reflectors, is more precisely described as being front lighting, side lighting, or back lighting.

Front lighting is the most basic for photographers, although not the most appealing. A long-standing rule that says to put the sun at your back so it shines on the front of your subjects was established for good reasons. Early films and camera lenses were not as fast as those in use today; they required considerable light to make an exposure. Old time camera and film manufacturers knew that bright and direct sunlight on the subject would provide an adequate image on the film, so they recommended it. Also, a subject illuminated directly from the front shows every detail because it is uniformly lighted.

Front lighting is still popular today, but many photographers find it unsatisfactory for portraits and other subjects. The reason is that front-lighted subjects appear ‘flat’ because there are no shadows to give a feeling of depth. For this reason, front lighting is commonly referred to as flat lighting. Another disadvantage of front lighting is that people often squint because the sun is shining directly in their eyes.

Photographers have found that changing their camera angle or the position of the subject so that the main illumination is from the side gives more depth and interest to many of their pictures. This is especially true when shooting close-ups of objects. Side lighting can illuminate the left side or the right side of the subject, depending on your preference.

Backlighting refers to situations where the main source of illumination is behind the subject, shining in the direction of the camera. Backlighting requires careful exposure readings so that the front of the subject will be properly exposed. If a reading is made of the backlight itself, the subject will be underexposed and appear as a silhouette. With portraits outdoors, backlighting allows your subject to have a natural expression without squinting because bright light is not shining on his face or into his eyes.

When strong directional light comes from both sides, the technique is known as cross lighting. It is normally used in studio situations with flash or tungsten studio lights, not under daylight conditions.

 

Bride Photography Tips

Capturing detail in the gown is important, but it shouldn’t override the person wearing it. With this in mind, approach the bridal formals by doing a number of poses, including a full-length shot, a medium shot with and without bouquet, and a head and shoulders shot with the veil.

When doing a full-length shot, pick up the train of the gown slightly and let it fall naturally. Don’t cut the gown off at the bottom of the image – let it be a curving design element. Also, don’t fuss with the gown other than giving it a delicate flow; too many times gowns are made to look like elaborate braids that twist and snarl around a bride’s feet.

The bouquet is an excellent prop for bridal formals. It should be held slightly above the waist in a natural, graceful way. Remember to have flowing lines in both the body and the dress and to have the arms bent in such a way that no hard angles or horizontal lines intrude on the grace of the picture. If the hands are showing, “break” the wrist for a flowing look. Also, don’t have the bride standing flat-footed, facing the camera squarely. Instead have her bend her body naturally, shifting her weight to one or the other leg.

Avoid the “passport” look and watch for a diamond design created by head, body and arms. If you use the bouquet in a medium distance or close-up shot, put it in focus if the bride is looking at it. Let it go slightly soft if it’s just being used as a design element or splash of color in the lower part of the frame.

One of the chief sources for an unacceptable bridal portrait is the burnt-out look created by the gown reflecting too much light in comparison with the rest of the tones in the picture. This may cause under-lighting on the subject’s face, but in order to get good skin tones in printing, the detail in the dress is lost. Be very careful with your lighting ratios.

One way to avoid the problem is to keep the main source of light away from the bride’s gown. Have the woman turn to the side and have her head turn in toward the light source.

If you’re using artificial light, feather the light across the subject rather than have it blast directly on to the gown.

Most bridal formals benefit from the use of a light vignetter or diffuser on the lens. The veil at the top of the frame and the gown or bouquet at the bottom serve as beautiful borders. Slight diffusion might also be desirable, depending on the light source and the subject. Natural light through diffusing curtains can create an excellent light in which to shoot bridals, although you should be careful of too strong a light source.

If the scene seems to have too much contrast, move the bride further away from the window, thus decreasing the intensity of light striking the gown.