Beginner wedding photographer mistakes

10 wedding photography mistakes every beginner will make (and how to get better)

By Angela Nicholson

Shooting a wedding is one of the toughest assignments that a photographer can take on, there are lots of potential issues and the stakes are incredibly high. To help out, our head of testing, Angela Nicholson, has compiled a list of the most common wedding photography mistakes that photographers make when starting out shooting weddings, along with some of her best wedding photography tips for how to avoid them.


01 Inexperience

If your family and friends know that you own a DSLR or advanced compact system camera, the chances are pretty high that at some point you will be asked to photograph a wedding.

It’s important to be realistic about your capabilities and experience before you commit to shooting a wedding – especially if you are to be paid to do so.

Be honest with the couple about your experience and don’t allow anyone to bully you into taking on the job to save money if you are not confident.

It’s also important to have the right kit. Ideally you’ll need two decent cameras and a selection of lenses along with a couple of flashguns.

What’s more, it’s absolutely crucial that you know your equipment inside out and are confident in using it. A wedding is not the time to be trying a setting for the first time.

If you decide that being the main photographer at the wedding is too big a step, you could always offer to take on the second photographer duties, shooting from alternative angles, getting background shots and duplicating some of the pro’s shots, it’s all good experience.

If you decide to get serious about shooting weddings the Society of Wedding and Portrait Photographers (www.swpp.co.uk) and the Guild of Photographers (www.photoguild.co.uk) have lots of information to offer and it’s worth considering joining.

These organisations’ websites have forums that are a great way of getting to know other photographers, including professionals who maybe looking for a second photographer for a wedding.

02 Poor exposure

The bride’s white dress is one of the most important aspects of many weddings and it can be a real headache to photograph correctly.

Every wedding photographer’s worst nightmare is overexposing it so that it’s turned into a uniform mass of bright white with no detail, but the opposite (underexposure) makes it look grubby and grey.

Fortunately, a little underexposure can be corrected post capture, but it needs to be just a little underexposure to avoid loosing detail in the groom’s dark suit and bringing out noise in the shadows.

Ideally you want to use an exposure that produces an image that has detail throughout the tonal range.

This is one area where digital cameras offer a huge advantage over film cameras, because you can check the exposure immediately after taking a shot and adjust accordingly.

You can also use the camera’s auto exposure bracketing facility to take a sequence of images with different exposures in quick succession without incurring any extra cost.

Activate your camera’s histogram view and aim to produce images that have a peak towards the right end of the scale, but without a huge peak at the very end.

It can also be helpful to turn on your camera’s highlight warning so that burned out areas flash at you once the shot is taken and you can shoot again.

03 Messy background


Most professional wedding photographers usually check out a wedding venue before the big day so that they can identify the perfect location for the essential shots of the couple and their families.

A nice, clean background can make a huge difference to a shot, but don’t make the mistake of thinking that it needs to be plain or uninteresting.

Shooting the couple in the doorway of the church, for example, gives context as well a creating a frame around them and it looks much better than photographing them in front of the hedge in the churchyard.

04 Couple squinting in the sun

If you are able to visit the venue before the wedding it’s well worth doing so at the same time of day as the service as you’ll be able to assess the position of the sun.

It’s all very well identifying a nice background, but the couple won’t thank you if they are squinting into the sun in every shot.

Look for a location that has a nice background and provides some shade – or rope in someone to hold a large diffuser.

As well as avoiding squinting, shooting in softer light produces more flattering shots with less harsh shadows.

05 No eye contact


One of the drawbacks of not being the official photographer is that you don’t have the attention of the happy couple at some key points.

This can produce some near-miss shots that are nicely composed, but without the essential eye contact.

The bride and groom won’t appreciate you calling for them to look at you while the pro is supposed to be getting the shots that they are paying for, so bide your time.

Most pros understand that the family want to get a few shots of each pose and you need to be ready to seize your moment.

If you fit a longish lens you can also snap some intimate moments between the bride and groom when they look at each other rather than the camera.

06 Forgetting a shot


If you’re not the official (or semi-official) photographer this isn’t a major issue, but if the couple is banking on you to shoot their wedding for them then you need to make sure you photograph everyone and everything that they are expecting you to.

Speak to the bride and groom beforehand and draw up a list of guests and groups that they want to be photographed.

It’s also a good idea to get the name of someone who is responsible for rounding up the various relatives for you.

Then, when you are at the wedding, you can work your way methodically through the list and be confident that you’ve photographed everyone.

07 Equipment failure


If you drop a lens at the wedding, or your camera stops working, it doesn’t matter how expensive it is, you have to hold back the tears and carry on shooting.

If the bride and groom are relying on you to photograph their wedding there can be no excuses.

It’s essential to double up on all your kit so that if something breaks or fails you have a back-up.

Having two cameras has the added advantage of allowing you to swap quickly between focal lengths without having to change lens.

Just mount one optic on one camera and another on the other and switch between the two cameras as you want.

If you don’t own two cameras or have sufficient overlap of lens focal length, consider hiring (or borrowing) what you need for the day.

08 Messy group shots


Large group shots aren’t especially easy to arrange, first of all you’ve got to corral all the people you need together (and get rid of any unwanted hangers-on), then you’ve got to make sure that everyone is visible, smiling, looking at the camera and not blinking.

The ushers can usually be relied upon to help find everyone that’s supposed to be in each shot, but it’s up to you to arrange them.

Put the most important people towards the centre of the group around the bride and groom and have the taller one’s towards the back of large groups.

Bring a stepladder and tall tripod, or find a high vantage point for shooting very large groups.

It can be useful to bring something along that makes a bit of noise to attract attention – a whoopee cushion can be relied upon to create a few smiles, but it won’t work more than two or three times.

One way to avoid having people blinking is to get them to close their eyes and open them on the count of three, when you take the shot.

Take a few shots of each group in the hope of getting everyone looking as you want in at least one, but be prepared to do a little post-capture compositing.

09 Forgetting the details


Being free of the official togging duties means that you can focus on getting shots that tell the full story of the day.

If you are there in an official capacity these shots will also be appreciated.

Photograph the incidentals that the bride will have spent a long time choosing; the table decorations, menus, place-names and flowers for example, as well as the wedding cake and the odd glass of champagne.

Try to compose the shots as you would a normal still life or macro shot to create images that the bride and groom will want in their album rather than take straight record shots.

10 Shooting JPEG files


There’s a lot at stake when shooting a wedding and you need to make sure that you have the maximum amount of data available when editing images to correct any issues with exposure, colour and white balance.

This means that it’s important to shoot raw files.

By all means shoot JPEG files at the same time, but shoot raw files to get you out of trouble.

 

Source Article: Wedding Photographer Mistake

 

CUT OUT ANYTHING IN PHOTOSHOP

10 TIPS TO MAKE SELECTIONS THAT CUT OUT ANYTHING IN PHOTOSHOP

by John Aldred

Photoshop’s selection tools seem to evolve and change with every new update. Techniques and technology evolve to make selections a little easier than they were before. At least, that’s the theory, sometimes they just get more frustrating. But, there’s still no one technique that works for everything.

This video from Nathaniel Dodson at Tutvid is a long one. At 37 minutes, you’re not going to be finding any instant fix magic bullets. But, he goes through several different selection methods to explain how they all works, how to use them and what kind of images they work best on.

The techniques Nathaniel describes are going to produce different results on different types of images. A super busy location background will probably require a different technique than a clean white seamless studio backdrop, for example.

  1. 00:35 Start every selection with Quick Selection
  2. 03:35 Use Select and Mask to cut out hair
  3. 08:58 Poly Lasso tool + tips and tricks for straight selections
  4. 12:42 The mighty Pen Tool
  5. 16:54 Using a channel to create a complex selection
  6. 22:54 Calculations for complex selections w/ lots of straight lines
  7. 26:19 Color Range to create selections based on color or tone
  8. 29:09 Quick Mask tools to paint selections FAST
  9. 31:13 What do I do once I have a selection?
  10. 32:26 Defringe your selections and objects for amazing edges

Nathaniel also threw in a little bonus tip that many Photoshop users will very much appreciate.

  • 07:14 Bonus tip: Getting back to the older Refine Edge feature

One of the most commonly used methods is the pen tool. For hard edged shapes, there really isn’t much else that has the power and versatility that the pen tool offers. But, it can be a difficult one to master, and I know a few people who’ve given up completely after just a few attempts. But it really is worth learning. This is one of the methods I use most commonly for making selections.

Channels are also a very powerful tool for making selections, especially when you have channels which contain a lot of contrast. Human skin, for example, shows up extremely dark on the blue colour channel, and brightly on the red colour channel. If you’re shooting against a darker background, red might be the channel to go for. On a lighter background, as demonstrated here, blue might be your best option.

As you can see, though, just like most things in Photoshop, there’s a bunch of different ways to essentially do the same thing. And the reason is because there are so many different types of images from which you might want to cut something out. No single technique will work for everything, so we have multiple options.

For some, the quick selection tool along with Refine Edge covers most of their needs. But, when it doesn’t, it’s handy to have a few more tricks up one’s sleeve.

Source Article: Cut anything

 

Birth Photo Competition

10+ Powerful NSFW Photos From The 2017 Birth Photo Competition Prove That Moms Are Badass

By Iveta

The International Association of Professional Birth Photographers has announced the winners of their 2017 contest, and the photos they chose show the struggles mothers go through to bring new life into the world, and the sheer joy that follows.

We took your breath away with last year’s contest, and these new photos will leave you even more amazed. Each one tells a story of pain, perseverance, and finally, relief. They document a baby’s first moments of life, and a family’s first moments of unity.

Continue reading “Birth Photo Competition”

Winners of Wildlife Photographer of the Year 2016

The jury selected the best works from 50,000 submissions.

The jury of the international Wildlife Photographer of the Year contest, held with the support of the Natural History Museum in London, named the best photographs of 2016, PetaPixel reports.

Tim Laman became Wildlife Photographer of the Year for his work Entwined Lives, showing an orangutan up the tree in the Indonesian part of Borneo. This photograph was selected from over 50,000 submissions sent by participants from 95 countries from all over the world.

Continue reading “Winners of Wildlife Photographer of the Year 2016”

Krishna & Bunga Weddingclip

Krishna & Bunga same day edit by Johanes Dharmawan

Videography: The Leonardi Team
Make Up: Adele
Dress: Yumika Tsurai
Decor: Nefi
MC: Emil Eriyanto – MKE
WO: Multi Kreasi Enterprise
Location: Ritz Carlton Kuningan, Jakarta

The Prophet

Love has no other desire but to fulfill itself.

But if you love and must needs have desires, let these be your desires:
To melt and be like a running brook that sings its melody to the night.

To know the pain of too much tenderness.

To be wounded by your own understanding of love;
And to bleed willingly and joyfully.

To wake at dawn with a winged heart and give thanks for another day of loving;
To rest at the noon hour and meditate love’s ecstasy;
To return home at eventide with gratitude;
And then to sleep with a prayer for the beloved in your heart and a song of praise on your lips.

by Kahil Gibran