As I reflect on 2009, I'm attempting to reveal something of my thought process during a day of wedding photography, as well as the thought process behind my post-production. My hope is that it will help you to appreciate the foresight and artistic intention are behind a striking wedding image. Yesterday I wrote about how I use walking to achieve a variety of effects.
Today, I want to look at one of the most important techniques I use when shooting during the bride and groom's portrait session. Namely, I keep the camera glued to my face after the "official portrait" is over. Yes, I like the look of completely posed portraits if they are done right. (I'll have some examples of those in a later post.)
However, those moments that happen right after (or right before) the posed picture are often more emotive and personal than the posed pictures. It's nice to be able to offer both dramatic and fun portraits (posed), as well as the emotional portraits that tend to show the personalities of the couple (the moment after). Here are some examples:
Natalie and Sean
Both of these images are very similar, but the top image is an example of a "moment after" and it is also a "final" image (the type of image you see on my blog). The bottom image is an example of a posed shot as well as a "proof" image (one of 600 images delivered on a wedding proof DVD, for example).
Obviously, in this series I took some time to position myself below them and to make sure the background consisted of nothing but the colorful umbrella. I suppose that much of each of these images is posed. Once I had my composition, I asked Natalie and Sean to kiss (the proof image on the bottom). It's a great image, and in this case because they're both smiling while kissing I think it really does convey emotion.
But what would I have missed if I had taken the camera away from my face after the kiss? I would have missed Natalie and Sean's huge smiles and an image that I think conveys their connection more strongly and personally than the kissing picture.
As far as post production goes, you can see I pretty much left this one alone. I bumped the color a bit (not something I usually do) because I thought a picture with an background like this needed it, and I added some contrast. I also smoothed some of the faint lines on Natalie's neck. Not that it really needed it, but I figured since it was in the foreground of the image I might as well smooth it out.
Kathryn and Dustin
These two versions of Kathryn and Dustin aren't so much about capturing a great connection after the posed moment, but about capturing what looks like a very un-posed, candid moment. The catch is that it is positioned and framed exactly how I want it before the moment happens. That's what is nice about the bride and groom portrait session: I can get the candid shots everyone loves, but I have much more control over the composition and location than I would during another part of the day (for example getting ready shots or the reception).
Here, the final image (top) is given a special antique toning during post production that I thought would compliment Kathryn's dress and her taste.
The bottom image is an example of how a proof image would be processed.
Sarah and Ryan
With Sarah and Ryan, I had asked them both to look at me with their hands at their side. I was going for a very symmetrical, and straight-laced image you might have found in your grandpa's attic. When Sarah was done posing and looked at Ryan, I knew I had my connection. But, again, it was an orchestrated connection in which I had set up their location, position, and framing.
As far as post-production goes, in the final image (top image) I added a very strong texture which was really more about color and mid-tones that texture. It dulled the colors a bit and really gave this image a unique feel. I also added a vignette to draw attention to Ryan and Sarah and to give it a more aged feel.
Again, the bottom image is an example of how a proof image would be processed.
Deanna and Tim
Sometimes I need to prod the candid moments along. In this case, Tim was probably not the most excited person to ever pose for a camera, but he was a great sport and did everything I asked. It was just going to be difficult to get a genuine moment when he was self-conscious of the camera all the time. So I made sure to use a long lens to give them their space and I had them pose in the middle of the barn door and smile (the bottom proof image). It was a fun image that I almost processed into a final image for the blog.
But I was still looking for that candid moment. So I told Tim to just walk over to Deanna (the top, final image). It created a sense of movement and interest. It told a small story. (Tim looks like a bashful 9th grader going to ask an expectant girl to dance.) It even revealed the folds of Tim's suit in the light, giving greater depth to the image.
So I don't know if you can really call this final image (top) a candid image since Tim was doing exactly what I told him to do, but it looks and feels candid because it's the moment after the "posed" image (bottom, proof).
As far as post-production goes, I again just warmed it up to give it an antique look, added a slight vignette, and just tried to leave a good frame alone.
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