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Learn to capture stunning and memorable wedding photographs

You only get one chance to photograph a couple?s dream wedding, and this complete resource is an essential addition to any aspiring or current wedding photographer?s shelf. From brightly lit outdoor weddings to poorly lit evening ceremonies, internationally renowned wedding photographer Kenny Kim offers unparalleled advice for working with clients, choosing the right equipment, composing beautiful images, helping your subjects with posing, and much more. Assignments at the end of every chapter encourage you to practice your skills and upload your photos to Photoworkshop.com to share your images and benefit from constructive critiques.

• Offers ! a strong understanding of photography?s fundamentals and expla! ins how they are crucial to capturing memorable wedding images
• Escorts you through techniques for handling challenges with contrast, lighting, action, posing, etc.
• Shares insider advice on business basics, post-production editing, composition, and much more
• Covers lighting and exposure techniques for bright, normal, and low-light situations, which are common in the world of wedding photography

Digital Wedding Photography Photo Workshop presents stunning photography and inspiration for all levels of wedding photographers.

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From the Author: Capturing Stunning Wedding Photos

Ima! ge 1

Turn off the flash!
Often times we are focused on creating that perfectly exposed photo. But next time you are in a location where there is high contrast of light between the foreground (your subject) and the background, try silhouetting your subject for a change. Instead of reading the light meter off the bride and groom, point your camera to the background and record the light meter in the sky (This is best achieved when shooting in manual mode on your camera). Then compose your image the way you want and make sure that the subject is in focus. The end result is a beautiful subject silhouetted by the radiant sky in the background.

Shot specification: Canon Mark 1d III / 2.8 1/60sec. ISO 1600 /WB: Auto / Canon L 16-35mm f2.8 lens zoomed to 18mm.
(Image 1)







Lights First. Shoot Second.

Image 2

As photographers, we are visually stimulated by pretty landscapes. When we go on a photo shoot with a couple, we often make the mistake of seeking out attractive or beautiful backgrounds to place our subjects in. While that is important, it is far more essential that we look for good source of light. No matter how great the location is, if there is not a good quality of light, even the most expensive camera will not capture a beautiful photo. In this photo, we are inside of a beautiful mansion in England. However, the house was not evenly lit. But I found a good source of natural light coming in to the house through a lightly tinted stained glass window. So I placed my subject there and posed them in an intimate way to capture this image. You may not always f! ind a good source of natural light â€" but if you do, use it!

Shot specification: Canon Mark 1d IV / 3.5 1/60sec. ISO 1600 /WB: 4000K / Canon L 24-70mm f2.8 lens zoomed to 62mm.
(Image 2)







Go For Emotion.

Image 3

We as human are drawn to emotion. When we look at this photo, we are immediately attracted to this image by the natural smiles coming from this couple. It is such a strong visual element that you might even forget that there is a dumpster behind them. We as photographers are not only commissioned to take pictures. We have a big role in making our clients feeling comfortable in! front of the camera so that they can be themselves. Only then! can we get them to show their inner beauty outwardly.

Shot specification: Canon Mark 1d IV / 2.8 1/60sec. ISO 400 /WB: 5200K / Canon L 70-200mm f2.8 lens zoomed to 130mm.
(Image 3)

















Wedding versus Sports Photography
Before I got into photographing weddings, I learned a great deal about the subject of wedding photography by shooting sports. It was never my intention in the beginning to be a wedding photographer. I got into photography because I loved sports and photography gave me the opportunity to be close to the action. But during my brief stint of trying to become a sports photographer, I was subconsciously teaching myself to be a better wedding photographer. While the subjects are completely different, there are many similarities between the two professions that parallel to each other.

In sports, everything happens in a blink of an eye! . Athletes are trained to make split second decisions during competition. There is no time for thinking â€" only reacting. If you do not understand the fundamentals and the basics of the sports you are photographing, there is a good chance that you will miss out on all the important moments. To be a better tennis photographer, I had to learn how the game was played. I did this by observing the players during practice â€" the routines that they went through to perfecting their craft. These professional athletes will go through rigorous training and repetitive motion to train their body to react a certain way during game time. When that tennis ball is coming at you at 100+ mph, you have less than 1/100 second to make a decision whether to hit it with your backhand or forehand, slice the ball or swing through it. You do not have the time to decide whether or not your tennis grip is in the right position or if you are standing with a proper stance to hit the ideal forehand shot! . Your body automatically has to be in that position so that t! he only thing you have to worry about is making sure that you place the ball in the opponent’s side of the court in a way that will favor you to win that point.

It is the same thing with wedding photography. During the ceremony, everything happens only once. Whether it is the ring exchange, the first kiss, or even the tears that are shed by the bride or the groom. It is once in a lifetime opportunity and it has to be captured as it happens. Everything happens so quickly that if you are not prepared, it can be overwhelming. You do not have time to think about what white balance, ISO or shutter speed your camera has to be at to take that perfect photo. But you can remember/practice them before the ceremony starts so that no matter where you are during that ceremony, you will know exactly what settings to be at. Just like sports, you don’t have time to think â€" only to react.

Image 4

This is one of the reasons why I enjoy attending wedding rehearsals. It allows me to sit back and observe how the ceremony is going to conduct on the wedding day. This eliminates and surprises that might happen. For example, at this particular wedding, I noticed that the father of the bride had that cheerful contagious smile. Every time he walked his daughter to the altar, he glanced at her and smiled. So I made a mental note to be in the same spot during the ceremony next day. (Image 4)

I also learned at the rehearsal that the church was very strict on where photographers are allowed during the ceremony. So I introduced myself politely to the church coordinator and let her know that I was on her side and that I res! pect all the rules of their church. I also showed her the imag! e I capt ured on the display of my camera and mentioned to her that it would be great to capture the same image during the ceremony. She informed me that normally I was not allowed to be in that spot to capture an image like this. Then she leaned and whispered to me that if I do it discretely, that I can go up during that part of the ceremony and capture this moment.

As a result, on the day of the ceremony, I winked at the coordinator and quietly positioned myself in that spot to capture the moment of the father giving the bride away. I had my camera settings memorized from the rehearsal. I was a bit disappointed when he did not smile at his daughter as big as he did during the rehearsal. But he did something different that I was able to capture because I positioned myself to be there. He kissed his daughter’s hand before giving her away. (Image 5)

I also captured a moment, which I did not anticipate. The groom leaned over to the side and gazed a! t his stunningly beautiful wife-to-be and gave her a big smile. (Image 6)

All of these simultaneous moments happened in about three to five seconds. If you were not positioned in the right spot, you probably would have missed everything. These are emotions that you cannot duplicate and the clients are very appreciative that you captured them. By studying your subjects ahead of time, you are positing yourself to win. Whether its that next point or the “Kodak” moment, we can increase our chances of winning by practicing ahead of time.

Image 5

Image 6

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A full-color reference-and-DVD package covers shooting and editing a successful multimedia project

With the introduction of dSLRs with high definition video functionality, a new world of multimedia capture has been opened to digital photographers. This book shows you how to embrace the exciting new option of photo fusion, by incorporating digital video content with your photography.

The author duo guides you through creating seamless multimedia presentations that maximize both still-frame and video photography functions on your dSLR. From the setting up and shooting, to downloading, editing and presenting a multimedia project, this book clearly explains how to move beyond stills into the exciting world of multimedia creation.

• En! courages you to embrace the exciting possibilities of photo fusion in the field of wedding photography
• Explains how to incorporate digital video content with photography
• Walks you through all of the necessary steps for shooting and editing a memorable multimedia creation
• Details every aspect involved in setting up, shooting, downloading, editing, and presenting a multimedia project
• Features more than 200 color images and an indispensible DVD of inspiring examples

Packed with more than 200 stunning images and featuring a 45-minute DVD, Photo Fusion presents you with inspiration and instruction so you can create your own multimedia projects.

Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.A full-color reference-and-DVD package covers shooting and editing a successful multimedia project

With the introduction of dSLRs with high definition video functionality, a new world of multimedia capture! has been opened to digital photographers. This book shows you! how to embrace the exciting new option of photo fusion, by incorporating digital video content with your photography.

The author duo guides you through creating seamless multimedia presentations that maximize both still-frame and video photography functions on your dSLR. From the setting up and shooting, to downloading, editing and presenting a multimedia project, this book clearly explains how to move beyond stills into the exciting world of multimedia creation.

• Encourages you to embrace the exciting possibilities of photo fusion in the field of wedding photography
• Explains how to incorporate digital video content with photography
• Walks you through all of the necessary steps for shooting and editing a memorable multimedia creation
• Details every aspect involved in setting up, shooting, downloading, editing, and presenting a multimedia project
• Features more than 200 color images and an indispensible DVD of inspiring ex! amples

Packed with more than 200 stunning images and featuring a 45-minute DVD, Photo Fusion presents you with inspiration and instruction so you can create your own multimedia projects.

Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file.

Top Ten Photo-Fusion Tips
Amazon-exclusive content from author Jennifer Bebb

1. You Are a Still Photographer, Not a Videographer
If the moment warrants a still image, make a still image. Your primary focus is making still images and your video coverage is designed to augment your stills.

2. Shoot More Video than You Need!
A still image is all about a single moment. Video, ! on the o ther hand must be edited to showcase the perfect moment. Leave lead time before and after the clip you want to use, and record more video than you think you will need. You can always leave the extra clips on the cutting room floor.

3. Be a Ruthless Editor
Remember that you are a photographer first - the audio and video you are recording is designed to flesh out the story told by your stills, not overwhelm it. If the video doesn’t look great, don’t use it.

4. Practice, Practice, Practice
Take the time to get to know all the gear you are going to use while making Fusion. Test out everything, ahead of time, on friends, neighbors or your pet. Practice using a tripod, monopod, and other stabilizers. A wedding day is not the time to learn your gear.

5. Remember the Gift of Speech
Your clients are giving and receiving the gift of words they may never hear again. Record them with respect and care, and use those wo! rds in your final edit. This is a gift that grows in value over time.

5. Record More Audio than You Need
Your portable audio recorder will run up to 8 hours, so use that to record audio separate from your video clips. It is the audio that ties Fusion together, so record lots and edit out what you don’t need.

6. Be Prepared for Anything
Make a plan for the day, but be ready to change on a moment’s notice. That’s the nature of a wedding day - it’s unpredictable. Plan for everything you can, and stay cool when things go wrong.

7. Shoot Your Video with the Eye of a Photographer
If you are using a HDSLR, you know how to make great still images with it. Making video is similar - use your knowledge of light and composition to make your video and stills blend together cohesively. Take advantage of your ability to see the world in you own unique way.

8. Stabilize Your Footage
You might be! able to make great still images at a slow shutter speed while! hand ho lding your camera. Video is different - because you are recording more than a split second, it is challenging to hold steady. Wherever you can, stabilize your footage, especially during the ceremony and the speeches.

9. The Details Matter
As you do more and more Fusion, remember the details and nuances of a wedding day, will benefit from video as well. Make your still images first, then record some video of the details. Your attention to detail is important to your client.

10. Shoot for the Edit
The more you get right in camera, the less work you will have after the fact. This is particularly true with video footage. Shoot with your edit in mind - if you know you want a transition clip of the bride’s dress going on, shoot it in both stills and video. Having a sense of what you want your final piece to look like will help you choose when to record video and when to make stills.

Photos from Auth! or Jennifer Bebb (Click to enlarge)

This is image was made while the bride was having her dress done up. She had moved towards the window in an effort to cool down (it was a hot day) in the breeze. The wind caught the sheer curtains and blew one between the camera and the bride, and this is the result. Specs: Camera: 5D ISO: 160 Aperture: 2.8 Shutter: 1/60 Exp. Comp: +0.7

This image was made in and Art Gallery in New York City. The gallery was between exhibits so we had the opportunity to work in spaces that are normally closed to photographers. ! This was a large, bare room, but we loved the warmth of the a! mbient a nd the patterns on the floor and walls. We used a chair that was in the space and had her sit on the floor. We wanted the bride to be the focus of the image, so we needed to add some light to her face. We used a small video light to ensure that she was well lit, and kept our shutter speed low to ensure the warmth of the ambient light was present in the scene. Specs: Camera: 5D ISO: 1250 Aperture: 4.0 Shutter: 1/30 Exp. Comp: 0.0

This image was made in bright sun on a beach in Mexico. We decided to take advantage of the sunlight and use it to our advantage. We simply had them embrace at the water’s edge, turning her eyes to our lens while asking him to hold her tight. With the aperture set at 2.8 and the compression of the 135mm lens, we knew that the background would be completely o! ut of focus while she would be the obvious focus of the image. Specs: Camera: 5D MKII Lens: 135mm ISO: 100 Aperture: 2.8 Shutter: 1/4000 Exp. Comp: -0.3