50 mẹo chụp ảnh
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Tài liệu tiếng anh về kĩ thuật chụp ảnh đẹp. "Joe D Miles of ImageCapture is one of the photographers with Online Weddings and he uses digital cameras on assignment. He aims to capture spontaneous images that create an accurate portrayal of the wedding day. His approach is to be amicable, fi tting in with and adapting to the occasion."
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Photo 50 top tips for wedding wedding season is upon us, so sharpen up your skills with some insider knowledge from the Karl Foster speaks to fi ve of the UK’s leading wedding each of whom has wisdom borne of long light too harsh? Turn it to your by making shadows a your JOE D D Miles of is one of the with Online Weddings and he uses digital cameras on He aims images that create an accurate portrayal of the wedding day. His approach is to be amicable, fi tting in with and adapting to the the brideFor fl attering images of a bride, make sure she doesn’t have her arms bent (a slight bend is best, but not straight) while holding her bouquet. If possible, ask her to create an ‘S’ bend with her body, similar to the way fashion models pose. Look through women’s magazines like Vogue and to see how the models pose to get an a wide use of the widest aperture that your lens permits (for a narrow depth of fi eld) can create a very appealing effect for wedding keeping your subject in focus while making the blurred – although you need to be sure you focus fl ashIf using fl ash, try as slow a shutter speed as possible – 1/15th to 1/25th second, say – to make the most of ambient lighting. Try panning with moving subjects while you fi re the fl ash to freeze the subject and blur a distant for linesTry to make the most of strong lines, such as pillars, for backdrops to your wedding Remember, if you sort out the the falls into place to create the perfect Scout out the venue to see which elements might work light patterns there are any light patterns outside the church or register offi ce, you can use them to add impact and drama to your images. Be aware, however, that such patterns may come and go as the day so you may have to work quickly to capture the taking pictures of the bride and groom with their bridal car, try being creative by using the windows to frame them, or even jump inside the car, if it’s OK with the tilt adds a sense of motion to an image. This works on some shots very well – you don’t have to always keep the camera landscape or portrait format, be and align the lines at diagonals in the image to create impact. As with all don’t over do this – one or two images is the shadeIf you’re shooting a wedding on a day withvery strong sunshine, try to move the coup or group into the shade for a better exposure, usin fi ll-in, or forced fl ash to balance the scene. You’ll fi the fi ll fl ash setting by cycling through the camera fl ash some blurTry with pictures of the fi rstdance using a very slow shutter speed to g your images a sense of movement. And, if ambient light to the mood. Again may need to increase the ISO of the cam – although noise will become more obvious in Use a fl ash your fl ash unit to a to lift the fl ash a few inches above the shadows on the subject. The frame works on a hinge mechanism and enables you to move the fl ash for portrait shots or landscape LONG LENS the other don’t just happen in front of you. Look around for other photo that may be behind you. After all, you’ll be looking at what your subjects can see, so if you’re aiming to capture their memories of the day, look at what they’re looking at. 13Go lowTry shooting from a low vantage point. Avoid crouching on your haunches, however. Such a stance makes you unsteady and you may fi nd your shots ruined by camera shake. If the ground is dry, kneel down, or even lie down, in order to stand a better chance of keeping the camera a secondLet other people take their and then capture the subjects as they relax. Formal, posed shots are OK for the record, but when aiming to capture the emotion of the event, people come across better in photos when they’re happy, relaxed and unworried about people taking pictures of can add and lack of fl ash can keep attention from you. The last thing you want is for a fl ash to distract the wedding guests, drawing attention to yourself. The high ISO settings used in low-light may induce noise into the photos, which can give them a lot of a lenses keep you out of the action as an observer. They also create effects, which can add drama to photos. Be careful to avoid camera shake that can be induced when wielding such lenses – a sturdy tripod is a handy accessory in such friends with the know what’s actually as opposed to what should be. The can tip you off about who’s going to be where and when, so it’s wise to consult them in order to be in the right place at the right be someone doesn’t want their leave them alone. There’s in taking shots of people who don’t like of the lens. They’ll not look and you could end up causing offence. With get to recognise the signals that the for are happy so an ear out for laughter. Shots in wh people look happy and relaxed work very well, so you ears as well as your eyes to monitor the dynam the wedding party and move in on where the taking the windIf it’s windy, face people into the wand get lots of movement. The in can look dynamic w there’s a breeze – its lines will fl ow out with the movement of air. However, if you’re using a came with lenses, get out of the wind w you’re changing them to avoid dirt blowing into th camera body. ■ Robinson likes to remain at employing long lenses to zoom in on action. He works alone, although he’s happy to work alongside a who c serve as a useful attention to for the small stuff as well as the big picture. Often, details may go unnoticed by the wedding guests, and yet when they see a detail shot, memories will come fl ooding back. So be aware of around you and don’t be afraid to it. You’ll not be wasting any fi lm, after all… ANDREW JOHN THE John’s tagline is ‘your wedding, your style’. He’s won numerous awards for his unique wedding and for his other As with many pro wedding he offers a service which enables people to view and buy images a lotIf you smile at people, they smile back, so make lots of eye contact. Don’t hide behind your camera. Someone with a big lump of attached to their face can be and you’ll likely end up missing a lot of excellent the couple the ceremony, give the couple time and space to be This helps you when you come to the organised – people won’t keep coming up and getting in your way as they attempt to pass on their best wishes to the bride and the couple are busy being you can go round and get some candid shots of the guests. They’ll be happily and therefore more relaxed than when they feel they have to pose for the camera. The can have some of the best shots of the wedding and compose your subject through the lens, then get their attention by talking or smiling at them – they won’t know you’re taking the When they do realise, they’ll laugh and you can then take more The more relaxed people are, the better the shots will turn with the fl owDon’t fi ght the rain, wind, people and time. There’s always a way to get round a problem, so think As you become more confi dent and you’ll develop numerous ways of making the play into your hands, so exercise your skills to the for rainIf it’s raining, use brollies. It’s handy to have a white one and a black one in your car. Get the couple walking with them, kissing each other and so on. They make excellent props, and can save your expensive digital camera from a soaking, which is unlikely to do it much the crowdIf people are in the in places, just let them be there. it’s good to take pictures of strangers wishing them the best – take a look at wedding al on Andrew John’s website titled ‘beach burbo ban was supposed to be a clear beach, but when he go there it was packed with your timeYou should always have enough timyou don’t, you didn’t ask the right at the Be aware of the sche of the day, how you’re going to get from A to B an where the wedding party will be and when. The will miss out on key moments, so don’t let it be can be a lofun, but not if you’re fretting or the light. Relax and have a good time, j the rest of the attendees are meant to be doing. Y may fi nd that your improves as a res 21 Consult have a with the couple to get to know them and fi nd out what they want fi rst. It’s their day, not yours, so it’s wise to have a clear idea of how they envisage the occasion. Be polite and don’t promise anything that you can’t @ REPORTAGE is a fully qualifi ed works for national and hen true expert at reportage to be without ordering people your inside knowledge of the family to get shots If some relatives haven’t seen each other for 20 years, a shot of when they fi rst meet at the church could be very Think about the attendees and how they get on, then use that knowledge to plan shooting when people are take pictures of people eating. They never look good and no one will thank you for it. You may as well pack away the camera during the meal and have some food yourself while you wait for the which provide far more for good people ‘chimp’ after each shot (chimping is looking at the camera’s screen to check your It uses up the batteries and takes your eye off the action. You’re better off reviewing the photos en masse being careful to delete only those that you can’t feasibly the fl ashWhen shooting indoors, bounce your fl ash off the ceiling and balance the exposure with the ambient light. Bounced fl ash is far more diffuse, so you won’t end up with those harsh shadows that are of amateur your own make sure you get a good confetti shot, take your own confetti. Frame the shot and throw the confetti high in the air, not at the couple. Try a small aperture (f11), slow shutter (15th) and fi ll-in fl ash. Just make sure the wind isn’t blowing towards you, or you’ll look like an for mingling with the guests listen out for someone telling a story. There are typically numerous at the wedding, each with something to say, so let them warm up the crowd for you and be ready to capture their you get back home, edit the pictures then edit them again. Remove any shots in which the bride and groom don’t look at their best. Retouch any blemishes from their faces, and so forth. Then edit the pictures again – only let people see the best shots, not hundreds of average let your the shotsTurn off any automatic in-camera This is best done on the computer resized the images. If possible, always shoo RAW format. This transfers the data from the imag chip directly to memory without it, although the fi le sizes will be much larger than with JPEG capture, so you’ll need memory cards, or a portable storage devi copy your images onto over in bright lightIn bright sunlight, try to retain the in the bride’s dress by by 1 EV and bringing the shot up to the correct exposure on Digital cameras have excellent so shadow detail should be – which is where they tend to have shooting in RAW as opposed to JPEG in this Tell a a approach – look for pictures thtell the story of the day. The classic way is to get three pictures of each moment, not taken at the same time. For example, a close up of the cake, a medium shot of the couple cutting th cake and then a wide angle of the guests’ STEVE and his wife Stephanie pride on customer care and have a approach. Their photos are modern in style, featuring a wide range of vibrant, a to get a position in the church about two or three rows back from the altar and to the side of the bride and groom. You can capture some fantastic emotional images the And make sure you turn the camera’s sound effects off so you don’t disturb people seated for key at what points you’ll be able to capture emotional or funny images – for example, during the ceremony itself, and the couple’s while register is being signed. This is often the fi rst time they’ve spoken together on the day and their reactions can produce some your fl ashNever use direct fl ash – as well as using an fl ash bar, place a diffuser over the fl ash head. Sto-fen’s white plastic caps are and great for helping fl ash pictures They soften the fl ash, reducing those harsh shadows that can make look away from too many digital effects on the camera. If you want to create a sepia print, or even solarize the happy couple, shoot in colour as normal and convert the shot in an image editor later. If you shoot with special effects, you’ll not be able to turn the image into a standard colour shot wide on lenses, or the setting of your compact, to capture graphic shapes. The lines of a church’s interior can look when lenses distort them. Just avoid taking portraits with them – people’s faces will distort in a strange, bulbous slow slow-sync fl ash methods, which can transform interior shots. The camera’s fl ash will fi re to subjects and the shutter will stay open longer so that the properly exposed. Rest your camera on a tripod, though, otherwise you’ll introduce unwanted motion highWhere possible, try high angles (or low ones) to get shots that are different from those taken by the rest of the guests. Most people will shoot from head height, so get on a chair, table or to make your stand out fr the best man’s speeWatch for reaction from the bride groom during the best man’s spee This can be the funniest point in the whole day, so an eye on their faces as he talks. When the stories start coming out, the couple’s be well worth exposure lockMake good use of the camera’s exposure lock – yours may have an AE-L button, or it can be locked by – and take spot meter readings from faces ensure you get the correct exposure. People are drawn to faces in a photo, so you do want them under- or ■ 50 Use a refl possible, use a refl ector and natural light. They’re cheap, you can clearly see the effect and it’s better than fl ash. The refl ector helps to reduce the harsh shadows caused by strong, light, which is handy when aiming to take fl attering