Some time, sooner or later, I knew I would get into wedding photography. With my experience the past few years shooting events and sports primarily from a candid perspective, the pursuit of more freelance work with portraiture and weddings was the next natural step.
So, when presented the opportunity to be the primary photographer for a country wedding, I jumped at the chance, despite the fact that at the time I was preparing a musically intense senior recital for my undergraduate degree in music education. But hey, I do love a good challenge, and this one was no exception—with time management a chief concern.
Regardless, after much research on wedding photography articles and ensuring I had the proper gear to take on anything an outdoor wedding could throw at me, I felt more and more confident as the wedding day grew nearer. Along with backup photographer and lighting assistant Chase Bullock, we were set for a successful day of shooting.
And succeed we did! All in all, I whittled down a large batch of files from three cameras in Lightroom 5 to a solid pool of 500 images. Obviously I don’t have the bandwidth on this site to post them all (and I would not expect any reader to want to look through the whole set!), so below are 42 selections from this pool that span the course of the wedding day. Continue Reading
After three short portrait sessions with friends (first two here and here!), I can say I’ve gotten just about enough experience in portraiture to be a little dangerous during a photo shoot. 🙂
Finagling how to balance flash with ambient light, place light sources, and pose a subject are three areas I am still working on, but in all three of my short sessions, I have learned new skills in varying scenarios. The first with Matt Simmons saw me working under different-colored fluorescent light, then under the shade during a bright day. The second with Ashley Montgomery let me experiment with balancing flash with the sun to create highlights from the now two light sources, and figure out some feminine poses. Finally, my most recent shoot with Melissa Moberg challenged me to constantly adapt to ambient light levels that quickly dropped from sunset to twilight.
It’s never easy, is it? Continue Reading
Cameras with an APS-C sized sensor are generally not thought of as low-light performers. Despite recent gains in 16 megapixel APS-C technology (NEX-5n, Fuji X-Pro 1), digital noise due to tiny pixels not getting enough light can become a problem at high ISOs starting at about ISO 3200. When packing a 24 megapixel sensor of the same size, these even smaller pixels are all the more susceptible to image degradation. On my NEX-7, I have generally stayed away from low-light (handheld, anyway), simply out of the fear of a low signal-to-noise ratio at high ISOs. But when the job calls for it–an acoustic/electronic music show hosted in a bar–pictures have to be made, so I grabbed my Nikon 50mm f/1.4 S-Auto, and went to work. 🙂
To give an idea of the (lack of) stage lighting, this guy’s computer was illuminating him more than anything else in the room!
Soprano Sax and the Macbook
50mm, ISO 1600, f/1.4, 1/60