Use what you got – Brian Mullins

pool table wedding photo

Aperture – f3.2 Shutter – 1/60th ISO

– 1250

Photo by http://www.brianmullinsphotography.com

This was shot in a room with mahogany floors, green walls and a dark colored ceiling. There were a few windows but nothing that would cover the group with decent light. Introducing a flash to this scene would have been easy enough to do, but at the cost of the ambience of the room and dealing with the shadows from the light over the pool table. The pool table has a florescent light over it that was, as far as light quality, good enough – Soft, even and directional. So, you guessed it, I used the florescent bulbs in the pool table fixture to light the subjects in this shot. I just used this as I would any “natural” light source to get the levels, posing and positioning that worked with the light. I purposefully shot the

“flare” from the light as while you can’t smoke indoors, the scene definitely reminded me of a smoky pool hall, so that was an attempt to emulate it.

I positioned the people around the light to get the best results. What can I say, I’m lazy.. moving people is WAY easier then moving lights.The trick to this shot was to cover everyone equally with a consistent amount, and color, of light. I ended up catching some blue highlights from an open window on the left side of the frame so I made the photo sepia. I had that in mind anyway when I shot but I would prefer to have options in color and monotone if possible. I definitely would of closed the window next time.

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Camera : Nikon D3 Iso : 1600 Aperture: f3.5 Shutter Speed

: 1/50 second Light : Tungsten ambient Light

Photography by Brian Mullins

As wedding photographers, we often do not have the luxury of waiting for that “perfect light” to get a great portrait. In fact, many time are expected to get professional results in the most downright difficult of conditions. I’ve used a saying I heard some time ago constantly when faced with difficult conditions that helps me get past the initial worry… “The worse the light, the more dramatic it must become”.

For this portrait, the sun was going down, we had 5 minutes before my bride had to walk up the aisle and the “holding” area for the bride had very old tungsten bulbs and concrete walls. So, in short, pretty terrible and contrasting existing light conditions, no time to setup external lighting. The solution I came up with was to use the existing lighting (tungsten) as my primary lighting source. Adding a flash, besides shortening my time I could work with my client on, would add yet a third color temperature into the mix. By using tungsten light, and making sure she was surrounded, as much as possible, by tungsten light, eliminated color casts on her face and added a unique balance of colors to the photo by showing the blue highlights coming thru the open air archways.

What would you Change if you were to do it again?

If I could reshoot this I would of brought in a video light and waited until later in the day to shoot to have more flexibility. As this was for a wedding however, you have to use what you have got and a good working knowledge of lighting, color temperatures and posing to accomplish your goals.Rich Text AreaToolbarBold (Ctrl / Alt+Shift + B)Italic (Ctrl / Alt+Shift + I)Strikethrough (Alt+Shift+D)Unordered list (Alt+Shift+U)Ordered list (Alt+Shift+O)Blockquote (Alt+Shift+Q)Align Left (Alt+Shift+L)Align Center (Alt+Shift+C)Align Right (Alt+Shift+R)Insert/edit link (Alt+Shift+A)Unlink (Alt+Shift+S)Insert More Tag (Alt+Shift+T)Toggle spellchecker (Alt+Shift+N)▼
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Camera : Nikon D3 Iso : 1600 Aperture: f3.5 Shutter Speed : 1/50 second Light : Tungsten ambient Light
Photography by Brian Mullins
As wedding photographers, we often do not have the luxury of waiting for that “perfect light” to get a great

portrait. In fact, many time are expected to get professional results in the most downright difficult of conditions. I’ve used a saying I heard some time ago constantly when faced with difficult conditions that helps me get past the initial worry… “The worse the light, the more dramatic it must become”.
For this portrait, the sun was going down, we had 5 minutes before my bride had to walk up the aisle and the “holding” area for the bride had very old tungsten bulbs and concrete walls. So, in short, pretty terrible and contrasting existing light conditions, no time to setup external lighting. The solution I came up with was to use the existing lighting (tungsten) as my primary lighting source. Adding a flash, besides shortening my time I could work with my client on, would add yet a third color temperature into the mix. By using tungsten light, and making sure she was surrounded, as much as possible, by tungsten light, eliminated color casts on her face and added a unique balance of colors to the photo by showing the blue highlights coming thru the open air archways.
What would you Change if you were to do it again?
If I could reshoot this I would of brought in a video light and waited until later in the day to shoot to have more flexibility. As this was for a wedding however, you have to use what you have got and a good working knowledge of lighting, color temperatures

and posing to accomplish your goals.
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Shaded Tranquility – Tony Hart

wedding photography tips

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er;”>Camera : Canon 5D MkII Lens : Canon 135L f/2 Iso : 200 Aperture: F/2.8 Shutter Speed : 1/250 second Light : Natural Light

Photograph Submitted by Tony Hart Photo

This image was shot back in 2009 during a very small and intimate wedding at Great Fosters nr. Egham. I’m honestly not sure of the correct term for this garden feature, but it’s not dissimilar from a pergola – a covered walkway or boulevard comprised entirely of organic matter. It’s very cool.

I’d spotted the possibility of a shot like this on my recce of the venue but given the mood and nature of the couple it really didn’t fit the bill for an image of the Bride & Groom. This wasn’t the couples first marriage and it was very much all about the love and less about the drama. The bride didn’t wear a traditional wedding dress and there wasn’t an usher or bridesmaid in sight. To add to the complications, while incredibly cool to look at, the ‘pergola’, for want of a better word, is very low. It was definitely beneath head height for me and the groom would have been stooping if he’d tried to walk the length of it. Additionally it was shot in August, on a hot day, and the wasps were loving the fruit at the near

end of the tunnel. All in, it had the promise, but none of the delivery of a great shot.

I’m not one for excessive direction, I rarely suggest ‘ideas’ to the Bride & Groom, but as the spot was close by, I resolved to keep an eye on it as much as possible. While it wouldn’t be possible to have the couple prom the length of the pergola, something might just happen. I’d worked out exactly

how I wanted the image to look in my mind. It was to be shot fairly long on the 135L with a reasonably shallow depth of field. A few test shots told me that f/2.8 should fit the bill. As for placement, the subjects needed to be beyond the halfway stage of the walk and they simply had to be walking towards the large double gate – the other end presented a far less productive background. Having made a mental note of these elements, I went back to shooting the small reception.

As the afternoon progressed I grabbed lots of fun shots of kids hiding in the walkway and chasing each other, but nothing that really encapsulated the shaded tranquility and sense of peace that I saw when I looked down the walkway. Eventually, shortly before the wedding breakfast I poked my head around the corner to see the makings of this image. Bride and youngest son strolling slowly down the walkway. They were already further than halfway down and my 5DII (the camera I wanted to shoot this image on due to framing proportions) was wearing something other than the 135L. I forget what, but it decidedly wasn’t the 135L. I had the lens in a pouch in my belt so quickly made the change, got down on one knee and dialled in the settings I discussed earlier. I waited a few seconds, mostly looking for a nice spot in the Bride’s gait. As her right foot swung forward, the little boy turned his head and looked up at his Mum. That’s the frame you see here. The tenderness, tranquility and calm of the scene was perfect and frankly far more touching than the Bride & Groom images I’d earlier envisage. It may not be a bride in a traditional white dress, and it may not scream ‘wedding!’ but it’s undoubtedly one of my favourite images.

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