Interview with Jeff Ascough, Wedding Photographer
a photo.net interview by Mary Ball; created October 2007
Jeff Ascough has been a professional wedding photographer in the United Kingdom since 1989. He has covered over 1000 weddings with a documentary photography style. Ascough emphasizes capturing the moment without any prompting or interference and using available light. American Photo voted Ascough as one of the ten best wedding photographers in the world.
Ascough was asked questions in the photo.net wedding photography forum, moderated by Mary Ball. Mary Ball edited and reorganized the interview into the article below.
Ascough's development as a wedding photographer
Ascough: Around 1994, about five years into my career as a photographer, I started to be disillusioned by traditional wedding photography. I'm glad I first took a traditional approach, as it taught me a lot about lighting, face position, camera heights etc. However, it seemed to me I was being too intrusive on the wedding day.
Around this time, I switched from Leica rangefinders and bought my first SLR: a Canon EOS 100 and a cheap 28-80 lens. Between the formal images, I took candids, mainly for my own pleasure just to keep my interest going. What surprised me was the client reaction: they loved these informal images. I knew then I was onto something. I could satisfy my own artistic desires and please my clients.
His photojournalistic wedding style
My style is all about anticipation. Compared to others, I capture relatively few images at weddings. I like to see a picture, set the composition and angle relative to the light, and then wait for something to happen within that picture. I may take several frames to get the perfect capture. If something doesn't happen, I go and look for another image. I'm very deliberate and controlled in what I do, most of the time anyway.
If you ever get to see the film War Photographer (2001), with James Nachtwey, the way he photographs is very similar to how I do things. Nachtwey is very deliberate and takes his time over the image. I am drawn to the sheer aesthetic beauty of his images. Forget the content and just look at the use of his composition, the light and his understanding of the decisive moment. Nachtwey is a genius with a camera. In many cases, he has achieved fantastic images while being under intense stress, far more than you or I will ever witness with a camera. That is what is so special about the guy.
I will take several frames of each picture to make sure I nail the decisive moment. Unfortunately, I have to capture several frames with DSLRs as the view finder goes blank at the point of exposure. When I used to photograph with rangefinders, I could see the moment as it happened so my actual frame rate was lower. I position myself for the picture I want to achieve and go for it. I don't move around too much, nor do I blast away with the camera, as this is distracting to the subject.
Finding and using natural light vs. flash
In my world, sufficient light means enough illumination to get a photograph without too much subject movement. This could be 1/15th sec, f1.2, 3200 ISO for static subjects, or 1/50th sec, f1.2, 3200 ISO for slightly moving subjects. However, the light needs to be good as well.
If I'm completely in a bind, I will use flash to either clean up the light or to freeze movement. However, this is usually a last resort. The flash is always balanced for the background. The only time I've used flash this year (2007) was for the first dance at two weddings. During the summer, I don't use flash at all.
Find the rooms where the wedding will take place and look for the main light source. Get your assistant to move around the light source while you see how the light plays on the person. Look at the angle of light and how it changes as you also move in relation to the light and the person. You will then get a better idea of where to be in relation to the subject to take your pictures at a given time.
Great light and composition are more important to me than anything else in a photograph. Cartier-Bresson, one of my heroes, always looked for the composition first and then waited for the decisive moment. He enjoyed the mathematics of composition. I'm the same. If I can combine great composition, great light, and something interesting within the image, I have the makings of a great picture. I always go for composition and light first.
I follow my clients, looking for the light within the environment they are in. In some cases they may never venture into the best light. That's the way it goes-I won't ever ask them to move into better light as I'm not there to interfere.
If the light was bad, I would capture the image with a wide angle and make the subjects very small in the frame, allowing the rest of the frame to tell the story. That way the client would get their processional image, which would look great, and you wouldn't have to worry too much about the light on their faces.
Sample wedding photos illustrating using natural light
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Regarding exposure and backlighting: I tend to overexpose by 1-2 stops to get detail in the faces. I then run my 'highlight paramedic' action to bring back detail in the highlights. |
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Similar lighting outdoors. |
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Side lighting with the bride's dress acting as a reflector. |
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3/4 lighting. As above but with the bride's face at 45 degrees to the light. |
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Good old tungsten light at the reception. |
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Tungsten light at the reception used as a backlight. |
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Bright sunlight outdoors--light reflected off the building behind me to light the bride's face. |
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Bright sunlight used as a spotlight in church. |
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As you can see, good light gives a great three-dimensional quality to an image. It can be hard, soft, or angular. As long as it lifts the image I'm happy. |
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Poor shadowy lighting. Some dodging has been done in Photoshop to lighten the bride's face. The eyes are still quite dark, but the expression and my relative distance from the subject allows me to get away with it. |
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Really strong full sun. This photograph wasn't possible when the bride looked up, so I waited until she looked down, in order that the poor light doesn't affect her face negatively. |
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Full sun again. This time I've included a lot of the environment in order to 'hide' the poor lighting on their faces. |
The two things you have to consider when photographing in dim light are your focus and your shutter speed. Focus is fine as long as you can confirm it, and the camera has some help. To this end, I use a Canon EC-A microprism screen in all my cameras. It allows me to judge whether or not the subject is sharp in low light. It also allows me to manually focus if necessary. In really low light, I use a Canon STE2 Speedlite Transmitter on its own. This throws out a beam of light that helps the camera to focus. I don't try to photograph subjects that are moving about in dim light. That is the domain of the flashgun. If I can get a shutter speed of 1/30th, I'm ok. I can handhold a 35mm down to 1/8th sec without issue, but there will always be subject movement.
I always squeeze off three frames at a time. I can guarantee the second one will be sharper as I relax momentarily.
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85mm, f1.2, 1/40, ISO 1600. It has a little softness to it, but I think that is part of the charm. I'm braced against a wall, and this was the third image in a continuous capture sequence. The B&W is done via my actions. |
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Some really, really strong backlighting. The rim light is fine on the groom's face. I had to wait for the expression from the bride. However, the lighting isn't the greatest on her face. By including more of the environment, I've hidden the poor light on her face. The expression more than makes up for it. |
I don't own any lighting equipment other than a Canon Speedlite 580EX II Flash (review) and a beat-up Canon 550EX (discontinued model). I certainly wouldn't be interested in bringing out any sort of large light modifier just to do two or three formal shots.
I wouldn't photograph formals in any place where I couldn't control the light. If the ceiling is too high or dark, I would move the couple to an area with a lower, whiter ceiling, even if it means sacrificing a slightly better background. If I have to do formal portraits in a high-ceiling environment and I need to use flash, I'll flip out the white diffuser on the top of the Canon Speedlite 580EX II Flash (review), angle the flash head upright, and bounce into that.
Thoughts and methods regarding digital wedding photography
Digital has allowed me to make my product better. I have total control over everything now, something film never allowed me to do. However, my product is exactly the same as it was when I used film, just more refined and true to my own vision. Digital cameras allow more artistic expression through post processing, far more than film ever did. Photographers doing something unique with post processing will inevitably be copied, and then the post processing becomes a style. This is what is happening now.
My White Balance (WB) is preset to daylight. I leave it on that all day unless I am in tungsten light. Then I'll switch it over to tungsten or do a custom WB if I get the time. Since Photoshop CS3 and Aperture 4 have arrived, I could photograph an entire day using Auto White Balance (AWB) and do the WB correction later in the software.
Regarding actual pictures, I take around 300 composed images. This translates to anywhere between 1000 and 1200 actual presses of the shutter, given that I take 2-4 images in continuous capture mode for each composition. All finished files and original images are backed up to external drives. All finished JPEGs are backed up to Gold CDs.
My Canon EOS-1D Mark II N (review) is set to neutral and the contrast is backed off by one click. The images come out of camera pretty flat. I use one of my actions to boost the color and contrast. Most people use curves to do this but I find it blocks up the shadows too easily. My actions are set so the shadows don't block up.
I like my color images to look like film: my colors should be real as I'm documenting reality. I'm not into heavily saturated colors or too much contrast. I also like my flesh tones to be on the warm side, so I usually boost the WB a little to get this. I retouch blemishes in closeups only. I do a fair amount of work through actions on each image though. This is to emphasize different parts of the image rather than trying to polish it. In the future, as RAW software becomes better at skin tones, and camera resolutions become greater with better highlight detail, there will be more emphasis on subtlety and true color rather than the heavily saturated stuff that we see now.
Many photographers claim that photographing RAW actually speeds up workflow. I've always found the opposite. However, while browsing one of my favorite web sites, www.digitaljournalist.org, I came across an article on how photographing in JPEG actually makes you a better RAW photographer. In theory, JPEG photographers tend to get it right in camera. If they carried over their photographic technique to RAW, the images straight out of camera should require very little manipulation in the RAW software and should be ready to be converted to JPEG without messing too much with the files. The advantage here is that less time is spent adjusting JPEGs in Photoshop. I am constantly trying to improve this major area of my workflow.
Post-processing with RAW images
To make RAW work for me, it needs to significantly cut down the time I spend tweaking JPEGs in Photoshop. Aperture and Lightroom don't do that. I need an application that will give me the quality that I want, especially in the realm of skin tones, with absolutely minimal work required afterwards in Photoshop. Then I could take this RAW thing seriously as a solid workflow option.
I think I have found the answer: Capture One Pro. I had completely overlooked this program because of its price tag and its unique workflow. The user interface took some getting used to, but it does make sense. The noise reduction is excellent. High ISO images have never looked so good. I haven't gotten into the different profiles yet, but the black & white options look interesting.
The last three weddings I've captured in RAW and processed the images in Capture One Pro. I am delighted with the results. The colors straight out of the camera and into the software are beautiful. The files generally only need a quick contrast/exposure tweak and they are done. This is saving me so much time as I don't have to then load the images into Photoshop to process the images. I'm impressed.
Could this be the start of a new beautiful relationship? It's too early to tell. I am still learning about the software, but I have to say it's so far-so good. I'm still not convinced that the quality from Capture One Pro is better than from my JPEG workflow, but it's not taking as long to process my images. I'm sure the technical quality will improve as I get used to the software.
Lens choices for wedding photography
Usually, I have a 24-70 on my Canon EOS 1D Mark II N and a fast prime, most often a 50L on the backup body, same model. In the pouch, I have a 35L and sometimes an 85L. That's pretty much it for how I work. If I need to carry more lenses, I use a small satchel-type bag. My current bag of choice is the Lowepro Rolling Mini Trekker AW. I try not to work while wearing it, though, as it puts pressure on my back. For my spare kit, which lives in the car, I use a Lowepro Compact AW.
During the summer, I'll ditch all the primes and just use one body with a 24-70. That's my most preferred way of working, but I need a good sunny day to do that.
For more information regarding Ascough's cameras and lenses, please view his equipment page.
Black and white wedding photography
I love B&W images. It's what drew me to photography in the first place. Photography to me is all about light, shape and form: B&W allows you to strip away the distraction of color and get right to the heart of the image. With that in mind, I capture most of my images knowing they will end up being B&W. I rarely try a B&W conversion out on an image just to see what it will look like; I pretty much know which images will be B&W even before I've downloaded the cards.
Wedding photo albums and design
Album design is my sole responsibility. Clients don't have any input into it. It's part of the service we provide. I use Jorgensen Album Designer Software and Yervant's Page Gallery 4 for designing the albums. My albums are Jorgensen exclusively. The number of pages and album shape/design varies according to client's taste.
Some people have objected to having a completed album, but in all honesty they are very few and far between. Once I explain my philosophy behind my approach, they are quite happy with it. I photograph for the album, not to sell pictures after the event. The album is the vehicle for my work and I capture images accordingly. It makes a difference to me as an artist to have that freedom, without having to work within the constraints of taking pictures, which I have to sell afterwards.
The clients get their albums within six weeks of the wedding and they don't need to visit me, choose pictures, or even have to contact me again. With my clients' busy lifestyles, most of them appreciate this hassle-free approach.
If you proof your images, you are saying to the client, "I can't decide which are the best pictures from your wedding. I'm going to let you decide even though you don't have any experience looking at wedding photographs." Furthermore, if a client has to choose a set number of images, how will she do it? She'll look out for the pictures she doesn't like, implying that there are pictures in the set that aren't very good. In my opinion, that's too negative a standpoint to take. I would rather present my clients with an album compilation of only the best images.
We have a Skooks Shopping Kart available on my web site for clients to see their wedding pictures while the album is being made. It also allows guests to order prints after the wedding.
Also important is a relationship with a good lab: I have a good lab. We are fully color-managed and use the lab's recommended color space. The lab's printing profile is assigned to the images. My actions also ensure there is no color cast in the images before we send them to the lab. The prints we get are perfectly neutral and consistent over the whole wedding.
The occasional obligatory posed image
My formals are very simple. They are very quick to do and the clients appreciate that.
Jeff Ascough
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Jeff Ascough
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Jeff Ascough
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I tend to turn up to a gig with no preconceived ideas of how things will happen, or which images will materialize. If I do a few formals, I limit it to six photographs and that limit is clearly stated on my web site. I focus on capturing what happens in front of me, documentary-style. If I had to refer to a list of "must-have" images, my natural reaction would be to focus on completing the list, and that would hinder me as a photographer. My clients are aware of this when they book me.
Of course, I always get the key moments of *their* day, often different from the key moments many photographers think they should photograph. There are plenty of examples of illustrative images on my web site.
Advice for wedding photographers
The best thing to do is to practice with a model. Take images in different lighting conditions and see which give you the best images. That's how I started out. You should be looking for how the light molds the subject. Sometimes it's best to squint when looking at the light as this gives you a better indication of the light direction.
One of the differences that separates the talented pros from the rest in photography, is the photographer's ability to see light direction and quality. Try to second-guess what is going to happen. It might sound weird, but I have almost a sixth sense when it comes to photographing. I can see the image in my mind's eye before it happens. I suspect this is a result of many years of experience, though, rather than any special ability.
I know how and when to position myself for an image even before I bring the camera up to my eye. Once I'm looking through the view finder, I refine the framing and decide on what to leave in and what to leave out of the image. I then wait for the desired moment to happen. If all hell is breaking loose around me, e.g., the dancing at the reception, I'll go with my instincts and react to things happening. This manner of photographing is more haphazard though, and my success rate is a lot lower.
It's important to be as unobtrusive while photographing weddings. That said, you can be unobtrusive while less than three feet from the subject. It's all about how you behave when photographing. If you permanently have a camera up to your eye, firing off hundreds of images, the client is going to be very aware of you. Also, hiding in the shadows can be more intrusive than standing close to your subject, because odd behavior is noticeable. If you simply have the camera down at your side and just quietly observe, they will relax and start to ignore you.
Unobtrusiveness doesn't mean you can't be seen. That's a mistake many people make. For many clients, unobtrusiveness means that you are letting them get on with their special day without making them stop for photographs.
Jeff Ascough's equipment
The Main Wedding Kit
- Canon EOS 1D Mark II N (current corresponding model is the Canon EOS 1D Mark III, $3580 (review))
- Canon EF 16-35mm f/2.8L USM, $1520 (review)
- Canon EF 24-70mm f/2.8L USM, $1339 (review)
- Canon EF 70-200mm f/2.8L IS USM, $1799 (review)
- Canon EF 24mm f/1.4L USM (review)
- Canon EF 35mm f/1.4L USM, $1400
- Canon EF 50mm f/1.2 L USM, $1479
- Canon EF 85mm f/1.2L II USM, $1970 (review)
- Canon Speedlite 580EX II Flash, $445 (review)
- Lowepro Rolling Mini Trekker AW
The Backup Kit
- Canon EOS 1D Mark II N (current corresponding model is the Canon EOS 1D Mark III, $3580 (review))
- Canon EF 24-70mm f/2.8L USM, $1339 (review)
- Canon EF 70-200mm f/2.8L USM, $1300 (review)
- Canon EF 50mm f/1.4 USM, $349 (review)
- Canon EF 20mm f/2.8 USM, $470
- Canon 550EX Speedlite flash (discontinued)
- spare batteries and extra CF cards
- Lowepro Compact AW
More
- original Q&A thread
- photo.net wedding photography discussion forum
- Ascough's photo.net gallery
- www.jeffascough.com
(Mary Ball采访并于2007年10月创作完成)
从 1989年起,英国人Jeff Ascough开始成为一个职业婚礼摄影师.他运用纪实的摄影方式拍摄了超过1000场的婚礼.Ascough注重在没有任何敦促或干扰的情况下利用现场 光来捕捉瞬间.<美国摄影>(American Photo)杂志评选Ascough为世界十大婚礼摄影师之一.
Ascough获邀在photo.net的wedding photography forum(婚礼摄影论坛)进行采访,由Mary Ball主持.Mary Ball编辑并重新组织了访谈录并撰写了以下文章.
Ascough作为婚礼摄影师的成长历程
Ascough: 1994年左右, 在我进入摄影师生涯后的5年, 我开始不再着迷传统的婚礼摄影. 我很高兴我一开始选择了用传统的方式拍摄, 因为它教会了我许多关于光线,脸部位置,相机高度等等的知识.然而,对于我来说, 那种方法在婚礼上还是太具有干扰性.
大 概也是在这个时候，我放弃了Leica的旁轴相机并购买了第一台单反相机: Canon EOS 100和一支廉价的28-80镜头.在拍摄正式照片的空当里,我会拍摄一些快照,主要是用来自我娱乐并保持兴趣.让我吃紧的是客户的反应:他们很喜欢那些 非正式的照片.从那时起,我知道我要做点什么了.我可以满足我自己的美学欲望,也可以取悦我的客户.
他的人文纪实婚礼风格
我 的风格就是关于预测,先发制人.相对于其他摄影师来说,我只捕捉几张有关婚礼的照片. 我喜欢做的是看到美景,设置好和光线有关的构图和角度,然后等待在美景发生一些事件.我可能会连续拍摄好几幅以便获得完满的照片. 如果,没有什么事情发生,我就离开去寻找其它的影像.我对我所做的事情是非常深思熟虑的和有节制的,至少大部分情况是这样的.
如果,你曾 经看过电影”War Photographer”(战争摄影师2001)的话,里面的主角是James Nachtwey,他拍摄的方法是和我所做的非常相似.Nachtwey是个谨慎的人,他会对他要拍摄的主题不慌不忙.他绝对的美学观点让我着迷.忘记内 容,只要注意他对构图,光线和决定性瞬间的运用. Nachtwey是个使用相机的天才. 在许多情况下,他都是不顾极度的压力依然拍摄出优秀的照片,远远超出你我用相机所能见证的.这就是这个家伙特别之处.
同一个场景我会多拍 几张,以确认我捕捉到了决定性瞬间.不幸的是,在使用单反相机时,我不得不多拍几张,因为,在曝光时,观景器里会漆黑一片. 当我习惯使用旁轴相机拍摄时,我可以看见事情发生的瞬间,因此我实际的拍摄频率会低一些.我会把我自己固定在想要拍摄的某个位置上,然后,开始拍摄. 我不会和频繁的走动,我也不会使用闪光灯,这会影响到拍摄主题.
发掘和利用自然光对决闪光灯
在我的世界里,充足的光线意味着有足够的照明进行拍摄,而主题没有太多的移动.这可能是用1/15秒,f1.2,ISO3200的设置拍摄静态的主题,或者是用1/50秒,f1.2,ISO3200去拍摄轻微移动的主题.然而光线一定要漂亮.
如果我完全陷入困境,我会使用闪光灯,一方面增加光线,另一方面可以凝固移动的主题.这通常是最后的解决办法.闪光是用来平衡背景的.今年(2007)我唯一使用闪光灯是在两个婚礼上跳第一支舞的时候.整个夏天,我就根本没有使用过闪光灯.
事 先去到举行婚礼的现场,观察一下那里的主要光源.让你的助手在光源的四周走动一下,趁此机会你可以观察到光线在人身上所起的变化. 观察光线的角度以及它是如何变化的,因此你可以知道光线和人物之间的关系. 进而,你可以产生更好的主意:在有限的时间里,你和主题的位置关系.
对 于我来说,在一幅照片里好的光线和构图比其它东西比起来更重要.Cartier-Bresson,我的偶像之一,总是先寻找构图,然后等待决定性的瞬间. 他享受构图学带来的乐趣.我也一样.如果我可以把好的构图,好的光线和有趣的事物组合到一幅画面里,我就可以创作出一幅好的作品. 我总是以构图和光线为最先考虑的因素.
我会跟着我的客户,在他们活动的场景里寻找光线.在有些情况下,有些客户可能从来没有在最好的光线下拍过照. 是这么回事: 即便我没有打扰他们,我也不会要求他们走到更好的光线里面去.
如果,光线不理想,我会用广角镜去拍摄,并且让主题在画面里占很小的位置,允许画面里其它的事物来告诉你整个故事.这样一来,客户可以获得连续的照片,而你也不用为照在他们脸上的光线而烦恼.
使用自然光线拍摄婚礼的样片分析
(译音注:因为我不会排图,所以我会在回帖里帖出来)
关于曝光和背景光:我倾向于把曝光调整到曝光不足1-2级,从而在脸部获得细节.然后我在施行”高光拯救”计划,从高光中找回细节.
室外相同的光线.
侧光并利用新娘的裙子作反光板.
3/4的正面像.光线同上,只是新娘的脸部和光线的角度成45度.
接待处漂亮的老式钨丝灯光线.
把接待处的钨丝灯光线作为背光.
室外明亮的太阳光 – 光线从我身后的建筑物上反射到新娘的脸上.
在教堂内,把明亮的太阳光作为聚光灯.
正如你所见,漂亮的光线可以给相片制造出出色的三维效果.光线可以是硬调的,软调的或者是生硬的. 只要它能够提高了图像的质量,我就感到欣慰了.
不理想的阴影光线.在PHOTOSHOP里,可以利用某些伎俩来调亮新娘的脸部. 眼睛还是太暗,但是我所表达的方式和我与主题的相对距离可以允许我把它忽略掉.
相当强烈的太阳光.如果新娘向上看的话,这张是不可能拍出来的,所以我就一直等待,直到她低下头,就是为了使不理想的光线对她的脸部起到负面作用.
又是强烈的太阳光.这次我把许多的环境拍摄进来,为了把照在他们脸上不理想的光线”藏起来”.
在 昏暗的光线下拍摄,有两件你不得不考虑的事是你的焦点和你的快门速度.只要你能确认焦点的话,这个问题还是可以解决的,并且相机也可以提供帮助. 为此,我在所有的相机上使用Canon EC-A微棱镜聚焦屏.它允许我在弱光下判断主题是否锐利.如果有必要的话,它也可以让我手动对焦.在极其弱光的情况下,我会使用Canon ST-E2闪光灯无线遥控发射器.它会发出一束光线帮助相机进行对焦.我不会试图在昏暗的光线下拍摄移动的主题.这是闪光灯的工作范畴.如果我可以获得 1/30秒的快门速度,我没有问题.我可以手持35MM的镜头用1/8秒拍摄而不会出现问题,但是这样总有主题来回移动的问题.
我总是一次拍摄三张,我可以保证第二张回清晰一些,因为我那时会放松些.
85mm,f1.2,1/40,ISO 1600.有一点点软,但是我觉得那才是吸引人的地方.我是靠着一面墙,而且,这是一系列拍摄照片里的第三张.黑白的效果是通过我自己的方法制作而成的.
非常非常强的背光.新郎脸上的轮廓光没有问题.我不得不等待新娘表露出一些表情.然而,在她脸上的光线不是最好的. 通过摄入更多的环境因素,我把新娘脸上欠佳的光线隐藏了起来. 她脸上的表情弥补了不少过失.
除了一台Canon的580EX和一台破旧的Canon 550EX之外,就没有其它的灯光设备了.我当然不会有兴趣携带任何大型的灯光设备,仅仅为了拍摄两三张正式的照片.
我 不会在我不能控制光线的地方拍摄正式的照片.如果屋顶太高或太黑,我会让新人移步到有较低,较亮的屋顶的地方,即便这样做会牺牲一些较好的背景. 如果我不得不在高屋顶的环境下拍摄正式的照片而且必须使用闪光灯的话,我会翻开Canon 580EX闪光灯上的白色漫射屏,把闪光灯头直对上方,可以把光线反射到主题.
关于数码婚礼摄影的一些想法和方法
数码摄 影允许我制作出更加精彩的作品.现在,我可以完全控制所有的程序,有些是胶片摄影所不能实现的. 然而,我现在的作品和我使用胶片拍摄的效果是完全一样的,在我看来,只是变得更加完善和真实.通过后期处理,数码相机允许更多的艺术表现,这远远超过胶片 所能做到的. 摄影师利用后期制作所创作出独特的东西会不可避免地被抄袭,然后后期处理成为了一种风格. 这就是时下的潮流.
我的白平衡 预设在日光(daylight)模式上.我会一整天使用这个设置进行拍摄,直到我进入到钨丝灯的环境下. 这样,我会把白平衡转换到钨丝灯模式或自定义白平衡如果我有时间的话.自从Photoshop CS3和Aperture 4的出现,我可以使用自动白平衡(AWB)进行一整天的拍摄工作,然后在软件里调整白平衡.
至于实际拍摄,我大概会拍摄300张左右经过构思的照片.这要转换到实际的快门数大概有1000到1200次,每次的构图我会连续拍摄2-4张.我把所有的最终文件和原始图像备份在外置硬盘上.然后把所有的JPEG文件备份到Gold CD上.
我 把我的Canon EOS-1D Mark IIN设置在中性(neutral)模式上,对比度降一格.用相机的默认值拍摄出来的效果非常平淡.我就改变某种操作去加强色彩和对比度.大部分人喜欢调 整曲线来完成这个步骤,但我发现这样做会很容易遮挡住阴影的部分. 而我的操作方法不会遮挡住阴影的部分.
我喜欢彩色照片看起来像用胶片拍摄的:我的色彩应该和我当时记录的真实情况完全吻合.我不喜欢太浓重的饱和度或太大的对比度.同时,我喜欢人物的肤色偏暖调一点,所以我就调整白平衡来实现这一点. 一般我只在特写镜头里修改黑头粉刺.
但是我会在每一幅照片的操作上进行相当多的调整工作.这是要强调图像里不同的部分而不是全部抛光.将来,RAW的软件对肤色有更加好的效果,相机对高光的细节有更加出色的控制,那样就会更加注重细微之处和真实色彩的还原,而不是现在所看到带有厚重饱和度的照片.
许 多摄影师声称用RAW模式拍摄实际上加快了工作程序.我的观点正好相反.然而,当我在我最喜欢的一个网站 上,www.digitaljournalist.org,流览到一篇文章:如何用JPEG模式拍摄而使你成为更加出色的RAW摄影师. 理论上,JPEG的摄影师需要在相机上进行正确的调整.如果他们把这种摄影技术运用到RAW模式拍摄上,从相机里直接输出的图像在RAW的软件里只需要稍 微地作下处理,而且可以随时随地转换到JPEG文件,而不需要劳师动众牵涉到其它诸多的文件. 用JPEG拍摄的优点是花费在Photoshop上调整JPEG文件的时间比较少.我正不断地尝试改进工作流程里的主要方面.
RAW图像的后期制作
对 于我来说,进行RAW的工作需要大大地减少操作时间,像我在Photoshop里处理JPEG的文件.Aperture和Lightroom没有这样的问 题.我需要一种操作软件可以提供我所需要的质量,尤其是在肤色方面,而且在Photoshop里只需要绝对短的时间. 那么我会很认真地把RAW的工作作为一项固定的工作流程.
我想我已经找到答案了:Capture One Pro.我原来完全忽略了这个软件是因为它的价格和独特的工作流程.用户界面需要费些时间去适应,但是安排得很合理. 它的降躁效果很优秀.高ISO的照片从来没有看起来这么好.我还没有深入到不同的领域了,但是黑白照片的选项看起来很有趣.
最近的三场婚 礼,我都是用RAW进行拍摄,在Capture One Pro里处理图像.我很满意它们的结果.从相机里直接输出到软件里的色彩很漂亮.通常,我只需要快速调整对比度/曝光值,这就完成了.这节省了我许多时 间,因为我不需要下载图像到Photoshop里,然后进行处理.真是令我印象深刻.
难道这是全新的良好关系的开始吗?这还言之过早.我 现在仍然在学习这个软件,但是我不得不说到目前为止还是令人满意的.我仍然不能确信从Capture One Pro输出的图像会比我用JPEG拍摄的照片更好些,但它不会用太长的时间去处理我的图像.我确信科技会不断地发展,因为我开始适应那些软件了.
婚礼摄影的镜头选择
通 常,我把24-70的镜头装在Canon EOS 1D Mark II N上,在备用机身(相同的型号)上装上一支大光圈的定焦镜头,绝大部分情况下,是50L.在镜头袋里,我会放上一支35L,有时侯是85L. 这样可以应付我大部分的工作.如果我需要携带更多的镜头,我选用双肩背的摄影包. 我目前使用的摄影包是Lowepro Rolling Mini Trekker AW.当我背着它时,我尽量不拍摄,因为它在我肩上的压力太大. 至于我的备用设备,我用Lowepro Compact AW把她们装起来,留在车里.
夏天的时候,我会留下所有的定焦镜头,只带上一个机身和24-70的镜头.那是我最喜欢的工作方式了,但我还需要一个阳光明媚的日子.
(关于Ascough的相机和镜头的信息,请阅读他的器材部分)
黑白婚礼摄影
我 喜欢黑白的图像.这就是我投身摄影的主要原因.摄影对于我就是关于光线,形状和轮廓:黑白摄影允许你去除色彩的困扰,直接深入图形的中心. 有了这种想法,我拍摄在大部分照片时,我已经知道它们一定会以黑白片作为终结.我极少尝试用黑白转化软件来看一下,图像的效果如何;在我下载图像之前,我 就能确信哪些图像要做成黑白的了.
婚礼照片的相册和设计
相册设计是我单独负责的.客户是不能介入的.这是我提供的服务的 一个部分. 我使用Jorgensen Album Designer Software和Yervant’s Page Gallery 4软件来设计相册.我的相册设计是Jorgensen软件所独有的. 相册的页数和形状/设计是根据客户的口味而改变的.
有些人会反对制 作完整的相册,但说实话,这种人还是很少见的.一旦我解释了我的拍摄哲学之后,他们都会欣然接受. 我为了相册而拍摄,但不是为了事后出售那些照片. 相册是体现我工作和照片的一个工具.作为一个自由的艺术家,这对于我来说是不同的,我不需要被迫去拍摄,然后再去出售这些照片.
婚礼后的六个星期,客户可以拿到相册,他们也不用回到我这里挑选相片,或再联络我.由于我客户忙碌的生活方式,他们中的大部分人都很欣赏这种无拘无束的方法.
如 果你要检查你的照片,你可以对客户说:”我不能判断从你婚礼上拍摄的照片哪些更好些.我想让你决定即便你没有任何鉴赏婚礼摄影的经验.”另外,如果客户不 得不自己选择一套照片,她会如何做呢?她会先找出她不喜欢的照片,然后暗示出整套的照片都不能令人满意. 我认为这种立场太被动. 我喜欢把装有最诱人的照片的相册呈现给客户.
我在我的网站上提供了一个Skooks Shopping Kart的专栏让客户可以在相册制作其间看到他们婚礼的相片.同时,这也允许客户在婚礼后进行订购.
另 外很重要的一点是要和出色的工作室保持良好的关系:我有一个出色的工作室.他们提供完全的色彩管理,我们使用工作室推荐的色彩空间进行拍摄. 工作室的打印程序会分配到图像里.我的操作也要确保在图像被送到工作室之前没有出现偏色.我们所取得的印刷品绝对是中性并与整个婚礼相协调.
偶尔为之的强制性摆拍图像
我的正式照片其实非常简单.客户很快地摆上姿势然后拍摄,客户也欣赏这么做.
我 越来越倾向于用1个G的储存卡去拍摄不能预料和未经事先考虑的事件.如果我要拍摄正式的照片,我会控制在6张,而且这个限制条件很清楚地列明在我的网站 上. 我集中精力抓拍在我眼前发生的,纪实性的照片.如果我要不得不参考一系列”必需要做的”图像,我的自然反映是一丝不苟得完成单子上要求,但那会妨碍我的拍 摄工作. 当客户和我预约的时候,他们就会被告知.
当然,我会捕捉”他们”喜庆日子里的关键时刻,通常不同的摄影师对关键时刻的理解是不同的.在我的网站上有大量的例证可以说明.
对婚礼摄影师的忠告
可以用一个模特进行练习是最好的.在不同的光线条件下进行拍摄,并观察什么时候可以获得最佳的图像效果. 刚开始的时候,我也是这么做. 你需要观察光线是如何在主题的身上产生影响的.当你看着光线的时候,有时最好眯起眼睛看,这样可以让你更好地观察到光线的方向.
一个天才摄影师和其他普通摄影师的不同之处在于他们观察光线方向和质量的能力.尝试预测下接下来会发生什么事情.它听起来会有点荒唐,但我要拍摄的时候,我的第六感会起作用. 我可以在事情发生之前看到内心的图像.我猜想这是多年经验的积累,而不是什么特异功能.
在 我拿起相机之前,我就已经知道如何及何时去占据有利的位置进行拍摄.一旦我从观景器里望出去,我就要让构图变得完善,并决定画面里什么东西要去除,什么东 西要保留. 然后,我就等待令人期待的那刻发生. 如果我的周围一片混乱的话,例如,在接待处跳舞,我会跟着我的直觉走并对突发的事件作出反应.这种拍摄方式是比较随意的,我自己的成功率也是相当低的.
当 拍摄婚礼时,考虑周详是很重要的.那就是说,你要考虑到你可能离拍摄主题不足三尺远. 当拍摄的时候,这全靠你自己如何应付. 如果你长时间拿着相机,不停地拍摄了几百张照片,客户就会注意到你.隐藏在阴影里要比你站在主题的附近更加干扰人,因为奇怪的行为更会令人注意. 如果你随意的把相机挂在身边,静静的观察,他们就会放松并开始忽略你.
考虑周详并不意味着你不能被发现.这是很多人会犯的错误.对于许多客户来说,考虑周详是你让他们在这大喜的日子里继续做他们自己的事, 而不是打断他们,让他们停下来拍照.
Jeff Ascough的摄影器材
主力器材:
' Canon EOS 1D Mark II N(目前相对应的型号是Canon EOS 1D Mark III, $4500)
' Canon EF 16-35mm f/2.8L USM, $1375
' Canon EF 24-70mm f/2.8L USM, $1059
' Canon EF 70-200mm f/2.8L IS USM, $1575
' Canon EF 24mm f/1.4L USM, $1120
' Canon EF 35mm f/1.4L USM, $1113
' Canon EF 50mm f/1.2L USM, $1234
' Canon EF 85mm f/1.2L II USM, $1700
' Canon 580EX闪光灯, $370
' Lowepro Rolling Mini Trekker AW
备用器材:
' Canon EOS 1D Mark II N(目前相对应的型号是Canon EOS 1D Mark III, $4500)
' Canon EF 24-70mm f/2.8L USM, $1059
' Canon EF 70-200mm f/2.8L USM, $1115
' Canon EF 50mm f/1.4 USM, $290
' Canon EF 20mm f/2.8 USM, $400
' Canon 550EX闪光灯(已停产)
' 备用电池和CF储存卡
' Lowepro Compact AW
Posted by kk
