Here are a few photos from a wedding I shot this year. I have tried to create a romantic and emotional feel. I only used natural light and a 50mm lens for the entire shoot. I have taken inspiration from wedding photographers such as Blumenthal. Hope you enjoy.
Shooting a wedding!
This is my favourite area of photography!
Here is a list of must-have shots for a wedding!
Getting Ready
► Wedding dress on a hanger
► Wedding invitation
► Engagement ring and wedding bands
► Bride and bridesmaids’ bouquets
► Bride’s jewelry
► Bride applying makeup
► Bridesmaids and/or mother of the bride helping the bride into her dress
► Putting on the veil
► Groom tying his tie
► Groom pinning boutonniere on his father
► Father pinning boutonniere on the groom
► Leaving for the ceremony
Before the Bride and Groom See Each Other
► Bride alone
► Bride with mom and dad
► Bride with dad
► Bride with mom
► Bride with immediate family
► Bride with siblings
► Generational shot: Bride, mom, sister(s), grandmother
► Bride with mom and mother-in-law
► Bride with mother-in-law
► Bride with bridesmaids
► Bride with maid of honor
► Bride with flower girl(s)
► Groom alone
► Groom with mom and dad
► Groom with dad
► Groom with mom
► Groom with immediate family
► Groom with siblings
► Generational shot: Groom, father, brother(s), grandfather
► Groom with father and father-in-law
► Groom with father-in-law
► Groom with groomsmen
► Groom with best man
► Groom with ring bearer(s)
Photos Together
► Bride and groom
► Bride, groom, bride’s immediate family
► Bride, groom, bride’s parents
► Bride, groom, groom’s immediate family
► Bride, groom, groom’s parents
► Bride, groom, both sets of parents
► Bride, groom, both immediate families
► Bride, groom, siblings
► Bride, groom, all grandparents
► Bride, groom, each grandparent (or set of grandparents)
► Bride and groom with extended families
► Bride, groom, maid of honor, best man
► Bride, groom, flower girl, ring bearer
► Bride with groomsmen
► Groom with bridesmaids
► Bride, groom, full wedding party (check out some fun ideas!)
Important Moments
► The first look
► Room shots at ceremony
► Wedding party and parents walking down the aisle
► Bride walking down the aisle
► Groom’s face as he waits/sees her
► The vows
► Close-up of the exchange of rings
► The first kiss as husband and wife
► The recessional
► Ketubah signing and/or signing of marriage certificate
► Room shots at reception
► Close-up of seating-card display
► Close-up of centerpieces
► Reception entrance
► The first dance
► Father/daughter dance
► Mother/son dance
► The toasts
► The cake cutting
► Bouquet and garter toss
► Parents of bride dancing
► Parents of groom dancing
► Couple’s departure
Must-have Equipment:
16-35mm f2.8/f4: event and group shots
24-70mm f2.8/f4: capturing details, reception, close ups
70-200mm f2.8/f4
At least 2 camera bodies, memory cards, flash (use sparingly at reception), reflectors etc.
Some examples of beautiful wedding photography:
Cubism was a truly revolutionary style of modern art developed by Pablo Picasso and Georges Braques. It was the first style of abstract art which evolved at the beginning of the 20th century in response to a world that was changing with unprecedented speed.
PABLO PICASSO (1881-1973)
‘Weeping Woman’, 1937 (oil on canvas)
The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space. They also used multiple or contrasting vantage points.
In Cubist work up to 1910, the subject of a picture was usually discernible. Although figures and objects were dissected or “analyzed” into a multitude of small facets, these were then reassembled, after a fashion, to evoke those same figures or objects. During “high” Analytic Cubism (1910–12), also called “hermetic,” Picasso and Braque so abstracted their works that they were reduced to just a series of overlapping planes and facets mostly in near-monochromatic browns, grays, or blacks. In their work from this period, Picasso and Braque frequently combined representational motifs with letters Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards, and the human face and figure. Landscapes were rare.
Still Life with a Bottle of Rum, 1911
Pablo Picasso (Spanish, 1881–1973)
Oil on canvas
This is my attempt at surreal photography. It is a photograph of the old town in Dubrovnik – Croatia. Using Photoshop, the image is combined with another image of clouds and the opacity is reduced allowing the clouds to come through. I think it gives the photo a surreal, ethereal effect and actually almost sums up the feeling I had when strolling through this beautiful town last year.
Photograph of Eclectus parrot in ‘Pop art’ ‘ style.
I created this photo of my parrot in the style of Andy Warhol’s ‘pop’ artworks. Animals are a common theme among his artworks hence why I chose a parrot as my subject.
How I did it:
First I made a selection around the parrot using Photoshop.
Then I inverted and deleted the background.
Following this I made some adjustments to brightness and contrast and applied the cut out filter.
Next I made a new canvas, scaled down the image and duplicated it 3 more times.
Then I moved the copies into the correct position on canvas.
Finally I added some colour to selections and background using paint bucket and the hue/saturation tool.
Enjoy.
Pop Art
Key Characteristics of pop art:
Pop Art was born in Britain in the mid 1950s.
Pop Art appreciates popular culture, or what we also call “material culture.” It does not critique the consequences of materialism and consumerism; it simply recognizes its pervasive presence as a natural fact.
Acquiring consumer goods, responding to clever advertisements and building more effective forms of mass communication (back then: movies, television, newspapers and magazines) galvanized energy among young people born during the Post-World War II generation. Rebelling against the esoteric vocabulary of abstract art, they wanted to express their optimism after so much hardship and privation in a youthful visual language. Pop Art celebrated the United Generation of Shopping.
Andy Warhol
Andy Warhol (August 6, 1928 – February 22, 1987) was an American artist who was a leading figure in the visual art movment known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s.
Image: Andy Warhol.
Andy Warhol – Many of his prints featured animals.
Surrealism was officially launched as a movement with the publication of poet André Breton’s first Manifesto of Surrealism in 1924. The Surrealists did not rely on reasoned analysis or sober calculation; on the contrary, they saw the forces of reason blocking the access routes to the imagination. Their efforts to tap the creative powers of the unconscious set Breton and his companions on a path that carried them through the territory of dreams, intoxication, chance, sexual ecstasy, and madness. The images obtained by such means, whether visual or literary, were prized precisely to the degree that they captured these moments of psychic intensity in provocative forms of unrestrained, convulsive beauty.
The use of such procedures as double exposure, combination printing, montage, and solarization dramatically evoked the union of dream and reality.
Photography came to occupy a central role in Surrealist activity. In the works of Man Ray (2005.100.141) and Maurice Tabard (1987.1100.141), the use of such procedures as double exposure, combination printing, montage, and solarization dramatically evoked the union of dream and reality. Other photographers used techniques such as rotation (1987.1100.49) or distortion (1987.1100.321) to render their images uncanny. Hans Bellmer (1987.1100.15) obsessively photographed the mechanical dolls he fabricated himself, creating strangely sexualized images, while the painter René Magritte (1987.1100.157) used the camera to create photographic equivalents of his paintings. In her close-up photograph of a baby armadillo suspended in formaldehyde, Dora Maar performs a typical Surrealist inversion, making an ugly, or even repulsive subject compelling and bizarrely appealing (2005.100.443).
But the Surrealist understanding of photography turned on more than the medium’s facility in fabricating uncanny images. Just as important was another discovery: even the most prosaic photograph, filtered through the prism of Surrealist sensibility, might easily be dislodged from its usual context and irreverently assigned a new role. Anthropological photographs, ordinary snapshots, movie stills, medical and police photographs—all of these appeared in Surrealist journals like La Révolution Surréaliste and Minotaure, radically divorced from their original purposes.
This impulse to uncover latent Surrealist affinities in popular imagery accounts, in part, for the enthusiasm with which Surrealists embraced Eugène Atget’s photographs of Paris. Published in La Révolution Surréaliste in 1926 at the suggestion of his neighbor, Man Ray, Atget’s images of vanished Paris were understood not as the work of a competent professional or a self-conscious artist but as the spontaneous visions of an urban primitive—the Henri Rousseau of the camera. In Atget’s photographs of the deserted streets of old Paris and of shop windows haunted by elegant mannequins, the Surrealists recognized their own vision of the city as a “dream capital,” an urban labyrinth of memory and desire.
Pictorialism was an approach to photography that emphasized beauty of subject matter, tonality, and composition rather than the documentation of reality.
The Pictorialist perspective was born in the late 1860s and held sway through the first decade of the 20th century. It approached the camera as a tool that, like the paintbrush and chisel, could be used to make an artistic statement. Thus photographs could have aesthetic value and be linked to the world of art expression.
Pictorialists, sought to differentiate their artistic work from amateurs’ snapshots. They altered their images by hand scratching the negatives and using brushes to soften and blur parts of the photographs during the printing process. The Pictorialist’s main concern was not their subjects but, rather, to ensure photography was a viable art form.
By this time, the novelty of capturing images was beginning to fade, and many were now questioning whether the camera was in fact extremely accurate and detailed. This, in addition with the fact that painting enjoyed a much higher status than this new mechanical process, caused some photographers to look for new techniques that, as they saw it, could make photography more of an art form.
The term Pictorialism is used to describe photographs in which the actual scene shown, is of less importance than the artistic quality of the image. For Pictorialists the aesthetics and, the emotional impact of the image, was much more important than what was in front of the camera.
To accomplish their task, the Pictorialists used different techniques:
·Combination printing (from several negatives)
·The use of soft focus in the camera,
·The manipulation of the negative (scratching or painting over the negative)
·Gum bichromate, which greatly lessened the detail and produced a more artistic image.
Henry Robinson was a pioneer of pictorialist photography, and one of the greatest photographers of his time. His most famous photograph is “Fading Away”, is a composition of five negatives, in which he shows a young girl dying of tuberculosis surrounded by her family. It was very controversial, because many felt that it was acceptable for the painters to approach this kind of tragic and intimate moments, but it was not appropriate for a photographer to do so.
“You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.”
― Ansel Adams
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