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Learn to capture the personality of a bride and the energy and emotion of the moment during a wedding photography session. In this course, photographer, teacher, and author Chris Orwig shares his creative insights for shooting authentic and beautiful bridal portraits. The course begins with details on preparation: talking with the bride about her desires for the portrait, and scouting the location to find the best places to shoot. Next, Chris photographs a bride, illustrating techniques for lighting and employing props to help relax the subject and add fun and energy to the photograph. The course concludes with a review of the photos and some ideas for further inspiration.
Here we're going to continue our conversation about gear. What do we want to think about, when it comes to certain lenes, or cameras, and how can that help us actualize or make our vision come to life? Well for starters, you can see that I have some gear sitting on this table. In a sense this gears a little bit representational, in different ways that we can shoot. And I want to talk about that a little bit. When I'm capturing a portrait of a bride I want to consider the day. For this particular shoot that we have ahead of us, I had more time, we sort of stretched time out, and I used a lot different camera and lens combinations. And I did that because I wanted to, to kind of have different touch points, in order to talk about different things we might think about. So for starters, one of the things that I wanted to do was to use an 85 millimeter focal length lens, because remember back to my vision, I want to create photographs that are meaningful, that are artistic, that are authentic, that are genuine.
And this is a traditional portrait lens. And the reason why it's a traditional portrait lens is because it creates a really flattering look, yet it's not over-the-top, perhaps like a telephoto lens like this, and I like that. It also allows you to work pretty close to your subject. You don't have to stand really far away and take pictures from a distance, and that's important to me, because, remember, I want pictures that are genuine. So as I'm thinking about my gear, I'm always going back to my vision, does this gear help me make that vision come to life. Another lens that I'll often need is something that's a bit more wide. Now you may want to use the wide angle lens to sort of set the scene, so you include more in the shot.
Or perhaps if you have a small area, like if you're photographing inside of the, inside of a truck, well you need a wide angle lens to be able to see anything at all. And then I also want to experiment a little bit with film. You know, in wedding photography there are wedding photographers who shoot 100% film. It's one of the only areas of photography where film is really used that much and I'm not a great film shooter but I love experimenting with it. I think it's a ton of fun. So I'm going to bring a few film cameras along so that I can try to capture something interesting or artistic or different. Something that's unique to working with film cameras. So then how does all of this translate to say a real wedding? Well, in a real wedding perhaps you have five minutes or ten minutes, well I'm not going to bring all of this gear and more.
Rather, I'm going to reach for something which I would call kind of my go to set up. This one here, 85 millimeter focal length lens. And a camera with a vertical grip I like that vertical grip because it allows you to capture that portrait or that vertical orientation in a way that's easier. You can also capture a horizontal as well but I just kind of like that and I will go just without I wouldn't bring all the rest of the gear because if I did I would miss some really important shots. So as you're thinking about your vision and some gear considerations, you want to think about, okay, well, where am I taking these pictures? What kind of pictures will I capture? For example, let's say that the wedding location is on top of a beautiful mountain or, or hill.
Well, in that situation, use a wide angle lens, so you have that big sweeping cinematic scene, where you have the bride really small in this beautiful, beautiful field. Big huge clouds and mountains in the background. That lens would work really well. So it's not just about your vision in general, it's about your vision in really specific ways. For the shoot that I'm going to be doing, I know that I can't move back very far. I know that if I used wide angle lenses I'm going to include too much, power line or other things, so I need to get close.
So in this case, I'm using a lens like that. So is this the magic lens? Not at all. It's a good lens, but it's not the perfect lens. Remember, it's all about you and your own vision. Also keep in mind that you may have a lens which allows you to cover both wide and also more up close shots. If you do, that's great and use it. Yet, as you're using it and as you're composing the wider angle shot, we'll just think about that. Here I'm trying to include more and tell that story. As you zoom in, think about how you're getting close and what type of pictures you want to create when you're up close.
So again as you make these considerations about what gear to use, go back to your vision, and then evaluate if certain cameras or lenses will really help you actualize or make your vision come to life.
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