Making pictures of the bride as she prepares for the wedding requires spontaneity while catching the decisive moment with a tactful attitude. A wedding day generates tensions on all sides—and as a neutral third party you should be an understanding, positive force for the duration.
Shooting video with DSLRs, or HDSLRs to be specific, is gaining popularity with photographers and filmmakers. One reason is that HDSLRs can shoot some pretty amazing video. Many photographers buy an HDSLR to shoot stills and then fall in love with the camera’s video capabilities once they discover them.
Before a swarm of guests descends on the reception hall and disrupts the carefully arranged environment, be sure you’ve captured it in its exquisite perfection. Most halls are tastefully appointed and designed with visual impact in mind. With the exception of the occasional fluorescent-lit VFW hall, the reception venue is best shot in available light.
Sony just announced two new cameras, the a35 DSLR and the NEX-C3 mirrorless camera. Some of the new features contained in those cameras can be introduced to older Sony cameras by way of firmware upgrades.
Sony has announced its new a35 DSLR, a camera loaded with new features, and one that B&H will have for sale in August. One of the more interesting features built into the new a35 is Sony's Translucent Mirror Technology, which allows continuous autofocus while shooting still photos or HD video.
In the days when film was king, medium format was the camera of choice for wedding photographers because the larger negative produced a better image, and cropping a large negative didn’t really degrade anything.
After cameras and lenses, the third slice of your wedding gear triad is your choice of lighting gear. The most basic system revolves around a dedicated TTL (through the lens) flashgun mounted on your camera’s hot shoe (or preferably on an adjustable flash bracket).
With the right tools, outdoor wedding photography can be a nice contrast to the more formal, controlled-light look of photographs taken within the confines of a catering hall or other wedding-centric indoor location.
Most catering halls are designed with photography in mind—they often have a choice of backgrounds in the form of fountains, sweeping stairways, polished brass and crystal-laden lighting fixtures that can really dress up group portraits.
There’s a wide range of workflows in today’s production world, and the new Sound Devices MixPre-D is a versatile piece of equipment that will flow with the many different kinds of work.
This all depends on what type of lighting system you currently own. If you are shooting with tungsten or other form of continuous lighting, you’re in the game. If you’re shooting with electronic flash, the news isn’t as good unless you plan on shooting video one frame at a time. Strobes are simply the wrong tools for capturing video.
In the summer of 2008, Nikon released the D90, a DSLR with an extra feature: HD video recording. It rocked the digital photography and video worlds. Suddenly photographers could shoot dynamite video and videographers could get the look and feel of a cinema camera without the cinema camera price tag. HD video quickly became the feature to look for in a DSLR. A new category of camera was born: the HDSLR.
This chapter discusses the many benefits that HDSLRs have to offer, as well as the limitations that have to be considered when making the choice of adopting these cameras. Each benefit or limitation needs to be weighed against the specific needs of each user. However, there will always be situations where HDSLRs may not be the most effective choice.
The ability to choose from literally hundreds of lenses opens up a world of possibilities once impossible for small-budget productions. Being able to capture a wide view of a small room with a super-wide-angle lens, or getting a close-up of a subject from a distance, are just two of many powerful options at the photographer’s disposal.
While many "looks" can be achieved in post-production, certain aspects of the image are better controlled before the image is recorded. Optical filters modify the light before it enters the lens. The benefit of using optical filters instead of digital filters is that there is no added time in post production and less degradation of the image quality, especially in HDSLRs, which already have limited color space and a highly compressed image.
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Making pictures of the bride as she prepares for the wedding requires spontaneity while catching the decisive moment with a tactful attitude. A wedding day generates tensions on all sides—and as a neutral third party you should be an understanding, positive force for the duration.
Shooting video with DSLRs, or HDSLRs to be specific, is gaining popularity with photographers and filmmakers. One reason is that HDSLRs can shoot some pretty amazing video. Many photographers buy an HDSLR to shoot stills and then fall in love with the camera’s video capabilities once they discover them.
Before a swarm of guests descends on the reception hall and disrupts the carefully arranged environment, be sure you’ve captured it in its exquisite perfection. Most halls are tastefully appointed and designed with visual impact in mind. With the exception of the occasional fluorescent-lit VFW hall, the reception venue is best shot in available light.
Sony just announced two new cameras, the a35 DSLR and the NEX-C3 mirrorless camera. Some of the new features contained in those cameras can be introduced to older Sony cameras by way of firmware upgrades.
Sony has announced its new 
In the days when film was king, medium format was the camera of choice for wedding photographers because the larger negative produced a better image, and cropping a large negative didn’t really degrade anything.
After cameras and lenses, the third slice of your wedding gear triad is your choice of lighting gear. The most basic system revolves around a dedicated TTL (through the lens) flashgun mounted on your camera’s hot shoe (or preferably on an adjustable flash bracket). 
With the right tools, outdoor wedding photography can be a nice contrast to the more formal, controlled-light look of photographs taken within the confines of a catering hall or other wedding-centric indoor location.
Most catering halls are designed with photography in mind—they often have a choice of backgrounds in the form of fountains, sweeping stairways, polished brass and crystal-laden lighting fixtures that can really dress up group portraits.
There’s a wide range of workflows in today’s production world, and the new 
This all depends on what type of lighting system you currently own. If you are shooting with tungsten or other form of continuous lighting, you’re in the game. If you’re shooting with electronic flash, the news isn’t as good unless you plan on shooting video one frame at a time. Strobes are simply the wrong tools for capturing video.
In the summer of 2008, Nikon released the D90, a DSLR with an extra feature: HD video recording. It rocked the digital photography and video worlds. Suddenly photographers could shoot dynamite video and videographers could get the look and feel of a cinema camera without the cinema camera price tag. HD video quickly became the feature to look for in a DSLR. A new category of camera was born: the HDSLR.
This chapter discusses the many benefits that HDSLRs have to offer, as well as the limitations that have to be considered when making the choice of adopting these cameras. Each benefit or limitation needs to be weighed against the specific needs of each user. However, there will always be situations where HDSLRs may not be the most effective choice.
The ability to choose from literally hundreds of lenses opens up a world of possibilities once impossible for small-budget productions. Being able to capture a wide view of a small room with a super-wide-angle lens, or getting a close-up of a subject from a distance, are just two of many powerful options at the photographer’s disposal.
While many "looks" can be achieved in post-production, certain aspects of the image are better controlled before the image is recorded. Optical filters modify the light before it enters the lens. The benefit of using optical filters instead of digital filters is that there is no added time in post production and less degradation of the image quality, especially in HDSLRs, which already have limited color space and a highly compressed image.
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