This close up view of love is just one of today's photographs from the wedding photography workshop run by Damien & Julie Lovegrove at Maunsel House in Somerset.
Here is a selection of pictures from today’s shoot.
Clockwise from top left: Julie's shot of the wedding dress in an ornamental mirror, spot flash from a hand held speedlight zoomed in to 105mm, a high viewpoint from a camera atop monopod held aloft, and a bridal portrait taken in very low light using a Canon 5D, ISO 1250, f/2.8, 1/20th second.
This shot of elegance was taken from ground level. The sky was deliberately excluded from the composition by using a 200mm lens.
This shot was lit with a zoomed in Speedlight on a stand and a 2 stop cut in ambient exposure set the scene.
A buttonhole set on a window sill and shot with +2 stops of exposure compensation to eliminate the cars and trees outside.
These rings were placed on the cover of a Country Life magazine and shot using both +4 & +3 Hoya dioptres mounted on a 24-70mm f/2.8 lens.
A secondary viewpoint and a caught moment. This shot was taken through the leaves of a bush at f/4. Vaguely voyeuristic and candid.
Lit with an Arri Junior 300w spotlight. ISO 800, f/4 at 1/60th second.
Same lighting as above.
A classic Lovegrove wedding shot ISO 200, f/4, at 1/200th
Please feel free to comment on the pictures or the event. Our next shooting weddings workshop is on 10th November and is dedicated to lighting winter weddings.
I’m simply short of words, I may not use the best of cameras or lighting equipments, but i really see myself doing some of your challenging workshops. I am challenged to work harder and also strive to get me a better camera for the work and improvement ahead. Tanx, you guys are a fab.
Thanks Fred.
Stuart, One thing I’ve thought of is that I shoot in the sRGB colour space. Now in theory it should not make a difference as I shoot in raw but it does. It’s worth a try. A slight kick using Vibrance in Lightroom doesn’t seem to screw up the skin tones like a saturation boost does :-)
Damien.
My Broncolor flash system has a Fresnel adapter and is just as good. The only trouble is with flash you can’t see what you’ve got till you’ve got it. Digital has made it easier with the instant Polaroid.
Enjoy your Arris.
Damien.
Thanks Damien for the excellent info on the Arri’s.
I think I might treat myself to some of these Arri lites, the fresnel spot looks fun to work with and better than using grids in my existing Elinchrom heads.
regards
Sean
Hi Sean, The Arri lights have a flood and spot control that is legendary in its simplicity and range. Take a look at this set of pictures taken with it:
https://www.prophotonut.com/2008/08/30/fresnel-lensed-lights-retro-portraits/
Regards, Damien.
Hi Damien
A quick question about your Arri Junior, does this have an adjustable fresnel lens so you can vary the beam from flood to spot?
I am interested in trying out some continuous lighting (rather than flash) and I wondered how versatile the Arri lights were.
regards
Sean
Thanks for the kind words. I use auto white and shoot in raw. Marko edits the files in Lightroom and Photoshop at the same rate Julie and I shot them. They were good straight from the camera and only subtle tweaks were needed in post production.
Hi Damien,
Just a quick message to say how fantastic this wedding workshop was on Monday, I really loved it and have learnt so much from spending the day with you and Julie… you’re both very inspirational!
I can’t wait for the next DVDs and think I’ll try and book up for a computer workshop with Marco – he’s fab!
Smiles
Jennie
Great to see you have a blog now having visited your other sites for some time now. Great inspiration and great to see the most recent images etc.
The one thing that really impresses me is the richness of colour and the skin tones are spot on. The images just lift off the page and something I would love to be able to achieve. Do you use a white balance card or similar? Do you shoot in AWB and correct afterwards?
Also was a pleasure to meet you at the Photovision road show in Manchester.
I love the warmth of the Arri. When you shot this was the Camera WB set to auto and the colour tweaked in post production? Nice idea of the rings on the mag which I’ve noted :)