从拍摄的角度讲讲场地与布置
北京的习惯是中午举办仪式，不过也有在晚上举办的场次。我个人很喜欢晚上，在不同的光线下可以拍出很梦幻的感觉。
先来说说场地：
1。室外场地：挑选室外场地的时候，优先考虑场地宽阔的地方，户外草地和地板都可以考虑。推荐场地：醉库，意大利农场，荣尊俱乐部，罗兰湖等等等等。具体信息大家上网查吧，但是去着不是很方便，可能需要为客人提供车辆。
随着社会西化程度的加深，更多的人们接受户外的婚礼，婚外仪式，室内就餐，是一种不错的选择，婚纱在户外也才有着最美的效果，不亚于婚纱照。
说起户外场地，今年让我棘手的场地就是唐廊了。唐廊的草坪和地板都很好，只是唐廊的玻璃体建筑，会有莫名其妙的反光，镜子的效果使得场面很乱。虽然用偏振镜可以解决一些问题，但是毕竟会导致一些抓拍的缺失。当然了，话无绝对，毕竟过暴都能处理出独特的效果。如果客户喜欢唐廊，我们对唐廊的经验也算是很丰富了，清楚那里的优劣，很多新人还是很喜欢那里的。但唐廊一层有个问题，这里举行婚礼，只有十桌也很拥挤，而且舞台的位置新人绝对的逆光。总的来说唐廊是一个看着好看，不太适合拍摄的场地。
2。室内场地：挑选室内场地最好挑选层高较高，房间中立柱少的场地。皇冠假日酒店的场地不错。灯光适宜明亮，但不宜过红的灯光。室内的场地，和室外比起来，更依靠场布。
３。 场部用花等：花艺的颜色选用最好大胆一些，配一些颜色浓艳或高反差颜色的花艺，比如深粉色，白色，紫色配一起。然而我们最常见的都是淡粉色白色的搭配，实际上这样的颜色显得比较旧和衰败，缺乏朝气，需要花艺师造型设计方面有很高的水平，才能化腐朽为神奇。
４。桌布，椅背等。这里着重强调的是，整场的布置，乃至新娘的礼服的颜色，最好协调统一。比如如果场地是紫色为主，新娘白色的旗袍配上紫色的盘扣就会出来非常迷人的效果。然而酒店一般都不能很自主地决定颜色，这样就回到了我们在第三点说的，再用浅粉色这样的花，就把场地的特点都湮没了，一定要用强烈的色彩来造就特定的效果。
我们认为：每一种颜色都是美丽的，不美丽的只是搭配。
５。纱幔。只要注意了颜色，就ｏｋ了。需要说的是，造价不菲的鲜花五连门等，在室内并不是很漂亮的。而纱幔上的字、wedding牌一定要注意选择好了，不能让一个小小的瑕疵毁了整体。比如纱幔是欧式的风格，所以上面配上很多婚庆提供的楷体新人名字就会显得不协调，而wedding牌很奇怪的，有时候也类似于楷体的感觉，不宜。
６。路引。注意间距、类型、高度和颜色。
总而言之一句话，颜色的协调，风格的统一很重要。如果繁复到了驾驭不了的地步，就一定要化繁为简，简洁的美至少大于杂乱。另外，新人对于婚礼的用心程度也很重要，diy的东西越多，效果越好。
有一个清晰的主题，在布置的时候就会有了主次，事半功倍。
再者，和摄影师的沟通至关重要。
你希望记录下来的亲人和朋友一定要提前和摄影师说好，可以提前拿照片给摄影师看，也可以在当天比较早的时候和摄影师介绍，毕竟摄影师认识的只有新人，其余的人，他无法做到准确捕捉到你需要的人。
你的仪式环节要提前介绍好。这样摄影师可能会对自己的站位有一个明确的理解，更有把握捕捉到一些必须的画面。
你的大概走位，灯光状况要说明。比如有时候可能会突然的全场关灯一片黑暗，摄影师如果能提前设置好数据以及准备好适宜的灯光设备就能应付。如果没有提前准备好，可能拍出一些很梦幻的片子，但是更可能，丢掉了这批片子。
你的合影时间。有时候大合影需要换广角镜头，如果临时抓摄影师来拍大合影，可能会造成当时换镜头，时间上就会混乱了。
其实，之前沟通的越多，能够让你和摄影师有更多的相互了解，出来的片子是最好的。一个负责任的摄影师，或者说有职业操守的摄影师是非常希望跟你进行沟通的，因为他和你一样，都强烈希望婚礼照片的完美。
ps: 如果能够在拍摄前，安排和摄影师拍摄一次写真或者party，对于双方的沟通和熟悉也使很有帮助的。毕竟我们谁都不是专业的模特。
What makes a moment? Any wedding photojournalist will tell you that the very notion of ‘making’ a moment disqualifies it from actually being a moment. So perhaps the more pointed question is: What is not a moment?
Photo by Michael DiBari
“A moment is not two hands, two rings over the bouquet. The flowers, the wedding dress pictures – those are not moments,” says wedding photographer Michael DiBari. “Those are clichés that have traditionally been taken by photographers. They are details of the day.”
WPJA medallion recipient David Murray agrees, broadening the concept of what a moment is not: “Anything that is staged,” he states. He believes that when a photographer asks the bride, groom or guest to do anything at all, he becomes a part of the moment instead of the person capturing it. It can’t be a moment, he charges, when a photographer’s presence is known, and the subjects are acting for the camera. By his definition, a moment is “that time when the subject is so involved in what they’re doing, that they’re totally unaware that anyone is recording the moment.”
“A moment is when the brother in law jumps on the table and starts singing a song during the reception. That’s a moment,” DiBari says. “If you can recreate something, then it’s not a moment. Good moments are fleeting. Good moments are one-of-a-kind. Once they’re gone, they’re gone.”
Which is why anticipating the moment is so crucial.
ANTICIPATION, DILIGENCE, AND PATIENCE
There are foreseeable moments during a wedding that every wedding photographer should learn to look for. Once you learn to predict, advises DiBari, you can make sure you’re in the right place to get the best shot.
Like the first time the father sees the bride in the wedding dress & that has the potential of being a real moment; and you should be ready in case it does. Thus DiBari puts himself in a place where he can capture the moment should it occur.
But a little trickier are the completely unexpected moments, which often make the best photographs of all.
“You can’t plan for it. You can try to anticipate when it might occur, but when a great picture happens, it’s great because you can’t expect what’s going to happen,” says WPJA Gold Medallion winner Gary Allen. “You have to be able to react in a millisecond. If you see something and then you pick up your camera, the moment is already gone.” Diligence and patience, he says, are two of the most important hallmarks of capturing these fleeting moments. But paramount to everything is the ability to think clearly and quickly. “More than having a decent piece of equipment or a fast lens, the most important tool for the photographer is his brain,” he explains. The camera has to be ready to fire instantly, sometimes from the hip, and you can’t be off letting your mind wander. “I like to think I can react almost instantly,” he says.
Photo by Gary Allen
To react is to anticipate and then respond with action. Like other good photojournalists, Murray depends on the shared human experience to help him navigate this nebulous territory. “We’re all made up of our experiences, and we all have universal moments that we share as human beings. I have that common ground with everyone,” Murray says. “I hear the sounds, and see the signs as a weatherman would. I observe the elements, the words spoken, and anticipate, and I predict that something will happen at a certain time. I have my cameras around my neck and shoulders and make split decisions on what lens is the one to use. I see how the subject is relating to the others in frame, while paying attention to the background. In an instant, the image is there and gone.”
ETHICS, ANYONE?
And once the moment is gone, you don’t ask the bride, groom, or guests to do it again so you can capture it. That’s a set-up, not a moment. “If you want to be a real journalist,” Allen says, “you do not stage any pictures. If you stage something, it becomes a portrait.”
A lot of photographers, he says, don’t have a problem with the coaxed moment. You get a picture out of it, but it’s not a real moment. And that’s acceptable, as long as you’r not passing it off as wedding photojournalism.
“Photojournalism has deep roots, representing reality in a truthful way. If you set up a photo at a newspaper, you get fired,” he says. Perhaps that explains the no-exceptions ethical code of honor: DiBari, Allen and Murray all have a background in newspaper photojournalism, where they learned how to approach their subjects with integrity.
Photo by David Murray
The bride and groom might not have a problem with the coaxed moment or the set-up shot. But Allen warns that you cannot pass off the photographs to others, or the WPJA, as real wedding photojournalism. “Real wedding photojournalism has to be truthful. Even if you remove a can of coke from a scene, you are altering”, he says.
“My attitude is that of a photojournalist whether I’m shooting a wedding or the President of the United States. I’m not going to ask the President to step over here. And when I’m shooting a wedding, I try to stick to the same philosophy,” DiBari agrees.
“A photojournalist never directs. He’s reactionary, not proactive. It’s what separates true photojournalism from photography,” says David Murray.
MORE MEANINGFUL PHOTOGRAPHS
“My pictures, my weddings are real moments. The bride isn’t always perfect, but the moment is real. It really happened,” says DiBari. “When the bride looks at it, she’s not going to notice an imperfection; she’s going to remember that moment. There’s more of an emotional tie.”
Aside from your ethical obligation to the very definition of wedding photojournalism, anticipating and capturing a true moment yields photographs that are linked back to real memories for the bride and groom. If they were asked to pose, then that’s what they’ll remember when they look back at the photograph.
And if you do want to capture images of the details – of the ring, gown and flowers variety – DiBari recommends shooting those within the context of a real moment. “The bride might have gone to 16 florists before she found the exact flowers that she wanted,” he says, noting how important such an image may be to a client. So, I’ll make sure to photograph her bouquet in a scene that’s really happening.”
Murray says that the biggest compliment is when a bride says “That’s exactly how I remember my day.’”
“That’s always my goal,” he says. “To have them remember their day in a way where art and reality coincide.”
— by Meghan McEwen for the Wedding Photojournalist Association
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