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Wedding Photographer Cornwall. Alan Law Photography shares a wedding photography technique.

At Wedding Photography Select, we don't just want to show you the best images from the best wedding photographers around the world. We want to tell you a little story behind them as well. The idea, the execution, the result. As this section grows, we want to give you an in depth description of each of the shots taken by some of the very best wedding photographers. We hope it proves to be inspiring and insightful.

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One of the biggest things, for me, when it comes to wedding photography, is trying to capture moments creatively. I think, personally, that far too many photographers put all of their creative energy into the portraits, and then just snap away for the rest of the day, almost as if the 99% of the day that isn't 'couple shots' isn't important. I'm really the opposite; I try to put all my energy into *every* part of the day. That's what I try, anyway; not saying I always achieve it!

For this particular image, which is the lovely Vicky's arrival at Trevenna in Cornwall, I'd already 'seen the shot' in my mind; I saw the shaft of light from the skylight would make for a dramatic image, and that the glass would also create a reflection. So, although of course I got shots just before and after this moment, I knew this would be 'the shot', so to speak.

So much of wedding photography is about seeing moments; capturing them with speed and creativity, but this is an example of another element: Where you almost pre-see the moment, wait for it, and then capture it. Speed; patience, they're opposites, perhaps, but both are so important.

Techy wise, this is shot with a Canon 5D Mark III – which I love (silent shutter all the way, guys!), with the 24 – 70 f/2.8 II (there's so much 'prime-snobbery' in the photography world, but the best equipment is what does the best job for you; I use a combo of primes and zooms, and, you know what? For some instances, the zooms are better. Yep, I said it). 1/125, at f/2.8, ISO 250. Editing-wise, I've brought it down a bit in LR, vignette, and gradiented (is that a word? Should be!) a bit to remove some distractions at the edge of the frame. Oh yeah, and converted to black and white, but you probably noticed that!





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