Análisis del proteoma intracelular. Posibles factores de patogenicidad

Typically, the getting ready process starts with the bride and bridesmaids meeting up and getting their hair and makeup done. Shoot the bride leaving the house, travelling, and preparing the dress. Find a decorative way to shoot the dress and shoes (as shown in Figures 7-1 and 7-2) before, or while, the bride puts Choose where you will stand for each set

of pictures, the lens that you will use, and how you will bounce the flash. Identify spots that have nice lighting for individual portraits. Choose backdrops that show off the unique characteristics of the location without distracting from the subject. While you’re there, take some pictures of the location. If the sunlight is unflattering at that time of day, consider coming back at sunrise or sunset for better shots of the location.

If you discover that the bride and groom will be facing into the bright sun during the ceremony, you should warn them. Not only will this create unflattering lighting for the picture, but they’ll be uncomfortable and squinting.

During the planning phase, you should create a checklist of equipment to bring for the wedding. Be sure to include:

Figure 7-1: Isolate moments to reduce clutter in a picture.

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them on. Shoot wide-angle shots that show the overall scene, but also shoot close-up shots that isolate a moment, as shown in Figure 7-1.

Photograph the bride putting on makeup and doing her hair. Even if she has a professional helping her, you might ask the makeup artist to step away and have the bride pretend to put on lipstick so that you can get a clean shot without the makeup artist in the frame. While the bride is more important, one of the photographers should spend some time with the groom and the groomsmen. Catch him tying his tie, having a cigar, and drinking.

There’s always about an hour of waiting around before the ceremony begins. Use this time to photograph the flowers and the wedding hall’s details and decorations.

Procession

While the groom waits for the bride, photograph the groom and each of his

groomsmen individually and as a group. Walk up and down the aisles and photograph people as they wait. Engage children by waving or saying hi, and crouch down to photograph them from eye level. Photograph the ushers seating people, especially the mother of the bride.

When the wedding party begins walking up the aisle, position the lead photographer directly

in their path with a normal zoom lens, such as a 24-105mm or 24-70mm. Don’t be shy; to get this shot, you’ll have to be in front of the entire audience. To get the procession shots, the photographer should set her camera to continuously autofocus with a shutter speed of 1/250th to 1/500th to keep the moving subjects sharp. Continuous autofocus never works perfectly, so use the continuous shutter mode and take more shots than you think you need.

The assistant photographer should be positioned either to the front or the sides of the aisles with a telephoto zoom lens, such as a 70-200mm, and should get profile shots of the wedding party as they walk down the aisle and reaction shots of the guests as they see the bride. When the bride walks down the aisle, focus on her closest eye, and allow depth-of-field to cast everyone else gently out of focus, as shown in Figure 7-3.

Tip: Leave room to crop! The most popular wedding print size is 8x10”, and that requires cropping one inch off both ends of your photo.

The framing will cover about half an inch all around the picture.

If the wedding is outdoors, hard sunlight can create very harsh lighting on people’s faces. Your only option is to use a touch of fill flash on your subjects to reduce the shadows on their face, as discussed in Chapter 3. Check your shots regularly to verify that you’re not using too much flash.

Figure 7-2: Photograph the shoes and dress

before the wedding. Figure 7-3: Use depth-of-field to show that the bride is the center of attention.

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Figure 7-5. It’s okay to capture an out-of-focus bride in part of the frame when shooting the groom (and vice-versa); it provides context to the shot and gives the viewers the feeling that they are experiencing it from the perspective of the bride or groom. Move to both sides of the wedding party so that you can shoot both the bride and the groom. Additionally, the assistant photographer is responsible for capturing reactions from the guests during the ceremony.

When the bride and groom exchange the rings, the lead photographer should shoot wide-angle to capture both the bride and the groom in the shot. The assistant photographer should zoom in to get close-ups of the rings. It won’t always be possible to see the rings in the shots; just do your best.

As the bride and groom prepare to walk down the aisle together, position the lead

Ceremony

If you feel like you’re in the way during the ceremony, you’re probably doing it right. The lead photographer should be directly in the aisle, shooting the bride, groom, and officiate, as shown in Figure 7-4. Your shutter will sound like a bass drum in the quiet hall, so don’t shoot more than necessary, and use the quiet or silent shutter feature if your camera has it. Watch the eyes of the bride and groom, and shoot when you can see them both in profile. Try to capture the moments when they look at each other or wipe a tear away. Be sure to capture anything that makes the ceremony unique, such as interesting gifts or rituals. You might not be able to make every shot a work of art, but it’s critical that you document it.

The assistant photographer should be positioned in front of the pews and to either side so that he can shoot the bride and groom head-on as they look at each other, as shown in

Figure 7-4: Stand in the aisle to shoot the bride,

groom, and officiate during the ceremony. Figure 7-5: Stand in front of the pews and shoot the bride and groom from the sides.

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photographer in front of them, at the end of the aisle. If it won’t block the bridal party, the assistant photographer should find a spot behind them to take pictures of them walking away, as shown in Figure 7-6. If there’s not a spot available, the assistant photographer should stand off to one side and shoot the couples walking down the aisle from an angle. Both photographers should switch to continuous autofocus (to keep the moving couples in focus) and a low f/stop number (to reduce the visible clutter in the background).

Now, breathe a sigh of relief; the hardest part is over.