The photographer artisan, part two.


There are many ways of contextualizing exposition, reading the light in a way to do a photo. The problem is that when we choose one, we are deciding how it is the final aspect of the photo. We can choose to use a flash unit or use the light in place. We can choose to use the light sources in place, lamps, mirrors, or diffusing surfaces. We can use reflectors, of different kinds, to fill the dark part of the object that we are photographing, a room, an object, or a face. We can direct the objects, change the places, take them to better light conditions or adapt all for the condition of the technical gear we have, cameras, lens or, in the digital era, with the software where we can push the conditions to a finished photo.

When I started to photograph weddings, as time goes on, I assumed that I need to find a method that, at the same time, will give the best for my clients and work out the best with the very different light conditions during all working day. So, briefly, I decided that in the first place it was my obligation with the truth, without interfering with the action of the day that give me all the moments that, most of them, will end with nice photos. The wedding photographer has no time to stop the action to make the photo he thinks will be that one or to change the conditions to have the best light.

That is how it was born my artisan side when making wedding photography. Nothing different from what I was doing in the black and white photography, in the lab. Just work the light over the black and white paper finding the best that the negative film had caught, in the glimpse of the shutter movement. That is artisan work. I read somewhere that was sculpting photography. I agree. With all my love for that, even if the materials changed, I am still here.


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