Bridal Fashion Photography Tips from George Gittany.

Bridal Fashion Photography Tips Close Ups from George Gittany, Sydney based photographer:  How to Shoot Weddings and Runways.

Be ready to photograph hairstyles, backs of dresses, shoes, headpieces, flowers, table settings, etc.  if you doing life wedding or a bridal runway– these help give the bridal fashion catalogue or wedding album an extra dimension and represent event or brand in depth. Flick through a wedding magazines for a little inspiration before your shoot.

So much can go wrong on the day, specially if it’s wedding – so you need to be well prepared in order to make sure your clients,  bride, or your bridal fashion designer will have all of  their photos! Have a backup plan (in case of bad weather if you not doing a studio shot for magazine), have batteries charged, memory cards blank, think about routes and time to get to places and get an itinerary of the full day so you know what’s happening next.

When shooting bridal gowns, photographers are faced with two major challenges:

To meter and expose the shot properly.
To capture important details of  The Bridal Gown in the photographs.
To create the visual story about The Bride and her unique ” Bridal Dress ” .

Details of Embroidery, HeadCrown, Applique and Textures.

Shooting in Auto Modes – Use Exposure Compensation

The majority of bridal gowns are WHITE and this brings with it the perennial problem of photographing white objects. The camera’s meter will think of the white gown as a grey subject in very bright lighting and it will set the exposure to capture the subject as grey. Shooting in any of the auto / semi auto modes need sufficient compensation to get proper exposure. It depends on the metering mode you have set but usually an exposure compensation of +1 should do the trick. Those who shoot in fully manual mode need not worry about setting exposure compensation.

One trick to minimize exposure issues is to use spot metering mode and meter from your subjects face.

Natural Diffused Lights helping to create the mood of Backstage and capture models while they are relax.

Shooting the small details of the Bridal Fashion.

Is detail in a dress that important? Oh yes, it is, especially so in the case of a wedding gowns, most of them in white or off whites but heavily embellished or made from expensive, heavy woven fabrics. For a brides to be, many days or even months are spent choosing and designing a wedding dress and its worth much to the her both emotionally and financially. Most brides take pride in their selection of wedding dress from boutiques, online catalogues, bridal shows or fashion magazines and want to look their best in their wedding album.

For a bridal fashion designer, presentation of bridal collection in details is crucial for his/her signature looks.

Also creating a wedding dress is a collective work of several artists (including fashion designers); an arduous task that takes several days; if these hard made details in a gown is to be captured perfectly in your shots, you need to be aware of certain properties of white dress and also master some techniques to deal with them. We are discussing here one such technique that will make sure you successfully capture all detail in your brides dress or bridal fashion every time.

Tips for Capturing Textured Details in the Wedding Gown.

Capturing texture can convey a sense of touch to a photograph and specially to a sensual bridal shots and if bridal fashion is presented on the internet – it’s a crucial moment!. A good bridal fashion photograph will reveal the texture of the image in such a way that information about its surface will be fully conveyed without any loss in transmission even on the brides Instagram or e-commerce store by bridal brand. Information like how soft or crisp to touch, glossy shiny silk or matt brocades, a sense of its dimensionality, the fabric’s weight, weight less ness or bulk, appearing fresh or antique vintage look like. In a sense the whole concepts regarding beauty are contained in texture; telling to the viewer most part of your bridal story in a single feature.

The hard part is not only in finding interesting moments in the textures in bridal gowns, but catching the eye of the viewer and getting them stuck to that dress. Once you take it seriously and start looking for patterns and details and textures, you will get better at it; and will see many textures which you haven’t noticed before and very soon will start recognizing great textures at the first sight.

Heavy embellished textures on the bridal fashion items can be composed in many ways first and the most commonly used method is to move in close to magnify the surface irregularities of the object. Second method is to capture the dress  texture on a grand scale when it is part of a broader scene, as with the rippling surface of cascading fabrics and veils, it’s often better to back off and show the expanse of the subject, “The Bridal Dress”.

Like fabric patterns, many texture photos work well when they appear to extend beyond the frame of the picture. Always remember to keep the composition simple by excluding anything that may break the pattern or spoil the rhythm.
Another trick is in the way you position bride or model in relation to your lights; the idea is to let the light rake across the surface so that it accentuates the shadows and brings out detail in the fabric.

The best way is positioning the bride or model wearing the bridal gown, so that her shoulder closest to the camera is angled towards the light.  Be it a large window or runway lights. Angling the shoulder towards the light is important because if the shoulder closest to the light is not in front, light will hit the wedding dress straight on and will result in flat lighting that captures little or no shadow and detail.

So first and foremost thing for better capture details in wedding dress, the shoulder closest to the camera should be aiming toward the light.

Use diffused light for a dreamy, fairy tale feel.

The ability to bounce a flash or to diffuse it is key. You’ll find that in many churches or runways that light is very low. If you’re going to use a flash think about whether bouncing the flash will work (remember if you bounce off a coloured surface it will add a coloured cast/shade to the picture’s white dress) or whether you might want to buy a flash diffuser to soften the light. If you can’t use a flash you’ll need to either use a fast lens at wide apertures and/or bump up the ISO. In older days, photographer would add diffuse filter on the lenses but now it’s not in vogue.

Behind the camera.

Bridal Fashion Runway

Australian Bridal Fashion Week 2015, covered here by George Gittany.

Johanna Johnson
Leah Da Gloria
Jennifer Regan
Anna Campbell
Akira Isogawa

Credits for AFBW attendees:
For The Love Of Grace
Oh Flora
Stellina Cute Couture For Children
Hilla Floral Design
The Sposa Group Australia
Sant Elia
Tanya Anic
Bizzaro Bridal Couture
Sarah Joseph Couture
Stephanie Browne Australia
The White Collection Bridal Boutique
Voyage Collections
Avari Couture Collections
Lilli Marcs
Nahida Alayan Couture
TONI & GUY Hair Meet Wardrobe

Credits for Models:
Lucy Blay
Nikki Walsh and more…

Please tag those that are NOT listed as I was unable to do so or did not know their names.
NOTE: Sharing, tagging and re-posting is encouraged only if credit given to George Gittany Photography.  All images were taken by and are copyright of George Gittany and may no be used in any way or form for commercial gain with out prior arrangement with George Gittany.


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