the technical behind the art

[fusion_builder_container hundred_percent="yes" overflow="visible"][fusion_builder_row][fusion_builder_column type="1_1" background_position="left top" background_color="" border_size="" border_color="" border_style="solid" spacing="yes" background_image="" background_repeat="no-repeat" padding="" margin_top="0px" margin_bottom="0px" class="" id="" animation_type="" animation_speed="0.3" animation_direction="left" hide_on_mobile="no" center_content="no" min_height="none"]We've got a fair number of fans who are pretty geeky when it comes to photography, and we get asked many questions about 'how' we shot something. You know us - we don't like post-processing. We can't remember the last time we opened up actual Photoshop, and we (and our clients) tend to think that processed / filtered photos belong on Instagram (though we're admitted addicts!) and not in a wedding album. So - we chose this photo this afternoon to simply give the technical aspects behind the art.This beautiful Chicago bride did her bridal prep in a very dim cabin, and even in the early afternoon, the light was quite low. The camera was set with a high ISO to be safe, in this case, 1600 on a Nikon D3. The D3 is famous for low noise at high ISO, so even pushing this higher would not have been too much of a noise-risk. The lens in this shot is a Nikkor 50mm that is opened up all the way to f/1.4 - again, because it was so dark, but also because it is a compact lens, and gives a super-pleasing depth of field - buttery almost. Its not the most cost-effective lens, and we recommend the f/1.8 for most beginner / intermediate shooters, but ANYWAY...This shot was unplanned. The previous shot was a feature shot at 1/100 of a second in a dark part of cabin (thus the high ISO!) and when we quietly ran into the bedroom for this single, fleeting moment - the sunshine in the window forced a scroll of the shutter wheel up to 1/1600 to not blow out the whole thing. The shot was so fleeting in fact, that there are only two shots of this moment, so thanks to Nikon for the fast focus and good metering. Even if the camera had been in a non-manual mode however, the electronics would have forced an exposure that would have darkened the image more than what was intended. Much like a point & shoot trying to capture a portrait against a bright window, flagship bodies are susceptible to the same flaws. Just like the ability to drive fast in the winter requires disabling the traction control system, a camera needs to be completely controlled by the photographer to get the result they want.In terms of post-processing, the image history on this shot includes:- import- a profile assignment - which includes a lens profile, some noise reduction, and black clipping- a preset assignment - which includes a caramel tone and a contrast tweakVignetting is not added and is deliberately removed from the lens profile to keep the flaw in the shot. The 50mm is a film lens and the D3's sensor is FX, which is the same footprint as 35mm film - so the effect is natural.(And what a dress!)Email us with questions, or if this has piqued your interest in photography, join us for a workshop![/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]