Wedding shooting tricks?
Me again.. looking to learn more.. again.
When you shoot a wedding, what are your do's and don't's?
I am trying to learn as much as I can as I have a wedding coming up on the 1st..
While couple knows that I have never shot a weeding, and not entirely comfortable taking unto a task as such, they want me to shoot it for them.![:\](https://dgrin.com/resources/emoji/confused.png ":\")
I am all set gear-wise... as much as my wallet can allow for the time being, at least.
I have a d700 and a d300s combo, with an armament of <2.8 glass; 4 SB-600, 2 sb-900, wireless triggers.. that part I can deal with.
What I am looking for is the technique suggestions.. Are there any posing tips specific to the bridals? how about maids of honor? bouquet positioning?
All in all, lay your best tips on me, if you don't mind sharing them. I know I've learned a great deal thanks to many of you, and am hoping that you can teach me even more.
Thank you in advance.
When you shoot a wedding, what are your do's and don't's?
I am trying to learn as much as I can as I have a wedding coming up on the 1st..
While couple knows that I have never shot a weeding, and not entirely comfortable taking unto a task as such, they want me to shoot it for them.
I am all set gear-wise... as much as my wallet can allow for the time being, at least.
I have a d700 and a d300s combo, with an armament of <2.8 glass; 4 SB-600, 2 sb-900, wireless triggers.. that part I can deal with.
What I am looking for is the technique suggestions.. Are there any posing tips specific to the bridals? how about maids of honor? bouquet positioning?
All in all, lay your best tips on me, if you don't mind sharing them. I know I've learned a great deal thanks to many of you, and am hoping that you can teach me even more.
Thank you in advance.
0
Comments
couple things.
Relax. Get the flow of the wedding and "run" with it, meaning be prepared to deal with whatever may happen. Look on the web for posing ideas if you do not have an idea where to start on posing.
www.tednghiem.com
There are some tricks that I have heard of, in regard how the bouquet is to be posed, how the maids are to be standing that I can't find any further info on
My Site
My Facebook
Best of luck - and I love the fact that you are asking questions.
KLinh
Klinh Evelyn Grace Photography
Fashion & Commercial
(2)Mamiya RZ67 IID, Mamiya 645 AFD II, Leaf Aptus 65, Profoto D1's, Capture One.
http://www.klinhevelyngracephotography.com
14-24 24-70 70-200mm (vr2)
85 and 50 1.4
45 PC and sb910 x2
http://www.danielkimphotography.com
Is this a big or small wedding? Can you afford to hire a second more experienced wedding photographer?
Think about having a go to person to help identify everyone, corral people for posed shots, generally assist with organizational chores.
I wouldn't stress out on the formal poses too much. Get one or two pretty standard group poses in mind, and get them done. Now if you have time and have an additional idea go for it.
Don't commit to a lot of must have shots. Tell them you will try for them but if you commit you will be so worried about the must haves you will miss a lot of other opportunities.
Shoot a photojournalist style.
Weddings move very quickly for us photographers, and the schedules are ever changing. Do your best to go with the flow and shoot.
Sam
They may not have given this any thought, but in your meetings before the wedding you should have at least asked if there were any particular subjects, poses, or locations they want, as well as any specific combinations of the bridal party and relatives. You'd be surprised how many couples actually do have some specific ideas but don't say anything about them till the day of the wedding, then forget or don't bring it up till it's too late.
Example: "I want a pic of me with Uncle Charlie!" Problem: Uncle Charlie took off for the reception venue as soon as the ceremony was over and didn't stick around for the formals, so you have to catch that pic at the reception.
But the reception is heavily scheduled, so by the time you find a few minutes where you can get Bride and Uncle Charlie together, Charlie has had a lengthy conversation with Uncle Jack (Daniels) and is now sweaty, stumbling, puffy-eyed, red-cheeked, his jacket is off, his tie is loosened, and his shirt-tail is hanging half out; Bride has already danced a half-dozen times, has removed the veil, her hair has deflated, and she's sweating like a Hatfield at a McCoy family reunion; and the only available spot for a formal posed pic is in front of a buffet table that looks like NOLA after Katrina, or a blank white wall between two lighting sconces that completely trash your exposure.
Result: Lousy pic. If you'd only known ahead of time that Bride wanted that pic with Uncle Charlie, you could have asked Uncle Charlie in advance to stick around after the ceremony and gotten the pic as part of the formal set.
Now, thats a word of encouragement.
Very true, and a damn great idea!! thank you!
thank you, sir. By my standards (where I grew up) it is a huge wedding.. but I am told that based on American tradition it is rather.. mediocre - 100 or so people.
Thank you Sam!
Absolutely. They are our (my second half and I) very good friends. We've already been to the location, and I am planning on attending the "practice" (however you call it in English
They have an old classic (perfectly restored) car that we'll be shooting with for at least a little bit.
We have discussed in length what pictures they would like, and options. They were also kind enough to provide me with the samples of some of the images.
yes; we have already picked a few spots out.
Yes sir, I have discussed that with them. We spent almost 4 hours discussing this.
Thank you, thank you thank you thank you! I can't thank you guys enough for all the suggestions and guidance.
Quite honestly, this board is the only forum/board that never seizes to amaze and educate me. thank you!
My Site
My Facebook
100 or so people being mediocre? You can get more intimate scenes with a smaller wedding.
www.tednghiem.com
My biggest thing is to just be prepared and go into the gig with confidence. The night before is usually dedicated to charging, AF calibration checking, sensor cleaning if necessary, memory card counting, etc.
Basic stuff, yes, but still the most critical. I'll look forward to reading other people's tips!
=Matt=
My SmugMug Portfolio • My Astro-Landscape Photo Blog • Dgrin Weddings Forum
I'll second that - a contract is absolutely essential, especially when you are shooting a friend's wedding.
You said that you have spent more than 4 hours discussing what they want. You sound like you have a pretty good idea what they want. But what if you think one thing and they think something else? You talked about so many things, maybe you came away believing A, but they came away believing B.
A contract spells everything out very clearly and avoids accidental misunderstandings. They will know exactly what you're going to do and what you're going to provide, and you will know exactly what they expect you to do and what they expect you to provide.
on my first wedding, i forgot a lot of detail shots.
Always check your settings. Don't assume your gear is ready for the next shot.
If your in fast paced action switch to AI servo focusing.
You likely already read to cover hands with the bouquet. I like to tell brides to hold the bouquet like a light saber. They get it. However, it is not a hard and fast rule in my book. There is something to be said for the casual/contemporary look.
Posing - the skies the limit. I do a quick check and reminder prior to any shoot by searching google images for bride, bridal party, wedding pictures and the like to see if something appeals to me.
The wedding day is an exchange of the couples love for each other. It is easy to ask the bride and groom to get into dramatic and even sensual positions. They will be more than willing.
I use my admittedly corny humor as much as possible to elicit smiles and surprised reactions.
Hope this helps!
Mike
First - be in charge, dont show nervousness and
Second - have fun.
This 2 things will trump every other technique that you could think of.
If you show nervousness (or any short of negative vibe) it will feed into B&G and it will start showing in your frames.
Having fun makes yourself less stressful as well as helps others around you feel more comfortable. Which brings more positive frames for you.
Rest all is practice and knowing your gear.
I was wondering when someone was going to get around to mentioning meeting with the client to determine what they want...what they expect...their projected time line.
Example: Some anecdotal musings...(since I see that you've met with the clients)
1. Last wedding I shot...April 7th...met with bride and groom...wedding was in a bed and breakfast with 20 guests in a smallish parlor room...with very dark grey and gold wall paper...
After discussing the room and space available for shooting the wedding in real time, the bride, much to my surprise, told me that I wouldn't be shooting the wedding as it happened, because she didn't want me distracting the guests and interfering with the guests experience. Everything would be reinacted...What, what!!! Okay by me. And, no wedding gown...no flower toss...no garter toss...and I think you get the picture. However, they did want nice shots with all the family members. So, I brought in the studio strobe...a week before...got the lighting and angles right for the beautiful staircase right off of the parlor and used my strobe for all the family and friend shots. Nice touch...they loved it, and only took 15 minutes to set up on their wedding day, which I did before hand, and put it in the dinning room until I needed it.
What they did want during the ceremony was a couple of flash shots of the guests watching the wedding...this after I explained that the only way that I could get pictures of the wedding guests was to light them with flash, as the guests would be back lit by three large widows...okay with them, and me too. Luckily, I was able to get wide enough to not only get the guests, but also the ceremony and the bride and groom frontals as there were two doors, one on either side of the ceremony
So, you can see...meeting with your clients means a lot. And, anything can go...it's what client wants.
2. That was a small wedding...Now for the last big wedding that I shot...around 200 in attendance...engagements, rehearsal, rehearsal dinner, wedding, and reception.
What I learned from my meeting with my clients. One, that they wanted the full range of photos on the wedding day...from formals of the wedding party, with family members, to lots of candids and photo journalistic shots at all other times. Hmmm...okay. So, as I spoke with them...I asked where the reception was going to be. Oh, in a town 15 miles away...hmmm...and the time for the ceremony and what time does the reception start...30 minutes after the pastor pronounced them man and wife. What, what!!!...no way. What about formals after the wedding with family members...we'll just have to be fast...yeah...like as we run out the door. Not going to work, is what I told them...I have to have time to take the formals...after the ceremony...family with the husband and wife, etc...okay. Sure...the bride said, she'd speak to the wedding planner, which they had, and fix this...it needs to be at least an hour...what with travel time from the church to the rehearsal venue.
Wedding day...no such luck...nothing had been changed...30 minutes between the end of the wedding and the beginning of the reception. So, my solution was to do separate formals of the bridal parities before the wedding using my studio flash...and after the wedding, we used my camera flash for formals with the husband and wife and their family members...no time to set up the studio flash again...then, the pastor wanted the stage reset for a big children's event the next morning...all of which the bridal party and family were obliged to facilitate. So, while I was packing my gear, the newly weds and their family were reseting the stage...pulpit, chairs, removing flowers, tables etc., and whatever else. Did we get to the rehearsal on time...nope...but, it all worked out...it started when the newly weds got there...lol...and went smoothly from there...
What were they thinking...got me...but, like Scott Quier once said, it is what it is....you do your best to time line things...and well, refer to what Scott said.
Be sure to attend the rehearsal, if they're having one...what did I learn from that...well, that the wedding planner was, and did, back light the ceremony during the rehearsal, that is until I took a picture of the wedding couple, backlit...and showed it to her. I told her, with the lights like this...your not going to see their faces without flash....and flash wasn't allowed. Turns out that she was more than accommodating and pointed me to the lights...and said...get the light right. If I hadn't attended the rehearsal, I would have not been able to shoot the ceremony...the lighting would have been all wrong.
All in all, they loved the images...at least that's what the mother of the bride said...lol...
Why did I go to the trouble to write all of this in to my post...because...I wanted to illustrate the value of meeting with the client and reconnoitering the venue...so that you can figure out your shooting solutions...and then, when things go whack...it won't be so bad...
Just some food for thought. Weddings are more than just being able to take good images in a lot of different lighting conditions.
Educate yourself like you'll live forever and live like you'll die tomorrow.
Ed
Sam
In the contract and your meeting, ensure the bride and groom have an individual who coordinates the formals. This may even be the bride. This way you are sure to obtain all the images the bride and groom request. Get it in writing. However, include a clause in your contract that releases you from liability if one or more images are missing do to their or your forgetting, malfunction, or natural disaster. Stuff happens.
Also, image the family and any guests first in the formals then wedding party and bride and groom last. That way they can celebrate earlier; elderly can relax, or escape the weather if its an outdoor wedding and children won't become as restless.
Mike
I would attend the ceremony rehersal if at all possible. As luck had it, my first gig was in a church that I haven't shot in before. I also knew the ceremony was going to be shorter than what I am used to working. Aside from scoping out the lighting and venue, after seeing the rehearsal, I knew the pace of the ceremony was simply not going to allow me to move much for different shots. For example, I had planned to get a nice wide balcony shot. After seeing just how quick this ceremony was going to move, I decided to set up a remote camera on a tripod to get the shot -- had I chanced going up the balcony, it may have been a disaster.
Recon the area at the reception venue where the bridal party will enter. Ed' s comments on timeline are spot on. Without some planning you will feel like you are racing your own clients from venue to venue and even shot to shot. Get with the DJ or event planner in advance. Around here, many folks use a planner or the DJ as the reception controller and they control the flow of events at the reception and I treat them like my good buddy. Get the schedule from them and let them know what you will need to go from cake cutting to another point. I've found that if you work with these folks they will do you nice favors - not hammering you on time, making sure you're in position and even politely announcing to all the uncle bobs in the room to make sure they allow the professional room to get the shot.
I also like to time sync my bodies so the files line up when I download the files. Easier post work. Good luck!
One more thing...
Study from published masters.
Two that heavily influenced me are David Ziser and Cliff Mautner. If your budget allows, purchase videos or books from each of these guru's. Once you start looking for yourself you will likely find a master or two that appeals to you and the style you want or want to develop. David uses an assistant for off camera lighting. I suggest you do the same. Ideally a second shooter would be best that could either hold a 3ft. reflector or off camera lighting(flash or video light). Both go into positioning and posing of the bride and groom and entire wedding party. If you are unable to acquire wedding posing and imaging publications or videos use your preferred search engine to search for butterfly lighting, portrait lighting, Rembrandt, split lighting. Look very closely at portraits of brides or any one for that matter. Specifically, their eyes. The catch light will tell you the direction and in some instances you can even determine the lighting source. Look for photos that appeal to you then zoom in to view the catch light in the subjects eyes.
Don't rule out fashion or bridal magazines for influence or inspiration either.
Finally, practice. I don't have the luxury of having models to practice on so I used my daughters lifelike dolls to experiment with light direction and quality.
Mike
www.tednghiem.com
facebook.com/robertchenphotography
Thanks Sam and Nago.
Couple of more things I've been thinking about...indirect lighting. On camera flash...bounce it. Even if the ceilings are 12 feet high...set your camera to 800 ISO and see what happens...it's all about adding light, not drowning in light...nothing looks worse than pictures where there's a second shadow person in the background...and if you have a lot of light fall off, it's really hard to remove those shadows in post processing. Just take a test shot and adjust your ISO and flash output as needed.
Your camera's flash, shoot it straight up...throw it into a corner...or over your shoulder...or bounce it off of a wall. I never use a diffuser on my flash...and I never point it at anyone...at least not indoors. Here's another tip...when bouncing the flash...generally, when bouncing your flash, try to never let any of the strobe's light directly hit your subject...so that means...unless you have significant ambient light in the room...that the flash should be turned slightly more than 90 degrees from the subject.
Here's one instance where I do use some forward flash. If you have a little white pull up flap on your flash...practice using it with your flash set to 60 degrees...or more. If the situation warrants it...if you have to direct flash...actually most of the flash is going up...and then, ride your flash compensation while watching your histogram...useful for when there is nothing in the BG that's going to produce a shadow, and the ceilings are too high and the walls are too far away.
Your histogram is the secret to getting good exposure. I've shot so many images where I thought, hmmm...looks good on the rear display...must not pay attention to histogram here...and it never fails that when I get home and get the images on my desktop...with calibrated monitor, that I wish that I'd paid attention to that histogram...and adjusted my flash output. That's past history...now I do.
And, take duplicates...I like to say that my motto is, "One more please." When I asked for one more shot, I'm doing a couple of things...usually, I've already chimped...looked for shadows, blinkers, weird lips...diverted eyes, background conflicts, and looked at the histogram. If the histogram is not right, I jump on the flash compensation dial and add a stop, or take one away, or maybe less, depending what the histogram tells me. And, if I'm not satisfied with the second, I ask for a third...no one is going to remember that you asked for three shots...if you give them a great picture of themselves.
Here's one more thing that I've learned to do when shooting people. Some people are sensitive to flashed light...like to the preflash that is emitted just prior to the main flash being emitted. As soon as they see the preflash, they blink...aka...blinkers...so, every time you shoot them...they have their eyes closed. Here's what I do...with my D700...I have programmed one of the front buttons to, when pressed, fire the preflash, works even on my SB900...this sets up the camera so that when you press the shutter release, there's only one flash...they still blink, but after the flash, and after the picture has been taken...eyes open. I find this so helpful, that I've left it programmed.
It works like this...pointer finger depresses the shutter release halfway to focus and you compose image in viewfinder...ring finger of same hand triggers the preflash...then pointer finger triggers shutter.
Here's one other really good tip. If you're thinking about some outside shots with the newlyweds, and you should be, be sure to scout those locations at the same time of day that you'll actually be shooting that location, at least a couple of days prior to the shoot. The sun has a nasty habit of moving...in the late afternoon angles change quickly...light that was once coming from over or behind, now comes zooming in under the trees...camera left or right of where you thought it would be. It happens like this...you arrive at the wedding venue at four o'clock...for a five o'clock wedding...scout some outside locations...(last minute scouting) enter the venue...do all of your preliminary shooting...the wedding...the post wedding images, and then it's outside, at around five-forty-five...an hour and forty-five minutes later...what, what...the sun has dropped in the sky and nothing looks the same. Now, you have the newlyweds at your side, and you have to think really fast...because, if you do like I do...and I have some good locations picked out, I'm already telling the newlyweds that I have some great locations for us to take photos. This is not a good surprise.
I hope this helps...good luck...take charge...act like you know what you are doing...take some good images and you'll do fine.
Educate yourself like you'll live forever and live like you'll die tomorrow.
Ed
The guy taking color photo got excited when we did the kiss at the alter and got it crooked
This is one photographer on the lawn taking a photo of Bob getting ready to throw the garter - you can see the B&W photographer on the porch behind us
I think you are lucky not to be using that kind equipment still.
Incidentally I was married in 1959 (still married to him), but the dress was originally my grandmother's wedding dress when she was married in 1905.
When I go to a wedding as a friend or relative, I try to get photos of all the relatives. So I'd advise you to ask the mother of the bride or some family member to point out to you the grandparents, aunts, uncles and cousins. If it wasn't for the photos, I would not have remembered who was there.
I will station myself at the church entrance and take photos of people as they come in. I have also heard of putting small disposable cameras on the tables at the reception and encouraging the people at the table to take photos of each other.
Ed, thank you for the wide open answers, these definitely help.
thank you all!
My Site
My Facebook
Hope all this helps. Between Dgrins and some vids, I'm sure things will go quite well.
While most of his advices are the same ones presented here, in this thread, he also critiques photos of other shooters, offering alternative ways of doing things.. very interesting.
My Site
My Facebook
You did your best to talk him out of the wedding, or just to talk him out of having you shoot it?
Spread the love! Go comment on something!