048 Technique Photo 50 top tips for wedding photography The wedding season is upon us, so sharpen up your skills with some insider knowledge from the professionals. Karl Foster speaks to fi ve of the UK’s leading wedding photographers, each of whom has wisdom borne of long experience Summer light too harsh? Turn it to your advantage by making shadows a feature of your photograph JOE D MILES THE SPONTANEOUS APPROACH ■ www.onlineweddings.co.uk Joe D Miles of ImageCapture is one of the photographers with Online Weddings and he uses digital cameras on assignment. He aims to capture spontaneous images that create an accurate portrayal of the wedding day. His approach is to be amicable, fi tting in with and adapting to the occasion. 3 Pose the bride For fl attering images of a bride, make sure she doesn’t have her arms bent (a slight bend is best, but not straight) while holding her bouquet. If possible, ask her to create an ‘S’ bend with her body, similar to the way fashion models pose. Look through women’s magazines like Vogue and Cosmopolitan to see how the models pose to get an idea. Techniq 1 Use a wide aperture The use of the widest aperture that your lens permits (for a narrow depth of fi eld) can create a very appealing effect for wedding photography, keeping your subject in focus while making the background blurred – although you need to be sure you focus accurately. 2 Try slow-synch fl ash If using fl ash, try as slow a shutter speed as possible – 1/15th to 1/25th second, say – to make the most of ambient lighting. Try panning with moving subjects while you fi re the fl ash to freeze the subject and blur a distant background. 4 Look for lines Try to make the most of strong architectural lines, such as pillars, for backdrops to your wedding photographs. Remember, if you sort out the background, the foreground falls into place to create the perfect composition. Scout out the venue beforehand to see which architectural elements might work best. 5 Use light patterns creatively If there are any interesting light patterns outside the church or register offi ce, you can use them to add impact and drama to your images. Be aware, however, that such patterns may come and go as the day progresses, so you may have to work quickly to capture them. 6 Frame the couple When taking pictures of the bride and groom with their bridal car, try being creative by using the windows to frame them, or even jump inside the car, if it’s OK with them 7 Tilt the camera Camera tilt adds a sense of motion to an image. This works on some shots very well – you don’t have to always keep the camera landscape or portrait format, be adventurous and align the composition lines at diagonals in the image to create impact. As with all techniques don’t over do this – one or two images is ample. 8 Find the shade If you’re shooting a wedding on a day with very strong sunshine, try to move the coup or group into the shade for a better exposure, usin fi ll-in, or forced fl ash to balance the scene. You’ll fi the fi ll fl ash setting by cycling through the camera fl ash modes. 9 Add some blur Try experimenting with pictures of the fi rst dance using a very slow shutter speed to g your images a sense of movement. And, if possible only ambient light to accentuate the mood. Again may need to increase the ISO sensitivity of the cam – although noise will become more obvious in dar indoor conditions. 10 Use a Strobeframe fl ash bracket Attach your fl ash unit to a Strobefra bracket to lift the fl ash a few inches above the lens eliminating shadows on the subject. The frame works on a hinge mechanism and enables you to move the fl ash for portrait shots or landscape form shots accordingly. 050 MARK ROBINSON THE LONG LENS APPROACH 11 Look the other way Weddings don’t just happen in front of you. Look around for other photo opportunities that may be behind you. After all, you’ll be looking at what your subjects can see, so if you’re aiming to capture their memories of the day, look at what they’re looking at. 13 Go low Try shooting from a low vantage point. Avoid crouching on your haunches, however. Such a stance makes you unsteady and you may fi nd your shots ruined by camera shake. If the ground is dry, kneel down, or even lie down, in order to stand a better chance of keeping the camera steady. 14 Wait a second Let other people take their photographs and then capture the subjects as they relax. Formal, posed shots are OK for the record, but when aiming to capture the emotion of the event, people come across better in photos when they’re happy, relaxed and unworried about people taking pictures of them. 15 Add grain Grain can add atmosphere and lack of fl ash can keep attention from you. The last thing you want is for a fl ash to distract the wedding guests, drawing attention to yourself. The high ISO settings used in low-light photography may induce noise into the photos, which can give them a lot of character. 16 Try a telephoto Long lenses keep you out of the action as an observer. They also create interesting perspective effects, which can add drama to photos. Be careful to avoid camera shake that can be induced when wielding such lenses – a sturdy tripod is a handy accessory in such situations. 17 Make friends with the organisers They know what’s actually happening, as opposed to what should be. The organisers can tip you off about who’s going to be where and when, so it’s wise to consult them in order to be in the right place at the right time. 18 Don’t be intrusive If someone doesn’t want their phot taken, leave them alone. There’s litt point in taking shots of people who don’t like bein front of the lens. They’ll not look comfortable and you could end up causing offence. With experienc you’ll get to recognise the signals that the camera- give out. 19 Listen for laughter Weddings are happy occasions, so an ear out for laughter. Shots in wh people look happy and relaxed work very well, so you ears as well as your eyes to monitor the dynam the wedding party and move in on where the merriment’s taking place. 20 Use the wind If it’s windy, face people into the w and get lots of movement. The brid dress in particular can look wonderfully dynamic w there’s a breeze – its lines will fl ow out with the movement of air. However, if you’re using a came with interchangeable lenses, get out of the wind w you’re changing them to avoid dirt blowing into th camera body. ■ www.markrobinson.co.uk Mark Robinson likes to remain unobtrusive at weddings, employing long lenses to zoom in on action. He works alone, although he’s happy to work alongside a traditional photographer who c serve as a useful distraction. 12 Pay attention to detail Look for the small stuff as well as the big picture. Often, details may go unnoticed by the wedding guests, and yet when they see a detail shot, memories will come fl ooding back. So be aware of everything around you and don’t be afraid to photograph it. You’ll not be wasting any fi lm, after all… ANDREW JOHN THE CONSIDERED APPROACH ■ www.andrewjohnphotography.co.uk Andrew John’s tagline is ‘your wedding, your style’. He’s won numerous photographic awards for his unique wedding photographs and for his other speciality, portraits. As with many pro wedding photographers, he offers a service which enables people to view and buy images online. Techniq 22 Smile a lot If you smile at people, they smile back, so make lots of eye contact. Don’t hide behind your camera. Someone with a big lump of technology permanently attached to their face can be off-putting and you’ll likely end up missing a lot of potentially excellent shots. 23 Give the couple space After the ceremony, give the couple time and space to be congratulated. This helps you when you come to the organised photographs – people won’t keep coming up and getting in your way as they attempt to pass on their best wishes to the bride and groom. 24 Be candid While the couple are busy being congratulated, you can go round and get some candid shots of the guests. They’ll be happily distracted and therefore more relaxed than when they feel they have to pose for the camera. The unobtrusive photographer can have some of the best shots of the wedding day. 25 Compose subtly Pre-focus and compose your subject through the lens, then get their attention by talking or smiling at them – they won’t know you’re taking the photograph. When they do realise, they’ll laugh and you can then take more natural-looking photographs. The more relaxed people are, the better the shots will turn out. 26 Go with the fl ow Don’t fi ght the rain, wind, people and time. There’s always a way to get round a problem, so think laterally. As you become more confi dent and experienced, you’ll develop numerous ways of making the unexpected play into your hands, so exercise your problem-solving skills to the full. 27 Plan for rain If it’s raining, use brollies. It’s handy to have a white one and a black one in your car. Get the couple walking with them, kissing each other and so on. They make excellent props, and can save your expensive digital camera from a soaking, which is unlikely to do it much good. 28 Use the crowd If people are in the background in places, just let them be there. Sometimes it’s good to take pictures of strangers wishing them the best – take a look at wedding al on Andrew John’s website titled ‘beach burbo ban was supposed to be a clear beach, but when he go there it was packed with people! 29 Manage your time You should always have enough tim you don’t, you didn’t ask the right questions at the consultation. Be aware of the sche of the day, how you’re going to get from A to B an where the wedding party will be and when. The disorganised photographer will miss out on key moments, so don’t let it be you. 30 Enjoy yourself Wedding photography can be a lo fun, but not if you’re fretting abou camera or the light. Relax and have a good time, j the rest of the attendees are meant to be doing. Y may fi nd that your photography improves as a res 21 Consult beforehand Always have a pre-wedding consultation with the couple to get to know them and fi nd out what they want fi rst. It’s their day, not yours, so it’s wise to have a clear idea of how they envisage the occasion. Be polite and don’t promise anything that you can’t deliver. 052 TONY @ DOCUWEDDING THE REPORTAGE APPROACH ■ www.docuwedding. Tony is a fully qualifi ed photojou regularly works for national broa newspapers and magazines; hen true expert at reportage photogr aims to be unobtrusive, capturin day without ordering people aro Technique Photo 31 Use your inside knowledge of the family to get shots If some relatives haven’t seen each other for 20 years, a shot of when they fi rst meet at the church could be very emotional. Think about the attendees and how they get on, then use that knowledge to plan your shooting schedule. 32 Avoid shooting when people are eating Don’t take pictures of people eating. They never look good and no one will thank you for it. You may as well pack away the camera during the meal and have some food yourself while you wait for the speeches, which provide far more opportunities for good people shots. 33 No chimping Don’t ‘chimp’ after each shot (chimping is looking at the camera’s screen to check your pictures). It uses up the batteries and takes your eye off the action. You’re better off reviewing the photos en masse occasionally, being careful to delete only those that you can’t feasibly use. 34 Bounce the fl ash When shooting indoors, bounce your fl ash off the ceiling and balance the exposure with the ambient light. Bounced fl ash is far more diffuse, so you won’t end up with those harsh shadows that are characteristic of amateur snaps. 36 Take your own confetti To make sure you get a good confetti shot, take your own confetti. Frame the shot and throw the confetti high in the air, not at the couple. Try a small aperture (f11), slow shutter (15th) and fi ll-in fl ash. Just make sure the wind isn’t blowing towards you, or you’ll look like an idiot. 37 Listen for stories When mingling with the guests listen out for someone telling a story. There are typically numerous characters at the wedding, each with something to say, so let them warm up the crowd for you and be ready to capture their reactions. 38 Edit ruthlessly When you get back home, edit the pictures then edit them again. Remove any shots in which the bride and groom don’t look at their best. Retouch any blemishes from their faces, and so forth. Then edit the pictures again – only let people see the best shots, not hundreds of average ones. 39 Don’t let your came sharpen the shots Turn off any automatic in-camera sharpening. This is best done on the computer afte you’ve resized the images. If possible, always shoo RAW format. This transfers the data from the imag chip directly to memory without compressing it, although the fi le sizes will be much larger than wh shooting with JPEG capture, so you’ll need high- capacity memory cards, or a portable storage devi copy your images onto over dinner… 40 Underexpose in bright light In bright sunlight, try to retain the in the bride’s dress by underexposing by 1 EV and bringing the shot up to the correct exposure on the computer. Digital cameras have excellent dynamic range, so shadow detail should be recoverable – it’ highlights which is where they tend to have proble Again, shooting in RAW as opposed to JPEG really helps in this situation. 35 Tell a story Adopt a photojournalistic approach – look for pictures th tell the story of the day. The classic way is to get three pictures of each moment, not necessarily taken at the same time. For example, a close up of the cake, a medium shot of the couple cutting th cake and then a wide angle of the guests’ reactions. STEVE ASHTON THE CONTEMPORARY APPROACH ■ www.steveashtonphotography.com Steve and his wife Stephanie pride themselves on customer care and have a contemporary approach. Their photos are modern in style, featuring a wide range of vibrant, spontaneous images. Techniq 41 Find a position Try to get a position in the church about two or three rows back from the altar and to the side of the bride and groom. You can capture some fantastic emotional images throughout the ceremony. And make sure you turn the camera’s sound effects off so you don’t disturb people seated nearby. 42 Plan for key events Think beforehand at what points you’ll be able to capture emotional or funny images – for example, during the ceremony itself, and the couple’s interaction while register is being signed. This is often the fi rst time they’ve spoken together on the day and their reactions can produce some wonderful images. 43 Soften your fl ash Never use direct fl ash – as well as using an off-camera fl ash bar, place a diffuser over the fl ash head. Sto-fen’s white plastic caps are affordable and great for helping fl ash pictures (www.stofen.com). They soften the fl ash, reducing those harsh shadows that can make photographs look amateurish. 44 Avoid effects Keep away from too many digital effects on the camera. If you want to create a sepia print, or even solarize the happy couple, shoot in colour as normal and convert the shot in an image editor later. If you shoot with special effects, you’ll not be able to turn the image into a standard colour shot afterwards. 45 Go wide on architecture Use wide-angle lenses, or the widest- angle setting of your compact, to capture interesting graphic shapes. The lines of a church’s interior can look spectacular when wide-angle lenses distort them. Just avoid taking portraits with them – people’s faces will distort in a strange, bulbous way. 46 Go slow indoors Practice slow-sync fl ash methods, which can transform interior shots. The camera’s fl ash will fi re to illuminate foreground subjects and the shutter will stay open longer so that the background’s properly exposed. Rest your camera on a tripod, though, otherwise you’ll introduce unwanted motion blur. 47 Aim high Where possible, try high angles (or low ones) to get shots that are different from those taken by the rest of the guests. Most people will shoot from head height, so get on a chair, table or windowsill to make your compositions stand out fr the rest. 48 The best man’s spee Watch for reaction from the bride groom during the best man’s spee This can be the funniest point in the whole day, so an eye on their faces as he talks. When the inevita funny stories start coming out, the couple’s reactio will be well worth capturing. 49 Use exposure lock Make good use of the camera’s exposure lock – yours may have an AE-L button, or it can be locked by half-depressing shutter – and take spot meter readings from faces ensure you get the correct exposure. People are automatically drawn to faces in a photo, so you do want them under- or overexposed. ■ 50 Use a refl ector Where possible, use a refl ector and natural light. They’re cheap, you can clearly see the effect and it’s better than fl ash. The refl ector helps to reduce the harsh shadows caused by strong, directional light, which is particularly handy when aiming to take fl attering portraits.