Advice for a newbie wedding photographer?

<p>I've been shooting events and things professionally for a few months now. A guy called me up out of the blue and asked me to shoot his wedding. I told him straight up, you don't want me shooting your wedding, because I've never done one before and I know you'd want it done by an experienced professional. He said that's OK, him and his fiancee really like my work on my website and they think I can do a good job. So I hesitantly agreed to do this job.<br>

I'm good at getting well-lit and well-composed photos in lots of situations and lighting conditions, I'm just unfamiliar with all the little details and intricacies of weddings. I've shot a lot of events before.<br>

The equipment I'll be bringing is as follows: Canon 40D, Canon Rebel XTi, 17-85/4-5.6, 55-250/4-5.6, 50/1.8, 24/1.4L, 85/1.2L, 430EX flash, as well as an assortment of filters and other gear. The two L lenses are rentals, the rest is what I own.<br>

The wedding ceremony is outdoors around evening time, with an indoors reception afterwards. It's this Saturday, so I have 2 more days to get ready.<br>

Have I bitten off more than I can chew? Should I rent different lenses besides the 24 and 85? Any advice from more experienced photographers about what I've gotten myself into? Thank you!</p>

<p>Whether or not you've bitten off more than you can chew is something we can't say. Particularly since you don't have your website listed on your member page, so we can't see what you might have done before. Also what kind of events have you done a lot of?</p>

<p>In any case, the probability is yes, you have bitten off more than you can chew, because if you haven't shot a wedding before, even if you are very skilled at other kinds of photography, you don't know--as you say--the intricacies, and we can't tell you exactly what those are either. Some of them might have nothing to do with technical aspects of wedding photography. We don't know what you don't know, and you probably don't know what you don't know.</p>

<p>Whether the above creates a problem for you in satisfying your client's expectations is also something unknowable. Maybe he will be fine with what wedding pros consider not fine.</p>

<p>Outdoor evening weddings have a special problem in the transition from ambient dominant to flash dominant, depending upon circumstances and light level. And, if there is a sunset involved.</p>

<p>I'd start reading the archives and google Planet Neil (Neil Van Niekerk), for info about on camera flash. And ask specfic questions. Maybe those, we can answer.</p>

<p>The following is my standard recommendation for beginning level photographers shooting their first wedding with Canon gear. You are probably beyond that, but I'd read it anyway.</p>

<p>Use Program mode, not aperture priority, with flash indoors or in dimmer light. Use ISO 100 outside in bright light, ISO 800 inside with flash, not forgetting to change when going from one to the other. Use One Shot focusing in dimmer light, making sure focus assist is on. Do not use AI Focus at all. AI Servo only in bright light. Know how to compensate your flash and your ambient exposure (two separate things), and how to read the histogram.</p>

<p>See if you can find a wedding photographer you could help. Help by observing & move things around as the photographer sees fit. Take a pen & notepad and make copious notes. If you bring a camera, make photos that could help you. You should pay attention to the ebb & flow going on at a wedding. <br /> Relax, enjoy the event. Stay focused on capturing some of the many blips of emotion shown throughout the day.<br /> If they want group photos, some call formals, you can email me and I would be happy to send you via email a list that goes in order that I've found helps the event.</p>

<p> </p>

<p>Also, no one can tell you what lenses you would like. The 24L and 85L are certainly good choices, but whether they are what you will want and need is something only you can answer. For one thing, the 85L is slower focusing than other lenses. Some people get frustrated with that. Some people like a fast zoom for reception shooting, because one can react quickly and one has that much more light to see and focus, although focus assist will help.</p>

<p>You'll want to bring a backup flash in case you fry your 430ex. And at least 32 to 40 gigs of memory. More is safer. And of course tons of batteries for both cameras and flashes.</p>

How much are you charging? If there is enough money around to hire an experienced 2nd shooter, consider doing this.

 

Since the wedding is towards the evening, if the sun is fading or completely gone set the ISO to 800. This also helps prevent you from forgetting to reset this.

 

As far as lenses go, keep it very simply for your first wedding. Don't keep changing lenses. It takes too much time and you will most likely hold things up or even miss some shots by changing lenses alot. I know other photographers use assorted primes all day long and thats OK, because they are experienced and they know what will happen during the wedding. They know where to stand at the right moment.

 

Since this is your first wedding, I'd recommend the 50 or the 17-85 zoom for pretty much everything. If you have time at the reception, such as when people are eating then play around your other lenses.

 

In the film days, not too long ago, most of the wedding photographers use something like the Hasselblad camera with an 80mm lens for most or all of the weddings. I had Hassy lenses ranging from 40mm's to 500mm's. By far the 80mm was used 85 percent of the time or more. In a jam, using a DSLR, you could probably get away with a 50mm lens for the entire wedding and get fantastic images.

<p>Andy--since you put your website link up on your member page, I looked at your portfolio. The images that I was interested in were the people pictures. Unless you are not sharpening for the web, many of your images appear a bit soft. If this is from motion blur or hand holding shake, you need to be aware of this. Also on the group portrait, you do not have enough DOF to cover everyone. It seems you are mostly natural light and don't use flash much, which is OK and might stand you in good stead for dim light during the ceremony, but if the formals and reception are indoors at night, you need good flash technique--also for the processional, where most people want sharp images. The only obvious flash image I recall is a couple of people, close up, where direct flash was used. I don't think you can learn all there is to learn about bouncing flash and dragging the shutter in 2 days, but start researching that now.</p>

<p>As for the rest of it, I'd ask questions. What is the schedule and what are the conditions for the ceremony?</p>

<p>Since you've never done a wedding before, I would make a list of the important shots to get. Don't leave it up to memory!</p>

<p>It's THIS SATURDAY...... So maybe a good idea would be to do some searches for wedding photography on some of the various popular video share sites and watch some folks in action, it's like Memorex, "the next best thing to being there".</p>

<p>Thanks everyone for the input, I'll take it all into consideration.</p>

<p>I've done a little bit of work with on camera (430ex) flash, but not a lot because I'm generally unhappy with how they turn out. I'm studying and experimenting with how to make it look better, and I've been reading the Strobist blog on lighting. One technique I've recently taken a liking to is setting my flash off to the side of the room pointing at the ceiling and wirelessly triggering it to bounce off the ceiling, adding a nice even spread of light to a section of a room. If there's an opportunity to do that at the reception I'll do it.<br>

I'm about to receive my AA in photography, and while that definitely doesn't mean I know everything, I consider myself proficient in most technical aspects of photography.<br>

Nadine- what's the advantage of Program mode? I usually use Av, but I tried Program today and it seems like it only gives me a little bit more control than full automatic.<br>

I feel like since I went into this gig telling the groom directly that my skills and equipment aren't nearly as good as the average wedding photographer's, and he still wanted me to do it, that if I don't get all the photos he wants as good as he wants them then I won't feel as bad as I might. Of course I'll do the best work I know how to though.<br>

The groom I'm talking to has given me a lot of details on the wedding and schedule, which is really helpful. He says he's a photographer himself, which I respect, but then he says shooting a wedding is really easy, and I shouldn't worry about it, at which point I smile and nod.<br>

Unfortunately I can't hire a second shooter, or go along with another photographer because I can't afford another shooter and I don't know anybody I can apprentice with. So for this job I'm on my own.<br>

I'm trying to not spend a lot of money on rental equipment on this job... would it be better to rent only one lens and get a second flash and more CF cards instead? I'll have 20gb of memory which will allow me (conservatively) 1000 photos in jpg+raw, I can't imagine shooting up all that in the one event.</p>

<p>What kind of shots do most wedding clients like? I would assume they want photos of all the guests, detailed coverage of the ceremony, scenery/decorations...?</p>

<p><em>"I've done a little bit of work with on camera (430ex) flash, but not a lot because I'm generally unhappy with how they turn out..."</em><br>

<em> </em><br>

It's important not to give up on equipment or technique because you're unhappy with your initial results. Strongly suggest that you secure a practical apprenticeship with an established studio to learn the basics of pro shooting (which is different than the basics of photography). In the mean time, suggest that you research the threads here on first weddings. Good luck sophomore :-)</p>

<p>My brief advice is to hire the EF17 to 55F2.8IS USM and the 24L take those to lenses mounted one each on your two cameras, hire another flash and put the 50/1.8 in your pocket. Take your other two lenses as back up.</p>

<p>Learn Flash Fill and practice that <strong><em>at sunset. plus and minus 30 minutes</em></strong></p>

<p>There are a number of reasons why Av can stuff one up - especially with Flash Fill and especially when using a varying maximum aperture zoom lens and traversing from high to low EV when one is working under the pressure of time.</p>

<p>I am not arguing that you have the theory down pat: my suggestions are based upon the fact that you will not have time to think about the theory all that much, so you need to keep it simple and that means right down to the number of lens changes.</p>

<p>You have a schedule then you need to plan where to be – it is not like being at a concert where you are in the pit and the gig happens in front of you.</p>

<p>Also, I would be instantly wary of any Client who claims to be a Photographer and then says his gig will be easy for me to shoot, though he knows I had not done that type of gig before.</p>

<p>WW</p>

<p>How long is the wedding? Since this is your first wedding, I'd err on the side of too many exposures than too few. That way you have more to review. Do you have any friends that at least do some photography. You said you're getting your AA in photography, so I'd think you'd have a friend who wouldn't mind getting the experience of working a wedding and doing it for free. Allow them to use the images they take in their portfolio and take them out to dinner. This will take a great deal of the stress off you that day. If no one has provided you with a generic shot list yet, let me know and I'll email you mine. <br>

If you are getting shots of the bride and groom getting ready, I suggest bringing a lamp on your own, not just relying on flash. The rooms the brides get dressed in are often fairly dark. They'll appreciate it for the light it gives them to do their makeup by and you'll appreciate it because you'll have to rely on flash less. This can literally be a clip light, torchiere, or 3 spot light, etc. I'm a fan of the 3 spot light because I can direct the light better. If you do this, be sure to bring an extension cord with you as well. I'd also suggest bringing a tripod or monopod.</p>

<p><strong><em>"What kind of shots do most wedding clients like?" </em></strong><br>

Have you asked the groom what he and his wife want - that's the important bit. </p>

<p>WW</p>

<p>Andy--the primary reason not to use AV with flash in dim light is because Canon cameras will go for the available light, meaning most of the time, too slow a shutter speed is set for handholding and to stop action. You can set a custom function (I don't know about the XTi) that will set it automatically at 1/125th, but that might be too fast to drag the shutter.</p>

<p>This is what I mean about not knowing what you don't know. At a dusk ceremony, for instance, if you use AV, even setting a fairly high ISO, you may not get a high enough shutter speed since people are moving, sometimes pretty fast. Plus, the shutter speed will be changing as the scene changes, so you can't possibly keep your eye on it constantly while trying to shoot people walking down the aisle (involves timing and watching for facial expression and framing).</p>

<p>AV is the favorite mode of most advanced amateurs and photography students, for some reason. Also remember to use One Shot focusing and the focus assist in dim light, not AI Servo, never AI Focus. Perhaps look up threads about processional shooting.</p>

<p>Program is not so great but it does save you from making the shutter speed mistake. It will set 1/60th or 1/125th automatically. Also look up program shift, although that is limited with the flash on. Trying to do your thinking for you is the downfall of any automated mode. This is why most pros rely on manual camera mode with flash. Going back to the dusk ceremony--you want to use a high enough ISO to be able to show some of the background (not fully exposed) while stopping the subject's motion with flash. This is called dragging the shutter, which is best done in manual mode to control all the various elements. It isn't a difficult concept but it can be confusing, and to fully understand exactly how and why you would use it, you need to experiment a lot so you see the results for yourself.</p>

<p>Besides strobist the Neil van Niekerk article is excellent. Strobist is not from a wedding shooting viewpoint, although the techniques can all be applied. You won't, for instance, find the fine points of shutter drag as it applies to wedding receptions, at Strobist. May not at Neil's site either, come to think of it. You might find it in some previous threads.</p>

<p>It's fine to experiment with off camera flash at receptions. Just don't miss the important stuff while doing so. If you're going to do this, I'd have a way of quickly turning on and off the off camera flash so you shoot with on camera only for the money shot, and then quickly turn on the off camera. In other words, for the money shots, don't experiment. Get it in focus, unblurred, well exposed. It may not be as exciting light wise, but you get it--then experiment.</p>

<p>As I said above, tell us what the schedule and circumstances are--maybe we can give specific help?</p>

<p>Here's all the details I know about this specific wedding- it starts out with the reception, which is outdoors under a gazebo around 6:00pm. The groom has me coming just a little before that time so I doubt he thought of having me shoot the bride's dress up or any of the pre-ceremony goings-on. He says I will be allowed to move around during the ceremony, including around behind the minister, to get whatever shots I think are best. Obviously himself and his fiancee are the primary subjects, and he says he'll point out a few people in the audience I should shoot as well.<br>

Then he tells me that after the ceremony he'll talk to me about what portraits he wants. I'll be doing "artistic" portraits while there's another photographer there to do "traditional portraits," whatever he takes that to mean. I think this other photographer is a friend of the brides mother or something, and may or may not know what she's doing, so I won't worry about her, I'll just do what I'm told. He says the party and dinner will be indoors under bad lighting, but bad lighting is pretty standard for indoors things... haha.<br>

He also says I need a tripod for indoors portraits with flash. I think this is him not knowing what he's talking about, although there could be some good reason for this. I don't think a tripod would be necessary for indoors flash portraits... would it?</p>

<p>That's really all the details I know about this wedding... I wish I knew more, but I don't. And yes, I know there's a whole lot I have no idea I don't know about... that's the great thing about photography, every so often I uncover one of those things and then it's fun to learn how to do.<br>

Thanks again for everyone's help, I appreciate it.</p>

<p>First of all, I hope you have a signed contract. I don't want to sound negative or say that anything will go wrong, but you have a couple of situations here that could cause problems.</p>

<p>One of them is the presence of another photographer who is the official, traditional photographer, and a friend of the bride's mom. Whether or not she knows what she is doing is not really the important part. The important part is you are stepping into a situation where the bride's mom and the groom may be pitting 'their' photographers against each other. Again--it could turn out great, with cooperation all around--just be wary of the possibility. I've had this happen before, and the results were not nice. And since you are being paid, it makes it doubly hard, since you have to be very careful to give the client what he wants.</p>

<p>This is the classic mistake on the part of couples--they think 'more is more', so hiring or having multiple photographers (not from the same outfit) is a good idea. Usually, it isn't, because there are only so many good spots for the best angle of an activity, and there is competition--spoken or unspoken. Instead of being unobtrusive, the photographers become very noticeable. There can even be competition between the mom and groom, and there is not a lot of time for doing the same thing twice--schedules can be impacted and relationships can suffer. And you are caught in the middle.</p>

<p>Another situation is the fact that the groom obviously has something in mind for the kind of shots he wants from you. Do you know what that is? Seems you are scratching your head on some of what he described. Artistic portraits sounds like he wants you to do the photojournalist style while the other photographer is shooting the traditional portraits, and to capture close ups of people while they are not aware of your camera, plus portraits which don't look posed, even if they might be directed. Indoor portraits with a tripod--I don't know. You 'might' need a tripod--depends on how you are exposing your shot, even with flash. Most indoor shots in dim light with flash use the shutter drag technique, where flash duration stops motion, so no tripod is used. I can't see shooting candids carrying a tripod around anyway.</p>

<p>In any case, the problem happens when what you deliver isn't what the client expects. And since you are being paid, usually, you get the blame. Again--things could turn out swell, but just be aware. Given the above, I would definitely talk to the other photographer and try for maximum cooperation. Your plan 'not to worry' about her is not so good. Part of your goal in talking to her is determining her intent. Whether she is going to try to cover everything and be the 'primary' wedding photographer, which will then determine how you operate the rest of the evening.</p>

<p>Also, try to determine what is about your work the groom saw that made him hire you, and try to figure out what the groom is hiring you to do. Also whether what he is asking is something you can do, after talking to the other photographer.</p>

<p>Let me also say that your comment about uncovering some aspect of photography being fun to learn how to do would sound OK if we weren't talking about shooting a wedding. There <strong>are</strong> consequences if you don't get the shots--could even be legal ones. You can't really repeat the wedding. In this case, one good thing about your situation is that there will be another photographer there--but you're the one that is getting paid, I bet.</p>

<p>At 6:00pm (I bet it will start late), the light is still good. Sunset is around 8pm right now in the Bay Area. If you are high or near the shore, that is pretty accurate. If you are inland, and there are tall trees ringing the gazebo, for instance, sunset 'happens' sooner--namely when the sun goes down behind the treeline. The lighting could be anything from total sun to total shade to part sun and shade. The worst could be the officiator standing inside the gazebo in shade while the couple stands outside--the bride in the sun and the groom in the shade. I've had that happen numerous times at a local venue. So your technique could be all over the place--no flash, AV fine if everything is in even shade (as long as you are minding the shutter speed and follow the guideline for handholding and stopping motion) to needing fill flash on the groom's side for the situation I just described.</p>

<p>This is why I recommended Program, with intelligent use of compensation. Things will happen fast, and you will not have time to figure things out before having to do them. The bride could come down the aisle in full sun and the next instant, when she is given away, be in deep shade. William's suggestion to minimize lens changes is also a good one.</p>

<p>Lucky for you the traditional shots are being done by someone else. I'd push the ISO as long as I could (again, minding handholding and motion stopping guidelines), until you go inside. Inside, if you've researched dragging the shutter, do it, but otherwise, as I said above, go for sharp, well exposed, unblurred shots over experimental ones that cause you to lose the money shots.</p>

<p>"that's the great thing about photography, every so often I uncover one of those things and then it's fun to learn how to do."</p>

<p>I appreciate the passion and idea about how great the photographic profession is,</p>

<p>BUT, I absolutely cringe at the thought of you messing up because "There's a lot I don't know"<br>

Admitting this is important, however, to be professional is to not take the assignment. I think that Nadine nailed it on the head (she usually does) in that the clients don't really understand what's going on. So they think they have covered all the bases with the extra photographers, telling you what to do. If they are really casual about the pictures I doubt this will blow up in your face, which brings to mind the reinforcement of a casual approach to the business.<br>

However the opposite, that they are really looking forward to the pictures, puts a lot of pressure on you to perform, hopefully you have a contract, I wouldn't do the wedding if I were you without one, and you can google one up to cover your butt (Also the professional thing to do)<br>

I'll bet you do a very good job, but it can't just be from your perspective. Try to not only do the "artistic" pictures, as sometimes the context is lost on the client, for every artistic photo, take 5 straight up wedding pictures...might not be your style, but might mean the difference when it comes to getting referrals from the wedding, or defending your position.<br>

...so much, so much...<br>

Good luck<br>

Daniel</p>

<p>Also, leaving it until the day of that the groom is just going to tell you what he wants is not the best idea. Yes you are there to serve the, but to a greater extent, to get the best photos you can and that they will want, you should be more in control. Yes if you are doing photojournalistic directed shots, they can come up with some things on the fly, but you should have some thoughts on shots you think would look good in advance. If the location isn't too far away, go out and check it out at about the same time the wedding will be taking place. Scout out good locations. Check out the lighting etc. Also, see if you can talk to the bride as well. That way the day of it isn't a giant surprise to her that you are going to be there in addition to their other photographer. Explain to the groom if necessary, and obviously weigh in your own interactions with him so far, but that often the bride is planning so many of the details that talking with her is very helpful to make sure something isn't overlooked. Good preparation is just about as important as natural talent when it comes to getting good wedding photos.</p>

<p>Vail, unfortunately, the wedding was this Saturday past, so it is too late by now, to check out locations.</p>

<p>The wedding is over by now so I thought I'd update everyone who gave me input on how it went.</p>

<p>I did have a contract. At first I didn't think I needed one, but the groom suggested we make one, so I did. I'll be doing contracts for all my big events from now on. I had thought about visiting the location beforehand with the groom to plan shots, etc. But, it was over an hour north of my house, so the groom and I agreed that it would be more cost-efficient for both of us if I came up to the location an hour early on the day of the wedding to scout and prepare. I think that worked out well for me, and also gave me time to photograph the scenery of the location without people in it.</p>

<p>The other photographer that was supposed to be there flaked out, which was both good and bad for me. There was a separate videographer there who I made friendly with at the beginning, so we worked pretty well together after that.</p>

<p>I spent some time in the bride's makeup room shooting the happenings in there. I wish I had had a 17-55/2.8 or 24-70/2.8L for that, but it worked out OK. I bounced flash off the low ceiling.</p>

<p>The ceremony did start a little later than planned (I think Nadine predicted that would happen... thank you for all your expert advice, Nadine) but not a lot later. The groom did realise that lighting is very important for photographs, so he hurried the preparations along before the ceremony so I would have an easier time. The venue was outdoors in the middle of a city, but it was almost completely surrounded by tall trees so you could hardly tell. That also meant I didn't have to deal with direct sunlight, which I appreciated.</p>

<p>The ceremony was the part I had planned for the most. Somebody suggested I use my 17-85 instead of the rented 24mm prime, and I'm glad I did that. I ended up using that lens on my 40D and the 85/1.2L on my XTi. Looking back on that I think those were the correct lenses to use for that. I was allowed to stand right behind/to the side of the minister during the ceremony, and I think that was a good location. There wasn't much room to move around, but I could go on either side of the minister by walking behind the gazebo they were in front of. I didn't do anything very fancy during the ceremony, but I think I documented it pretty well.</p>

<p>There were formals. I let the wedding coordinator at the venue gather people for all the different combos of bride, groom, bridesmaids, groomsmen, parents, relatives, etc. There was some competition with an aunt of the bride for photos then, but I was able to get what I wanted.</p>

<p>The rest of the evening consisted of a reception, dancing, cake, dinner, toasts, all that good stuff. That was all stuff I was relatively familiar with shooting, so it wasn't that hard. For the dancing later in the evening, I tried a technique I had tried once before with great results, where I stuck my 430EX on a stand and pointed it at the ceiling to get even illumination over the dance floor. It wasn't as effective as last time I had tried it because the ceiling this time had a lot of wooden beams going across it, but it still helped a lot. I used only the 40D with 24/1.4L for this section.</p>

<p>There was a short portrait session with the bride and groom at the end of the night. I didn't do this very much because we're planning a Trash the Dress session for them in a couple weeks, and I'll be shooting lots of portraits then.</p>

<p>As far as memory and batteries went, one battery for each camera lasted the whole night, and I changed the flash batteries once. I shot up one 8gb card and most of a 4gb card in the 40D, and one 4gb card and some of another 4gb card in the XTi. That was all the cards I have, and one of the 4gbs was actually borrowed from a friend, so I'll be buying more cards. That came out to about 900 pictures total for the night.</p>

<p>So, this being my first wedding, which I wasn't really prepared for, I think I did pretty well. I'll post a few photos on my website soon.</p>