How to take good pictures in a low light wedding situation

<p>Hello everyone,<br>

So I am fairly new to the wedding side of photography (about 6 months of experience doing weddings) and someone booked an evening wedding with me in October. At the time the wedding was booked the sun was still setting around 9p.m. so I thought okay no problem! Forgetting that later in the year the sun sets earlier. Now that I am seeing the sun is going to be completely set by the time the wedding begins and it's on the front porch of the clients home.<br>

I have never used flash photography, period. I find it to be incredibly disruptive (especially for weddings and low light situations) and I'm there to document the day, not to intrude.Plus every time the flash is used it has to recharge and takes a while to keep snapping shots. (I have a Canon 50D and Rebel XSi)</p>

<p>Are there any tips that anyone can give me?</p>

<p>Outside at night? Maybe time to rent some mono lights and stands, much faster recycling and you can trigger them wirelessly so you can move around. At least you have time to practice with them before the big day. Also pay a sunset visit to the site now to see where you can setup and get power and to see what the natural light situation is before dusk.</p>

<p> </p>

<p>What time is the ceremony supposed to start? How is the couple and officiant going to be positioned in relation to the porch--what is behind the couple? What is to the sides? Anything to bounce flash off?</p>

<p>Dusk can still be OK for no flash, but if you have to use flash, you will need to learn how to use it quickly, and do something about the recharging situation. If you are forced to use direct flash, you will have to think about a bracket, perhaps. What flash do you have, if any?</p>

<p>Also ask them if they are going to hang up lights or have candle light, etc. There may be more light than you thought about. Surely they aren't going to get married in pure darkness.</p>

<p>If you are really stuck, you can rent something like a d3s or 1dmk4 that goes up to extreme iso (you can shoot around 8k on those cameras) and use a really quick lens (something 1.4 ish) </p>

Shooting in a dark area really requires, in my opinion it's not an option, 1 or 2 mono lights. When it's dark your flash recharging slowly is only part of the problem. Your camera will have trouble focusing unless you can set up some sort of light, such as a modeling light that is in most mono lights/strobes.

 

To get comfortable practice shooting in dim lighting or no lights such as inside your house and outside somewhere. If you spend about 1 to 2 hours practicing you should know the limits of your camera and your flash. Then practice another 5 hours learning how your flash works. Your knowledge of your flash setup will make or break the wedding.

 

By the way, you didn't say what kind of flash you are using.

 

I would suggest setting your camera to ISO/ASA 800 and 1600 when you are practicing. This will allow you to see the quality, such as pixels, and again, find out the limitations of your camera. As I recall from reading test reports in assorted photo magazines the 50D can handle higher ISO's and get decent images at the ISO setting of 6400. I would make sure you can get decent shots at 6400 before trying this setting at a wedding.

 

Some tips to think about - shoot in Raw, carry lots of memory cards, change the flash batteries around ever 100 pops, don't wait for the batteries to totally die. Rent or buy another flash, and if the reception is outside reset your lights, most likely aiming towards the dance floor area.

 

Some of the mono strobes modeling lights range fron 60 watt light bulbs to 250 watts. Frankly you only need about 30 watts for your camera to focus. There is a sliding bar or a digital panal that allows you to set the modeling lights accordingly. For example even if the modeling light is a 250 watt light bulb you can use the sliding bar and control the amount of light you wish to use. I'm usually around 20 to 30 watts.

 

Keep asking a lot of questions and post some images as you practice. There are several lighting masters on this forum.

 

If you can learn how to use mono lights with the flash, learn how to use radio slaves, this will add another dimension to your wedding photo's.

<blockquote>

<p><em>"I have never used flash photography, period."</em></p>

 

</blockquote>

<p>Cherise, I think that's a good reason not to experiment with flash photography at this wedding.</p>

<p>I doubt the ceremony will be conducted in near complete darkness (good idea to speak to the BG about this), so there <em>should</em> be<em> some</em> available light; just not the intensity you're accustomed to.</p>

<p>Another option along the lines of Benjamin's suggestion is to use your cameras, no flash, damn the noise and take the shot. In many respects it won't be as bad as it seems; your cameras are reasonably low noise, so (as a starting point) if you simply crank up ISO, select a shutter speed high enough for handholding, use an aperture setting for adequate depth of field, and shoot RAW, chances are you'll at least get the shot compositionally.</p>

<p>Since you're already comfortable with natural light shooting, low light is merely an extension of that with some sacrifice in signal to noise ratio which you can attempt to (aesthetically) recover in post - easier said than done is to use the resulting noise as an artistic element and compose your shots accordingly.</p>

<p>There's still time to take a few practice shots under anticipated conditions in order to familiarize yourself with the process, and more importantly see the likely results, then make judgements as to how you prefer to go about it.</p>

<p>Here's a couple tips. I think you should keep things simple, until you are comfortable using a flash.<br />1. Keep your flash on the camera until you learn how to use off camera flash. A pop up flash will only be good for people right in your face. Use a hotshoe flash. Bounce your flash off surfaces if available, or use it as a fill to compliment the ambient light. Messing with an off camera flash for your first time in this type of situation is just asking for trouble and frustration. Use one camera to experiment with how far you can go with the natural light. Use the other camera (XSI) to get the shot with flash, in case it was too dark to shoot with just ambient light also to guarantee you got an infocus shot.<br />2. Learn to use the autofocus assist beam on your flash. Poor lighting can sometimes give your camera fits focusing without it.<br />3. If its really dark you can drag your shutter (use a slow shutter speed). This along with a high iso will give you nice ambient light. This will also allow your flash to work much faster since it doesn't have to work so hard. The flash will freeze your subjects if its dark enough.<br />4. Keep in mind also that its easier to get multiple objects in focus with a wider lens because you can use it at a wider aperture in low light. (in case you need to get groups of people in focus)<br />5. get your hands on some fast primes, the less your flash has to work the better. I'd imagine as a previous poster mentioned, there should be a decent amount of light for fast primes, I can't imagine a ceremony in darkness. If you must use flash, throw it on your Rebel. Use the fast prime on your 50d since it has better low light focusing abilities, the flash has a assist beam that can help your Rebel XSI.<br />6. Learn to shoot in full manual on your camera if you don't already know how. This way you can set your ISO / Shutter Speed / Aperture as close to the ambient light without losing too much quality. Let your flash kick in the rest. Since its not working at full power it will refresh real fast. I can get at least 3 shots off with flash in a bouquet toss, on or off camera flash. If you use your auto settings on your camera, you will get cave looking shots, and your flash will work to hard and over power everything and recycle slower.</p>

<p>Yeah, like I said - I am new to the whole wedding aspect so I didn't ask a lot of the questions that were posed here.<br>

The location is actually 2.5 hours away so going to scope the place out for a few minutes isn't really an option, so it will be done before the wedding and impropmtu basically. So I'm trying to gain all of the information necessary so that I can make the correct decisions when I'm there.</p>

<blockquote>

<p>I have never used flash photography, period. I find it to be incredibly disruptive (especially for weddings and low light situations) and I'm there to document the day, not to intrude.Plus every time the flash is used it has to recharge and takes a while to keep snapping shots.</p>

</blockquote>

<p>I hear this all the time from "professional" wedding photographers that don't know how to use flash. I also would use this excuse before I learned that flash is your best friend at a wedding, no matter the time of day. <em><strong>He who controls the light makes the best photos!</strong></em></p>

<p>Now that that's out of the way, I'll get to your dilemma.</p>

<p>First of all, I'd not use flash...you already stated that you have never used flash and I see no reason to experiment on a wedding that you're getting paid for.</p>

<p>Second, I'd invest in a tripod and remote release. You'll likely shoot at very slow shutter speeds even with high ISO and fast glass. People will move around, but I'd try to shoot at 1/20 - 1/30 sec on a tripod to capture the scene. You may get a bit of motion blur from the couple, but alas, such is the penalty for booking a wedding you were not prepared for.</p>

<p>Third, speaking of glass, you make no mention of the lenses you will be using. You'll want/need a fast prime to get the shots. You should have a 50mm f/1.4, or at least a 50 f/1.8 in your bag. This lens will be your greatest asset. It would be better if you had multiple fast primes to make sure you can get the framing you want, but outside of the 50mm, you'll be shelling out a pretty penny for fast primes. </p>

<p>Give us a shout with the lenses you will be using so we can give you some more specific advise.</p>

<p>RS</p>

 

<p>I don't have a flash, except the on-camera pop up flash. I borrowed a hotshoe flash when I assisted at my first wedding, and I am just not a fan of how photos turn out with flashes, at least not that I've seen. There was one photographer on here a while ago who was featured who said he never uses flash, ever and I loved his pictures. They had a lot more noise but they didn't look bad at all. He mentioned a noise removal program that could be used but I don't remember what it was called.<br>

She said there would be porch lights and candle lights.<br>

As far as using mono strobes /monolights wouldn't that be a little intrusive to the wedding ceremony / reception ?</p>

<p>I'm a little offended when you say "I hear this all the time from "professional" photographers". It's as if you're looking down on me when I am asking for help. Just as a definition; a professional photographer is someone who makes 10% or more of their income from photography.</p>

<p>The lenses I use;<br>

50mm 1.4<br>

24-70mm 2.8<br>

As I already stated I am fairly new to the wedding aspect, and this is why I'm asking for help, I appreciate all of the feedback everyone has given thus far.</p>

 

<p>OK, I understand that you don't care for Flash Photography all that much, neither do I. (but I do know how to use Flash and I have a truck load of lighting gear and I use it when necessary).</p>

<p>So what lenses do you have? . . . I am waiting on the answer to Richard's question, please.</p>

 

<blockquote>

<p> "Give us a shout with the lenses you will be using so we can give you some more specific advise."</p>

</blockquote>

<p>WW </p>

 

<p>OK, you were posting as I made the request for information.</p>

<p>If you want to go sans flash then you will IMO need a 24/1.4L on your 50D and the 50/1.4 on the XSi.<br />It would be best to learn, if you do not already know how, to use two cameras rather than a zoom on one camera.<br>

<br />Also with the 50D you will need to shoot a little wide and visualize the crop on the long sides of about 10%<br />I use Spot Metering and F&R mostly.<br>

The XSi maxes out at ISO1600 and I am not keen on ISO1600 with that camera unless necessary and the exposure is nailed perfectly. Do you use HTP? But if you use the 50mm on the XSi my thinking is this FL will render most low light shots with a large are of highlight (and the people will be big in frame) simply because of the tight area within which you state the Wedding will take place.<br>

In this regard (the venue and the tight space "the front porch") - I disagree that a fast 50mm lens will be "your greatest asset" - it could likely be quite useless.<br>

<br />I think you will be working the 50D at either ISO1600 or ISO3200 – it is imperative that you get the exposure exact, on skin tones, and maybe overexpose by about ½ stop.<br>

I would not use the intermediate ISO settings<br>

REF: <a href="../photodb/folder?folder_id=964622">http://www.photo.net/photodb/folder?folder_id=964622</a><br>

There are many recent threads in this forum on Low Light Photography – research them.</p>

<p>WW</p>

<p> </p>

William can you tell us what you mean about learning to use two cameras. And do you think she should work up a flash

routine for this wedding? The advice above about flash being useful but that it is best left off the agenda here seems right.

<p>I'll go against the grain here and provide a few alternative suggestions that don't involve buying gear you may not be able to afford, or learning flash that you don't want to use anyway. </p>

<p>You say the lighting will be candles and porch lights ... therefore the atmosphere will be moody, warm and romantic. So, the guest's and participant's eyes will adjust to the "available darkness". To preserve that overall ambient feeling, and not introduce a sudden lightening burst of disruptive light, you only need to lift the over-all ambience a little bit to get it with-in the ability of your camera/lens combo at a bit more reasonable shutter speed.</p>

<p>You can do this with good old incandescent constant lighting a few different ways: Find out if the owner of the house can install 100 or 150 watt bulbs in the porch lights which are usually 50 watts or less. Also, consider using a strategically placed Tungsten light on a stand to help spotlight the ceremony area so the subjects aren't back lit from the porch lights in every photo (think of it as a stage play). So called "hot" lights are the least expensive form of lighting you can buy. In fact, I've use spotlights normally used for garage lighting that you can buy at the local hardware. Once turned on, all participant's and guest's eyes will adjust to it because it is a constant. </p>

<p>You still will need to goose the ISO up and use faster apertures ... preferably using a Mono-pod or tripod. On the other hand, the White Balance will be a lot easier to deal with since all the lighting will be a similar warm color temperature with the atmospheric candles being warmer than the other incandescent lighting ... plus you will be able to see exactly what the lighting looks like. </p>

<p>Cherise -- I'm sorry I offended you, I was not intending to. It's just that there are many people in my area that call themselves professional photographers after one wedding or with no experience assisting or seconding, and very little experience, much less experience shooting wedding. </p>

<p>I frequent a local camera shop regularly and I can't count the number of times I hear someone come in on a Friday night with a T2i or D5000 saying:</p>

<p><em>"I've got a wedding tomorrow and I need a flash...what should I get?"</em></p>

<p>I feel like telling them to call the bride and cancel so they don't disappoint after the fact. I don't because I'm in sales and I need the shop to stay in business.</p>

<p>I was disappointed by my wedding photographer and I ended up taking her to court to get my money back. After 10 months, I got my day in court and my money back...and luckily I let my uncle shoot with my equipment, (he hadn't shot a wedding since the late 80's, but he still has a knack for getting the shot), otherwise I wouldn't have had a wedding album.</p>

<p>BTW, the photographer that you enjoyed so much was likely Jeff Ascough. You will find that his style is very focused on where the light sources in the room are and how to effectively use them. He has years and years of experience as a PJ and is excellent at what he does. He also has a line of Photoshop Actions that help him get the exact look he shoots for.</p>

<p>I did make a few suggestions before, but now that I know what you have for lenses, I'll give a few more...</p>

<p>I'd use the 50 f/1.4 for the entire ceremony on your 50D. Your camera should be good up to ISO 1600 and usable at ISO 3200.</p>

<p>Before the ceremony begins, take some test shots in Av mode. Shoot from wide open to f/2.0 to figure out the shutter speeds you can use. If you can shoot at 1/60 or 1/125 you should be able to hand hold for the entire ceremony. Once you are into the ceremony, I would shoot in Tv (shutter priority) at the slowest shutter speed you are comfortable shooting at. Let the camera select your aperture and remember that it's better to have a smaller aperture so your DOF is a bit larger and you can get more in focus.</p>

<p>If you can't shoot faster than 1/60 sec, I'd use a tripod and remote release. You may get a bit of motion blur, but if you time the shots right you can usually avoid it.</p>

<p>Use spot metering and meter to either the bride's dress or skin.</p>

<p>If you are shooting wide open, keep in mind that your DOF is very shallow so you need to be square on the B&G so they are both in focus. Make sure that you focus on the bride and/or groom's eyes.</p>

<p>I don't shoot Canon, but here's a shot I just took of my porch so you can see what you'll be getting into:</p>

<div></div>

<p><em><strong>“learning to use two cameras” </strong></em><br>

<em><strong> </strong></em><br>

I meant carrying and using two cameras at one time – one with a wide lens loaded and one with a slightly telephoto (24 and 50 in this example).<br>

As opposed to carrying and using one camera, with a zoom lens on it.<br>

There are two main differences: the first being the understanding of Primes and Perspective and Framing – and understanding that there is no such thing as “zooming with your feet” – because when you move you feet you change the Perspective – when you zoom with a zoom lens - you do not.<br>

The second difference is the logistics and the carriage of two cameras: right down to how they are slung: for example for those two cameras & lenses I would have the 50D on a wrist strap and the XSi around my neck.</p>

<p>To be clear – if the OP decides to use the 24L that decision <em>does not necessarily necessitate BUYING</em> a new lens: if it can be rented or borrowed.</p>

<p>Regarding using constant (additional) hot tungsten light on a stand: I suggest you are versed apropos site insurance, applicable to your situation and locale.</p>

<p>WW</p>

 

<blockquote>

<p><strong><em>"And do you think she should work up a flash routine for this wedding? The advice above about flash being useful but that it is best left off the agenda here seems right."</em></strong></p>

</blockquote>

<p>Answering this direct question, with neither disrespect to nor comment upon the OP nor any other Photographer, specifically.</p>

<p>My position is: that it is UN-professional to take on the mantle of a Professional (wedding) Photographer with zero skills in Flash and Studio Lighting. Defining “Professional” via a % of income is skipping the point / ducking and weaving - IMO.</p>

<p>Knowing HOW TO shoot in a difficult lighting situation with fill / bounce/ diffused / multiple Flash / etc and then deciding to go Sans Flash is a different kettle of kippers.</p>

<p>Being a Portrait Photographer and using Available Light in mostly controlled settings is also a different kettle of kippers: there is leverage in the controlled situation and the sitting can be expanded, postponed, re-gigged, re scheduled.</p>

<p>But a Wedding is an Event - just like the Pianist sitting down for the Rach V – the Conductor starts – there is the <strong>Beginning</strong> and the <strong>End</strong> – and no excuses in between. Break a finger, fall of the stool, no excuses the orchestra keeps playing and the piano must be there, on time, on beat, in key – no excuses, no second go. So if D# is screwed up then the “Professional” plays the whole concerto and never uses D# . . .</p>

<p>Stating that as my position I now will address the question as it pertains to the OP.</p>

<p>I have no idea of the skill, discipline, drive or potential of the OP. I do know that she is about 24 years old and seems to have a passion for Photography. It also seems to me, from her previous comments, that she might not know how to get the full image value out of what some term mediocre or inferior gear. That is not a criticism merely a comment, predicating this following comment:</p>

<p>I believe that for Wedding in October there is ample time for an operator with reasonable intellect and drive and ability to ask the right questions and to listen to the answers - to nail down pat ALL the necessary basic skills using one flash head / bounce / and diffusion to make an adequate coverage given the broad outline of the shooting scenario for this Wedding.</p>

<p>The reason why I answered the OP’s question as I did (suggesting an addition lens only) - was that she seemed so passionate about going sans Flash and also so passionate about not disturbing the venue with Lights, Flash and Things.</p>

<p>As to whether: <em>“Do I think she should work up a Flash routine for this Wedding”</em> - what I think is not worth a pinch of Cockie Poo if she is not 100% behind the idea: but my best guess is that if she is behind the idea she will do it – and do it easily. So in this regard I disagree with the opinions that there is not enough time to learn Basic Flash, per se.</p>

<p>As to whether I think the OP should Master Flash Techniques if she wants to be a Professional Wedding Photographer – Yes, I think she should.</p>

<p>WW<br>

</p>

<p> </p>

<p>Well...I would still be interested in getting answers to my questions, above. I did think that it might be possible to shoot available light--for the ceremony. However, not for the processional, if it is in the dark outside and below the porch. Also because people are moving. I don't think adequate images can be gotten of the processional without flash...probably...since I don't know the circumstances. The pop up will not be nice at all to use on the processional, particularly for verticals.</p>

<p>Now, you can arrange to have each couple stop and take a slower shutter image. But even that is probably going to have some motion blur. Also, overhead lighting produces fairly awful eye socket shadows/downlighting.</p>

<p>My thinking is--if you are going to need an external flash for the processional, you might as well have it in case you need it for the rest of the ceremony, or so that you can use both flash and available light. Personally, going to the ceremony, not being able to see it beforehand at the same time of the ceremony, without having a Plan B, is not wise.</p>

<p>My suggestion is to get or rent an external flash, get or rent a flash bracket and learn how to use it minimally so that if forced to, you can at least get pictures. You can go to Neil van Niekerk's blog to teach yourself the finer points of bouncing flash. You may be able to learn it all in a month, but there is a lot to learn, and bouncing flash is not particularly easy or simple to do. If you get into bouncing, you will definitely need good NiMh batteries and a good charger, or even an external battery pack.</p>

<p>You may not be able to answer specific questions about the location, but you can answer questions about the start of the ceremony, and how the processional will be set. You can ask if there are steps to the porch and how many, and what color the walls and ceiling of the porch are, as well as approximately how big the porch is and where the couple and officiant will stand. If you can answer these, you will get more useful suggestions from people, for both available light and flash use.</p>

<p>I'm thinking you still have time to buy a good flash, read up and learn how to get good pictures with it, and practice enough to get it dialed in for decent images. You will have to work at it to get practiced enough in the short time you have, but you can do it. You don't have to use flash for most of your shots, but I think it's worth doing, and it's something you should learn to do well if you're going to stick with this business. There are too many situations during weddings and receptions that beg for good flash work.</p>

<p>If you do decide to get a flash, make it a Canon 580EXII (not a 430EXII), and also buy the CP-E4 battery pack for it so you don't have to wait for it to recycle. There are other options, but that is one of the least expensive good ones for fast flash work.</p>

<p>But if you're not going to get the flash, I think you really should get some more fast primes. You can rent for a while, but again, if you're going to stick with this business you really ought to either get some seriously fast glass or a couple good flash units. Probably both. Also, if you're going to go the fast glass route, you ought to consider moving up to a full frame camera soon.</p>

<p>The 50D can do well enough to work with good raw processing and/or good noise removal software. It will compete fairly well against a new 7D at 3200 and 6400 ISO if processed right. But you will need to use the right software to do it.</p>

<p>I don't know where the 10% definition for a professional came from, but I disagree with it.</p>

 

<p>The notion that alternative thinking other than what others always do is pretty narrow thinking IMO. Strobe lighting should be part of a wedding shooter's kit, however it need not be the only solution. I've used constant lighting to accomplish exactly what the OP desires to do creatively and it does work to maintain the look and atmosphere without constant strobe interruptions at a dark venue. </p>

<p><strong><em>It should be noted that constant lighting is becoming an increasingly popular alternative with the advent of video capabilities in DSLRs. </em></strong>In fact, very interesting video lighting has come to the forefront for just this purpose ... including cool running LED lights.</p>

<p>BTW WW, I don't think "site" insurance is a necessary comment at a home wedding featuring lit candle lighting. Photos for money should involve some liability insurance anyway ... but in this case using a constant light isn't any more "dangerous" than a mono-strobe on a stand or anything on a stand.</p>

<p>Rent or borrow an EF24/1.4? This assumes there is a pretty big rental house where the OP lives, or that she knows someone with such an exotic and expensive lens ... or that if she did, they would loan it out. I sure wouldn't ... not even to my best friend ... LOL!</p>

<blockquote>

<p>Rent or borrow an EF24/1.4? This assumes there is a pretty big rental house where the OP lives</p>

</blockquote>

<p>Actually, no...this assumes that the OP knows how to Google "lens rentals" so she can rent from one of the online rental shops.</p>

<p><a href="http://www.lensrentals.com/rent/canon/lenses/wide-angle/canon-24mm-f1.4l-ii">(This is the first rental house that popped up and BEHOLD they have the Canon 24mm f/1.4L II in stock)</a></p>

<p>RS</p>

<p>The ADDITIONAL Hot Light(s) (which is what I was referring to NOT the existing lights on the porch . . . and you know that is what I was referring to) and a stand (also what I was referencing - and you know that too) - <em><strong>in a small space and outside</strong></em> = “have insurance” in my book –</p>

<p>I dunno how you run your business - I run mine <em><strong>carefully</strong></em>.<br /><br />AUS is MUCH smaller (in populous) than the USA and we can get a24L overnight in most Capital Cites and two days in country areas . . .</p>

<p>I didn't know it was so difficult in the States to rent a 24L...</p>

<p>WW</p>

<p>There are lots of very good replies so far with different approaches.</p>

<p>I was thinking there is a risk of the cart driving the horse here though. There are lots of suggestions about how to get usable images, but I'm thinking that the approach ought to be driven by the aesthetics you want to achieve. Each suggestion will achieve quite different looks to the images. You can experiment and try different approaches to get different looks, there's nothing to say that you have to stick to one suggestion only. Then if you don't like the look of one approach, you can switch to another. Or even better use the different approaches to get creative variety.</p>

<p>My initial reaction (maybe just based on ignorance of porches) is that it has all sorts of possibilities and could lead to beautiful images. Garden lit by candles, a romantic porch, probably all sorts of decorations and lanterns around, dusk falling, perhaps a roaring barbeque with smoke drifting through the scene etc... Hopefully it's not so much a difficult situation as a great opportunity.</p>

<p>For me, the starting priority would be recording some of the atmosphere of the party, which would mean starting off by working with what is there, then adding extra light on if and when I wanted it for a particular purpose.</p>

<p>First of all - don't miss this best of all time when the delicate dusk light is mixing with all these light sources. this is likely to be the time when the loveliest looking images are to be obtained. Don't kill them with a flash!</p>

<p>After that, when it's got really dark - I'm not very familiar with typical porch light arrangments. But 50W bulbs on a high ceiling are one thing, 50W bulbs on a low porch ought to make people near them nice and bright. Of course, it may also mean that the lighting is predominantly from above. If the porch is painted a light colour, light will get bounced around and if there are a few candles/lanterns around it could be quite beautiful lighting. If the porch is painted dark and gloomy and there's nothing but a few energy saving bulbs from above that may be more tricky, you will get more high contrast across the scene - though almost certainly at a wedding like this there will be some extra lights even if it's just candles, chains of LED's, lanterns or whatever, which should be fine as providing fill lighting. You might like to suggest the bride thinks of sticking some kind of lanterns at a lower level around the scene. Just have a plan to provide a glow from below just in case it really is only hard lighting from above. Hard lighting from above can provide fantastic individual images, but just occasionally they may want people's faces to be visible!</p>

<p>It's quite possible to take great pictures by candlelight without additional lighting, but generally you'll be concentrating on faces closer to the candles brightly lit by them, or the overall scene. Of course, a tripod to record the overall scene, fields of candles or whatever could be handy - it means you can switch to a lower ISO and record a vastly improved dynamic range.</p>

<p>Typically the reception will go on for long enough for you to have plenty of time to experiment with all sorts of looks.</p>

<p>As a Plan B in case I don't like the look of the lighting, and also to allow for posed portraits, I'd take along some kind of a tungsten balanced video light. It doesn't have to be expensive - some kind of traditional light bulb attached to a battery or on a loooong mains cable would do. Not so much for use to rescue the situation, more because you might have a creative idea that involves getting a bit of light into a particular position.</p>

<p>I'd also have flashes with me, but from my visualisation of the typical porch scenario, I think it'd be hard to get them blending with the existing lighting in a seamless way - too close to people on the porch and the light can look brutal, too far out and it can look too bland and brutal. Because the flash is a small hard light source, you would need some plan to make it merge with existing lighting less obtrusively, like a huge diffuser and having the flash weak, or placing a number of small flashes discreetly at hidden spots around the porch, using an all round bulb flash hidden inside a lamp, experimenting with various colour gels on them, or whatever but they are all pretty advanced techniques requiring some expensive radio slaves, and even then not guaranteed to look good. Of course it's possible to be more creative with flash, but I think the limited area of a porch would require a lot of skill. The alternative is to go for an on-camera Weegee look, or give up and use the on-camera flash to provide a bit of fill on the people closest to you. Hopefully you will have got mug shots of key players earlier on in the day, so the party pictures are more about atmosphere and fun.</p>

<p>As for lenses, 24mm f1.4 would of course be nice. I would like one myself. The 50mm f1.4 wil be extremely useful, but also limiting in the confined space of a porch. You may end with a lot of close ups of people's faces and not so much dynamic context. 35mm is also a nice focal length, and a 35mm f2 is not so expensive or hard to get hold of (at least in Nikon, I'm guessing Canon do something similar).</p>

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