Boat Wedding?

[arthuryeo]

Any of you folks done a boat wedding? Say, one that can take 50-60

guests? What kinds of potential pitfalls should I be avoiding in this

type of locations? I can imagine moving around would be quite a

challenge, let alone setting up umbrellas for some on location formal

shots.

[stephen hazelton]

It occurs to me that you'd want some wide-angle optics available just in case you can't back up far enough.

[medina photography cherry]

Depending on the size of the boat, one thing right off the bat- tight quarters! Watch the direction of light. You might find your self shooting into the light beacuse of being squeezed into a corner or something. I just did a house ceremony (budhist ceremony) and there were about 60 people in the house. No one was supposed to be in the dinning area, so I could move freely. Well that did not work so I had to shoot where ever I could. That meant going commando on the floor.

[bruce_rubenstein]

I've done receptions on excursion boats. Things I would want to know are: If they are doing the entire wedding (ceremony and reception) on board. What the lay out of the boat is (the boat is probably not privatly owned and the company that does own it probably has a web site - get the link). What time of day things are taking place.

 

I imagine that things will start very late afternoon/early evening. Some boats will have enough room inside to do formals, but I would prefer to do them outside before it becomes completly dark. Just before sunset the light will probably be great; all the moisture in the air will give it a nice diffuse quality. There is no way I would consider using an umbrella out on deck because of wind.

 

I would also be preparded to work in close in cramped spaces.

[joenieters]

Be prepared to deal with contrast issues. Most boats have lots of white or very light components, including the hull on fiberglass boats. This creates the potential for lots of blown highlights surrounding the subject, particularly if the subject is under shade. I would suggest using a good zoom lens that extends well into the wide area. You will need the wide angle for the close quarters typical of boat interiors and a zoom will help you compose tight enough to avoid excess surroundings that are likely to be blown out.

[bdp]

MAKE SURE YOU TAKE EVERYTHING YOU NEED WITH YOU. Once the boat pulls away from the dock, assuming it's a tour type boat, you're screwed if you left you flash in your car.

 

Power may also be an issue if you need to charge items.

[steve_levine]

If the reception really sucks, it's hard to leave early.

 

 

The biggest issue we've had is space for groups shots, and being unable to "back up" etc. Suffice to say the cabins and dance floors on most of these boats (under 100') is quite small. Plus you've got to watch the "flashback" from windows, as there are few blank walls aboard these boats either.

[think27]

Arthur - I've done some "boat" weddings.. One was a dinner cruise type boat with one section dedicated to the wedding and the rest "public" and it was enclosed by glass... The other was a wonderful old paddleboat with cherry wood walls and a tin ceiling - wall to wall carpeting and 3 levels..

 

Both presented their own challenges. I'd really need to know the size and type of boat in order to give you any tips..

 

I will tell you that in both cases - we arrived early to do group shots outdoors in a nearby park and took only the reception pics on the boat. Both weddings were at a church first before the party segment on the boat.

[picturesque]

Most of the pitfalls have been covered by others and I may be repeating, but here goes. If the guest count is only 50-60 people, I'm guessing the boat is a smaller one. If so, bring a good wide angle zoom. If you don't have one, rent one. Some of the smaller boats have very low ceilings--sometimes only 7 feet. If the ceiling is white or light colored, it is a good situation for a Lightsphere (no bracket, definitely with dome on and if you aren't that tall) or OmniBounce. Otherwise, regular bounce, combined with close quarters, will not work well. Sometimes the best lighting is plain direct flash in these low ceiling situations, especially if the boat has windows everywhere (flash back--you need to hide the flash reflection in your subjects). You will need to watch out for flare from windows if the event takes place during the day. I try to balance flash exposures with the light outside--not balance completely but to at least have some detail through the windows, although some people like to be able to see what is outside the windows. If you use natural light, be aware that the boat is moving, or at least vibrating if the engine is on--the slower shutter speeds may not be wise.

 

Plan your movements if the boat is small and crowded. It can be a problem to get from one end to the other quickly.

 

If the event takes place at night, more than likely, the couple will want some shots outside with possibly, the city skyline in the background. They may have to accept movement in the city skyline because time exposures won't have the same effect--everything is moving. Luckily, you can up the ISO if using digital.

 

Keep your gear to the absolute minimum, and as some said, don't forget essential gear. I also pack my gear well, closing the flaps, etc., so that nothing is hanging out. While on board, be sure your gear will not be blown about because it can be windy on the water. Anything not nailed down can end up in the drink (those Lightspheres that fall off--or white bounce cards that will flap in the breeze). Needless to say, umbrellas, stands and extraneous stuff just get in the way and are probably useless, although, if the boat is big, you can still use them inside--check first.

 

If is a good idea to try to get some group and couple formals on dry land before everyone boards, so you have some control over perspective and lighting. Of course, if the ceremony is on board and the couple don't see each other, that is out.

 

Don't forget about a possible shot from land of the docked boat with all the guests, family and couple standing on the decks.

 

Last but not least, if you get seasick, bring medication, and wear good, stable shoes. You can't afford to be sitting down in rough seas. And exercise some caution when directing the couple outside--make sure the bride's veil is nailed down, etc.

[picturesque]

Arthur--I see you shoot with Hasselblads. If you are going to use them on the boat wedding, be sure to bring a 50mm and a 60mm. You will need them. Maybe even a rented 40mm, unless you have one. I've shot on small boats with Hasselblads and it is OK but not as convenient as 35mm with a wide zoom if the space is tight.

[david_schilling___chicago_]

Would suggest that you skip studio lights and canvas backdrop. A flexout background would be OK...

[arthuryeo]

Thanks, everyone; especially, to Nadine for the comprehensive list.

 

I'm not going to be using the Hassy because I do not have the flash units for weddings. I use my Hassies mainly for nature and street work. Wish I have more $$$ to get the Qflash but I've already committed to a Nikon system. :)

 

So, my main camera will be the Nikon D2X with 2 SB-800's. Highly mobile enough, I hope.

 

I'm going to suggest to the bridge+groom to do the formals elsewhere.

[arthuryeo]

David,

 

Thanks for the samples from the Kanan slideshow. Very cool. There are some magic in there which I hope you can give me some tips:

 

<li>How did you avoid flares with flash light where there were mirrors all over the wall? I don't even see the flash in the mirrored-walls. You have used patented light that can avoid mirrors? :)

<li>I also see the nice gradients of the setting sun in the sky. Slow synched flash on a boat without getting blur images? IS or VR lenses?

[david_schilling___chicago_]

Thanks Arthur. The cielings were a material much like polished steel which gave them a mirrored look. Mostly I just watched my shooting angles to avoid the light spillback. I like the omnibounce on my flash and typically keep it feathered to 45 degrees. The entire wedding was shot with both film and digital and all the outside shots used some degree of fill flash...I tweeked some of the saturation in PS afterwards. I still prefer film for most of the outdoor stuff because I like to over expose by a stop and benifit from the extra latitude.

 

I've shot alot of the boat weddings off Navy Pier in Chicago. Most of the time the evening ceremony is on the top deck and you face West, which is almost straight into a setting sun....can be a real challenge. The Kanan is just a tad smaller than most of the other boats but it will frequently be completely chartered for the wedding alone, so we can sail out to the light house for the ceremony and we have complete control of departure times. The other boats will typically share the vessel with other parties on seperate decks....which limits your freedom a bit.

[picturesque]

Arthur--I dare say David hid the flash reflection in the subject's bodies since he was using one flash on-camera. That mirrored ceiling must be somewhat common to boats--several of the boats I've shot in had that mirror ceiling. It handles bounced flash OK, but if the boat has lots of windows and it is at night, you get no help from the walls at all, so there is light fall off toward the feet. That is why you have to make a judgement call whether to just use direct flash mostly or bounce. The Lightsphere might also have fall off toward the feet.

 

As for the sunset backgrounds, using higher ISO and wider apertures at dusk--you can still have pretty fast shutter speeds to keep the motion blur to a minimum.

[david_schilling___chicago_]

Arthur--I dare say David hid the flash reflection in the subject's bodies since he was using one flash on-camera.

 

Occassionally I used a body to block the reflection. Both digital & film cameras had a bracket. Digital images with the omnibounce feathered to 45 degrees. Film used direct flash.........mostly just watched my angles.

[arthuryeo]

Hey David,

 

Thanks for the explanation about the body block effect.

 

Regarding the Smugsmug account you have, when your wedding customer orders prints, wouldn't the prints get shipped to them? How do you handle the wedding albums part?

[david_schilling___chicago_]

Arthur, as I write this I'm in the final stages of uploading my wedding from Sunday. The beauty of smugmug is that after I upload the files, I'm done with reprints. They take the orders, make the prints, ship 'em, handle the credit cards and all that stuff. I just need to collect my check. It also gives me a chance to put several full weddings on my website for potential customers and drives more traffic to my site when the bride is showing off her wedding photos at the office or just about anywhere.

 

I still put together the albums and the smugmug site gives me a place to put proofs/previews for the B/G to look at. Often, we get on our computers and then get on the phone and look at them together....