How Do YOU Do It--First Dance?

[picturesque]

<p>As promised, here is the first in a series about various aspects of photographing weddings. I will start off by talking about how I approach First Dances, and then I hope you all chime in about how you approach them. Let's share!</p>

<p>I welcome the posting of image examples, but all the same guidelines concerning posting images on photo.net still apply. This means images are limited to 700 pixels by 700 pixels and about 100 Kbytes in size. Always add a caption. If you have multiple images, it is better to composite them if you can. If you really have to post large images, you may post a few, but let's limit it to perhaps three.</p>

<p><strong>Methodology</strong></p>

<p>First dances are similar but different--most couples do them, but they can be choreographed, totally unchoreographed, where they basically shuffle in the middle of the dance floor, short, long, or even a series of different kinds of songs and dance styles. It is good to know what they are going to do, but if one doesn't know what to expect, I usually follow the following basic steps.</p>

<p>1. I try to get the couple walking onto the dance floor, because sometimes that is a nice photo, with big smiles (B).</p>

<p>2. I am prepared for anything, such as the groom dipping the bride suddenly as soon as they were on the floor ©.</p>

<p>3. When they settle down into dancing, I get the overall views (with guests in the background), the chandeliers, architecture, etc. (I move around to different vantage points), then vertical shots closer in on the couple (D, E).</p>

<p>4. As soon as I get the shots above, I use my teles to hone in on expressions and details (F). Mostly, with the wide angle and medium shots, I am about 8-10 feet away from the couple. With teles I am still far away, but I don't hesitate to step in closer if necessary.</p>

<p>5. I try to get all of the above in the first minute of the song or less, because you never know when they will stop dancing. Sometimes they don't dance for the whole song, and sometimes the wedding party members come onto the dance floor partway.</p>

<p>6. If I have more time, I get more of all of the above, and then look around for reaction shots. Then observe for more expressions (which include body language).</p>

<p>7. I listen for the end of the song, and try to be wherever the couple determines is the 'front', since they may bow or kiss or hold their arms up, or dip. Usually a frontal view is best, but sometimes a back view is OK too. Side views don't normally work unless you get lucky. Photo C is lucky for me.</p>

<p>8. With choreographed dances, there is usually a 'front', and while I still do the steps listed above, I am also watching carefully for the various parts of the dance, because they are usually repeated, and I can then be in the right place at the right time.</p>

<p><strong>Lighting</strong></p>

<p>I like my dance shots fairly lit, and use off camera flashes. Sometimes, if the couple obviously had all the lights way dimmed (perhaps with dramatic up lighting), I will try to preserve that atmostphere, and may not use off camera lights or change the off camera lights to maybe just one "spotlight", letting the shadows go deeper. I don't normally kill the on camera light entirely. And of course, I will provide a variety of lighting effects if I have the time.</p>

<p>I have the first dance in mind when I am setting up my off camera lights at the beginning of the reception. Of course, the lighting effect has to be chosen based upon what is possible with the room. In my examples, the white walls helped reflectance even though the ceiling is dark. Even so, the couple had a glittery kind of lighting effect in place (deep up lighting) so I used direct flash, but at a good distance from the middle of the dance floor, to avoid hard fall off.</p>

<p>Most of the time, I try the backlit effect and even the flare effect (G)--both easy and quick ways to change the lighting. Because I like a fairly lit effect, I don't often provide the dark, almost silhouetted effect. There is nothing wrong with that, but one or two is fine--not all of them.</p>

<p>My camera is in manual mode, with settings for shutter drag, and I may change the shutter speed or ISO according to the effect I want. I like sharp images, so I ensure that the shutter drag will freeze motion.</p>

<p><strong>Gear</strong></p>

<p>I use zooms. Since I don't normally shoot 'no flash' (I might do this if the reception was during the day in a brightly lit room), I use my 28-75mm and the equivalent of a 70-200mm (full frame) for the shots, and switch between two cameras.</p>

<p>Now tell me how <strong>you</strong> do it, and if anyone has any questions, please ask.</p>

<p>Note: I just noticed how fuzzy these images are--sorry. They are actually very sharp. I dont' know what happened here--wrong compression rate or sharpening??</p><div></div>

[theresa_skutt]

Great thread! I'll be tuning back in :)

[fotografz]

<p>Nice shots Nadine!</p>

<p>Generally, I approach the first dance with two cameras ... one with either a 35/1.4 or 28/2 ... and the other with a 85/1.4. On a few occasions I just use a 24-70/2.8, but prefer the faster primes because the viewfinder is brighter for dimly lit dance floors, and it is easier to isolate the subjects when I want to. If there is enough light and they are slow dancing, I will use a rangefinder camera and shoot available light with extremely fast primes like a 21/1.4 and 50/0.95</p>

<p>They main objectives are (pretty much in this order):</p>

<p><strong>1) Capture an establishing shot</strong> ... the place and the people with the B&G usually in the foreground to some degree or another, but they do not have to dominate the scene in terms of size. The top image below is an example of this ... available light done with a Leica M9 and 28/2</p>

<p><strong>2) A full length shot of the couple that fills the frame,</strong> ideally showing both faces. The rim lit vertical image below for example. This was done with an on-camera fill flash, and I opportunistically used the back-light provided by a guest's use of a video cam with a light.</p>

<p><strong>3) An isolated closer shot of the two,</strong> also with both faces showing (but this is less critical for this shot IMO). If there is a higher vantage point, it makes it easier to isolate them and see both faces, (like the top down shot shown below). If not available, I use a larger aperture to limit DOF and isolate them. It's meant to create an <em>"In a world of our own"</em> feeling.</p>

<p><strong>4) Some intimately expressive type detail shot,</strong> like the hands around his waist image shown below. I may or may not move in tighter to get this shot.</p>

<p>Most of the time I convert the first dance shots into B&W because color is not critical to the story telling aspect, and B&W forces the viewer's attention on the emotional content without the distraction of color (IMO).</p>

<p><strong>Lighting:</strong> While I have used off-camera lights on stands at a reception ... I generally do not ... I prefer a roving assistant that has a Quadra strobe head on a painter's stick with a beauty dish, Rotolux softbox or a 1/2 dome diffuser with a center grid. When working this way, I also have an on-camera speed-light to provide TTL fill. The wedding has to financially support the use of a lighting assistant, but the expense isn't really to bad since they aren't shooting.</p>

<p>However, what I do most often is use my speedlight attached to a Lowel light-grip using an off-camera TTL cord ... so I have the camera with a hand strap in one hand, and the speed-light in the other. This allows me to place the light on the opposite side of the direction of the ambient for fill, or to fire the flash off the floor for a more theatrical "stage lights" type bottom lighting, or to hold it up really high to drop shadows down behind the subjects.</p>

<p><em>These are dinky, but show the idea, (FYI, the top one was used as a 12" X 18" Album spread):</em></p>

<p> </p><div></div>

[picturesque]

<p>Thanks Marc, and thank you for your great input. I have a question for you--when you are using your flash on a hand strap, and you want the light to come from your right (assuming you are right handed and hold the camera with your right hand), how do you hold the camera so you have a full range of motion with your right hand (that has the flash in it)? I worked something out but wondered if you have a secret hand position... :^)</p>

<p>Now--anyone else? Please share. In a bit, I'd like to talk about working with videographers on the first dance, and/or any other related topics. Don't just lurk--please share your methods and images. And ask questions. Let's see some of your work, Theresa...</p>

[fotografz]

<p>Nadine, I carry the flash in my left hand and the camera in my right. I tend to move in relation to the moving subject waiting for directional ambient to come from the right requiring fill from the left. On the occasions that I have to get the fill from the right side I just contort and reach over my head to the right. Because I use the Lowel light grip, I have a bit more reach than just by holding the flash alone in my hand.</p>

<p>If it is darker, then the flash can become the key and the ambient the fill ... but it still provides some directional feel to the light rather than flat on. And, BTW, this technique can only be done for so long ... holding a camera to eye with one hand gets tough after a while ... even with a hand strap.</p>

<p> </p>

[francie_baltazar]

<p>I love first dances and I have to say that many brides book me because of my style at the reception. I use the reception for my creative art area. I like to try lots of new things with lighting and shooting techniques to get different looks. However, my first dance is my signature in my style. It is dreamy and dark - I like the look of we're all alone here - just you and me. I do like people looking on but I don't want them in focus.<br>

I use off camera flash - sometimes with fill from my flash on camera - I use radio poppers to fire. I set my camera next to the DJ speakers or Attach it to a pillar if there is one or hang it from a rafter or balcony if there is one. I want the light up - flash head is bare and directed toward the dance floor but above the head of the couple - usually about 8-10 feet up.<br>

I usually use my 24-70 and shoot wide open at 2.8 - I change my focus point during the dance and compose as I go. My shutter is always slow - around 1/25 no more than 1/60 if the room is really dark - if there is more light I am around 1/125 or higher to lower the ambient light. At this shutter you get a bit of movment in the dress and couple but I follow the bride to keep her in focus.</p>

<p>In my example the flash is to the right of the groom - I am using my on camera to light the bride and this venue is DARK - I mean DARK - so I am shooting at 1/25th. My ISO is 3200 - I find that any higher is too gritty for my liking...</p>

<p>This takes practice to get the shot right - so I wouldn't recommend to do this on your next first dance. - however you can practice it toward the end of the night when fewer people are on the dance floor - so you can know how to get the look that you want.</p>

<p> </p><div></div>

[green_photog]

<p>I use two Canon 580 speedlites in ETTL, one on camera one off. It's hit or miss because line of sight is required. I put the off camera one on the floor or on the table. I like shot which the white dress is lit up by the off camera flash and I'm almost face it.</p>

<p>Anyway, I have to say the first dance or reception in general is not the bread and butter shots in my area. Even the high end guys tend to have average dance and reception shots. </p>

[jmichaelc]

<p>Nice images. Being a prime guy, i start out with a 50mm F1.4 and begin by trying to grab the crowds faces, with mid bokeh, within my composition of the couple - as all eyes are on the couple at this moment. Then about mid way thorugh, i'll grab my 100mm F2 wide open and begin isolating the couple's stares and embraces. I'll finish with my 20mm F1.8 as you never know how the end will present itself with possibly a dip/kiss are etc. I try to go 100% natural light if possible but will bounce my speedlight if the light is less than desireable.</p>

[picturesque]

<p>Come on, folks. This kind of thread will not be repeated if it isn't a success--which means--participation.</p>

[fotografz]

<p><em>Perhaps we need to expand it beyond the notion of what sequence we each shoot the First Dance? That really doesn't vary all that much ... it is what it is.</em></p>

<p>For that very reason, maybe we can <strong>explore ideas on how to exploit the First Dance </strong>and push passed the expected to improve what can be done. It's easy to fall into a rut of just repeating the same routine at each wedding. </p>

<p>For example, either using off-camera light by itself ... or more frequently the heavily directional light from the videographer. In my shot below, I simply turned off my on-camera flash and used the single source coming from camera left.</p>

<p>Do you discuss the first dance with the couple before hand? Some couples actually practice dancing prior to the wedding. It doesn't hurt to know that and whether they plan a spectacular "Dancing with the Stars" finish. While purist journalistic shooters will blanch at the thought, I don't mind choreographing where I'll be when they do that, as opposed to being on the wrong side. The dip shot below was done that way.</p>

<p>Finally, how do you use the venue? These shots don't all have to be tightly framed, emotional tear jerkers. If the venue lends itself to being a dominate element, why not use it as a graphic element or elegant and atmospheric scene setter? In the shot below, I noted the cool circular design element and used forced perspective to enhance it. </p>

<p>Lets see yours. We all could use some inspiration to jog us out of routine shooting of the same old, same old.</p><div></div>

[picturesque]

<p>Thanks, Marc. I would have liked anything to do with the First Dance, actually. This is why I stated above that I wanted to talk about working with videographers on the first dance, but I wanted more people to actually talk about--<strong>anything</strong> they wanted to re the first dance.</p>

[fuccisphotos]

<p>Oh that was painful, had the whole response written up and then my browser died. RATS.<br /> ok, so now a much shorter version:<br /> I too go in about the same order as you all do from wide to tight. Lately I have been wearing two cameras during the first dance, my 5Dmk II has my 135L and a 580EX II with the TT1 mini pocketwizard, and my T1i has my 24-70L (I am waiting to buy the 5DmkIII when it comes out before buying another pro body) and the 430EXII. Off camera I have on a light stand a 430EXII with a soft box on and the flex tt5 pocket wizard. Depending on the size of the room I will have the power output at 1/8 or 1/4. With this low power output it tends to give me some nice directional highlights and if my 580exII is still recharging, but I take the shot I get a nice silhouette effect as long as I was dragging the shutter and getting nice ambient as well. I am debating having my 2nd shooter and/or assistant hold the off camera speedlite though and move around with me so that I can get a better variety of positions of the off camera light. I'm also still experimenting with softbox or no softbox. Often times I think I have the light too close to the dancefloor and sometimes the couple will move into a spot where it's very hard NOT to get the actual softbox in the picture, so I have to clone it out afterwards. That wasn't the case though for any of the shots I've posted here.</p>

<p>More and more I am using the 135L for about 80% of the dance unless the dance is a big choreographed number with key elements like dips, spins, or moves where the couple separates (see the bottom 3 shots). I'm finding for people who mostly dance with the sway back and forth deal, the 135 just captures emotions sooooo well and the bokeh is buttery soft in the background. Everytime I use this lens I am thinking to myself, thank you Nadine and William W!!!!</p>

<p>For videographers, I try to speak with them before the day of the event, and at least on the day of the event. I try to see where they will be setting up tripods, etc, and any hand signals they like to use so we can non-verbally say "hey you are in my shot". Sometimes I try to use their video light as a hair light, or if you can get it just right between the couple while they are kissing so you get the gimmicky kiss magic shot. <br /> If the dance is fairly long, I will sometimes switch to wide again and get some interesting angles like from the floor, or from a chair looking down.<br /> If it seemed like there was no magic moment in the middle of the dance, like a good emotive shot (and this is very rare), I may ask the couple to turn at the end and just pose while dancing, usually they will turn and smile at the camera. I don't push this on couples, only if it seems like this is likely the type of shot they would like or expect.</p>

<p>If the couple is doing a very choreographed dance, I will ask them if there are specific high points, a dip, a lift, etc, and where does it come in the music. If they had a video from their practice sessions, I'll watch it to be ready for that moment.</p><div></div>

[fuccisphotos]

<p>Here's a smaller version of the photos, also the one shot is of the bride and her Dad, not with the groom there. ;)</p><div></div>

[peter_cohen]

<p><strong>Vail</strong>: With concerns of being unobtrusive, what size softbox do you have on your speedlight?</p>

[fuccisphotos]

<p>I have this 15"x15" one http://www.bhphotovideo.com/c/product/496983-REG/Lastolite_LL_LS2438M2_Hot_Shoe_EZYBOX_Softbox.html<br>

It's good for when they happen to meander close to the light.</p>

[green_photog]

<blockquote>

<p> have this 15"x15" one <a rel="nofollow" href="http://www.bhphotovideo.com/c/product/496983-REG/Lastolite_LL_LS2438M2_Hot_Shoe_EZYBOX_Softbox.html" target="_blank">(link)</a><br />It's good for when they happen to meander close to the light.</p>

 

</blockquote>

<p>I have this softbox too but I'm always too lazy to set it up for the dance. Have you tried using just bare flash? Was the difference great?</p>

[fuccisphotos]

<p>For the dance, not too much. For the speeches, a ton as I bring it in closer to up the drama. But spending the time of taking it down just to take the soft box on or off seems inefficient when I'm short on time.</p>

[peter_cohen]

<p>Good info; thanks. I have the 12x12 softbox that pops right onto my QFlash in a second, but I've never used it at a reception or party because I figured it would be in the way. I'll give it a shot!</p>

[shawn_mertz]

<p>I think the low participation is because Nadine nailed everything down on the first post, Marc added on top of that. Before I ever looked at it there was nothing to say but, great job!<br>

But I have thought of two things to add. Sometimes the first dance the couple is nervous or for whatever reason things don't go so great. Be diligent sometimes you get second chances later.<br>

Another is a word to beginners. whatever someone's style, there is much thought, planning, preparation, lighting and go into this. </p>

<p> </p>

[picturesque]

<p>Shawn--it doesn't matter what was said before you--the point is how YOU do it, and I was hoping we'd get to talk about anything that cropped up in any of the input. We can't all be shooting the First Dance the same way...</p>

[Dave Gardner]

<p>There are usually two of us shooting the first dance. I like to use a 17-35 to start and an 85 1.4... without flash....for in close....details or expressions. I also will turn the lens on the crowd looking for Moms and alike watching for a one in a moment expression.</p>

<p>I have to say i really like some of the shots posted.... </p><div></div>

[Dave Gardner]

<p>Oops...for got to adjust the size...</p>

[r._nelson]

<p>Thanks! I'll be reading & studying this thread. Great stuff!</p>

[fuccisphotos]

<p>So did the experiment of soft box vs. no soft box on this weekend's wedding. It was definitely worth the extra effort of pulling down the soft box for when I wasn't doing a shot of something like a speech/toast. Instead of getting a giant white box in frame when I'd be trying to get that back lit effect, instead I'd get something closer to the star effect from the speedlite. So for dance shots, I definitely would say DON'T USE THE SOFTBOX!!!!! For speeches, I still like the soft box for it. Since the ring adapter for the softbox didn't intrude on the speedlite, I just left that on, and then threw on the soft box when necessary. I'll post shots of the results soon.</p>

[ejder]

<p>1-2 flashes off camera, often on opposite sides of the dance floor, usually one with white bounce umbrella and one bare. Fill flash on camera (bounce only, never direct frontal) somewhere between -2 and 0 EV. ISO settings vary, somewhere between ISO400 and 1600 depending on available light and how I want it to blend. Primes, usually 24, 35 or 85mm, rarely 135mm. I alternate which off camera flash is fired based on where the subjects are. I usually go for rim light and may hide the flash behind the subjects by going lower if using the bare off camera flash, or I may use the umbrella flash for side or varying back light angles. </p>

<p>I basically want at least one good full length shot with environment in background, at least one good closeup shot with good expression and lighting of each person's face separately, a good shot of both faces at once (if possible), and a few details like hands around waist, held out, etc. I also want to get significant onlookers if I can, especially parents, with the b&g easily identifiable but not in focus in the frame. I prefer to get meaningful environment in the background, like the guests, parents, etc., with environmental shots. I may do environment full or nearly full body shots from below if the ceiling is nice and I remember to do so. I usually do most of the shots in horizontal framing but may do some vertical from time to time. I am not very lucky with twirls and dips because, to me, they are unpredictable. I do not usually get a photo of them walking onto the dance floor, although I can think of a few possible good opportunities for this shot.</p>

<p>My highest priority is facial expression, next is lighting, next is framing (can be cropped later). I take many shots and regularly discard the ones with less appealing facial expressions, because to me those are junk and I would not want to see myself looking like I'm sucking my tooth in my own wedding album (though I am not married).</p>

<p> </p>