The best lenses choices for wedding photography- it's a matter of "personality"!
Jun 2, 2017 22:09:43 #
A little while ago there was a post, here on the Hog wedding section, about what lenses are best for wedding photography- I found that to be a great question and there were lots of good answers. I was about to post a reply but I kinda ran out of time around here- it got kinda busy. Also- I have some strange ideas about lenses so I decided to put my reply off for a while and write a new post about my approach to lens usage.
As professional wedding photographers we have a vast choice of lenses out there on the equipment market. There are many opinions and arguments about lens brands, makes, models focal lengths and types as to zoom or primes. I don't really want to get into those brand and style issues in that as professionals, I don't believe that anyone of us is going to use inferior equipment and there is hardly a mainstream lens maker that is producing a poor quality lens. Of course the lens is the camera's eye and its quality is important but for the purposes of this article, I will assume that y'all are using fine quality reliable lenses.
Some photographers are of the opinion that we can't shoot a wedding with a lens of a single fixed focal length. Old guys, like me, however remember a time when we did exactly that! Now, I'm not suggesting that we should give up our wonderful arsenal of fine glass but a bit of history is in order to help me explain my theory about lenses. Back in the day we started off with a 4x5 press camera and although the normal lens for that format, theoretically, is about 210mm, most press and wedding shooters preferred a focal length of between 127mm and 135mm- slightly wider that normal. In the medium format era, depending on the actual format in use, the preferred focal length range was between 75mm and 95mm although the theoretical "normal lens" was/is about 105mm or thereabout. In full frame 35mm, 50mm was the accepted norm although 45mm was popular.
Post press and candid wedding shooters preferred formats that were slightly wider than normal for a number of reasons. We often had to work in close quarters, we wanted lenses that afforded us a bit more depth of field and a bit more angle of view but with minimal intrinsic distortion. Oftentimes we had to shoot "blind" holding the camera over our heads or shoot rapidly by "scale focusing' and thereby depending on acceptable focus via depth of field. Slightly shorter that normal lenses worked well in all these situations.
Although large format press cameras had interchangeable lenses, actually changing lenses during a wedding shoot was not practical. The lens board would have to be uncoupled, the rangefinder cam changed and the front bellows extension had to be moved to an alternative set of infinity stops on the focusing track. All too time consuming with the potential of serious mistakes. Although some popular medium format camera enabled lens interchangeability, the popular twin lens Rolleiflex had fixed normal lenses. Back in the day, few wedding studios went to 35mm in that the grain structure of most faster films were too course and negative retouching was nearly impossible.
So...most of us used a single so-called normal lens and believe it or not, we managed well and there was some pretty high quality and artistic stuff going down in the wedding photography industry. We did lot of walking back and forth. We came in close for tight shots and walked backward for wider views. We shot full length formals from a kneeling position so that the camera was at the subject' waist level to avoid foreshortening. Close ups made from 6 to 8 feet away from the subject did not show any appreciable distortion. Even in that era, most normal and slightly shorter lenses hand little or no intrinsic pin-cushion or barrel distortion- the were, for the most part, rectilinear formulas. We could get nice "bokeh" by using wider apertures an stop down when more depth of filed was required. We managed to shoot ceremonies without really becoming obtrusive without having to "hide" somewhere at 60 feet away. Perhaps the presence of a professional photographer at ceremonies was somewhat more acceptable in the good old days.
Now folks- back to the future. Nowadays, even in the digital era, I still shoot quite a bit with my slightly wider that normal lenses or zoom settings, say between 35mm and 50mm on a full frame body! When I go to wide angle and telephoto focal lengths, I like to consider the "personality" of each of my lenses or focal length choices according to t the story I want to tell, the statement I want to make with any particular shot and the part of the story I want to tell with each image. So...lets look at some focal length "personalities"!
Normal lenses and zoom setting and those SLIGHTLY longer or shorter will render people and scenes in a perspective very close to what most folks actually see with their so-called naked eyes. With good lighting there is the illusion of dimension and the perception of depth. At normal viewing distance, prints, albums and screen images will appear as normal. Most folks (customers) can relate to this kind of imagery and it works well in a multitude of story-telling scenarios.
When we go to LONGER focal lengths and number of changes occur. Very long lenses tend to compress perspectives, that is, scenes or objects in the background seem closer to the subject. This can work in some situations but sometimes it creates a kinda claustrophobic effect, that's when it nullifies the illusion of space behind the subject- that sometimes cuts down on the illusion of depth. Of course, longer focal lengths can enable less depth of filed and better selective focus and "bokeh". This can be very effective in subduing distracting background, isolating the subject on a non-distracting background, creating a feeling of privacy and intimacy, enabling foreground vignetting and of course, medium telephoto lenses and zoom setting are great for proper facial and body style perspective in classical bridal portraiture.
Like everything else in life, certain elements of long lens usage can become too much of a good thing. I have seen wedding coverages with great close up detail shots and fine portraits with astounding "bokeh" and wonderfully artistic selective focus but it seems that the bride and groom and a few family members were at the wedding celebrations all by themselves. These is not enough atmosphere or activity in the coverage. This is mainly why I don't like to shoot the entire affair from a distance using my longer lenses and zoom settings.
Wide angle lenses, as the term obviates, has a wider field of view, at a given distance, as compared to a normal or telephoto lens. Perspective wise, at normal viewing distances, images made with wide angle lenses tend to show exaggerated foregrounds and backgrounds that seem further away. In most cases, wide angle lenses are not appropriate for most kinds of traditional portraiture, especially close up views, in that distortion of facial features, the rendition body styles and the length of limbs can appear exaggerated and distorted. Certain types of portraiture, entailing wide angle lens usage, can be accomplished in an aesthetically pleasing manner- I'll get into that later on. Wide angle lenses are outstanding for certain kinds of candid shooting in that at certain working distances and smaller apertures, they can furnish greater depth of field that normal and telephoto lenses. Wide angle views can include more atmosphere in any given shot and helps in the task of story-telling in a wedding coverage. Oftentimes, forced or exaggerated perspectives enable many creative compositions with dynamic lines and exciting and unique points of view.
So...as the “official wedding story teller” you the photographer get to choose the lens “personality” that will best make the statement you want to convey in each and every shot. You get to interpret each scene and event within the wedding day! You can work like a cinematographer making a “movie” using your wide angle lens to set the scene, your normal lens to create the “mediums shots” and you long focal lengths to come in tight for impact and detail. Even simple scenarios can take on a dynamic sequence. Of different perspectives and views.
Let's take a routine ceremony sequence: You are in the sacristy or anti-room at the church shooting out onto the altar. Your wide angle shot will show the couple, the bridal party in attendance and the officiator- setting the scene. This image may also show the entire congregation and perhaps the vastness of the church and such details as stained glass windows, the organ or choir loft and the floral decorations. Even a smaller church will take on a more majestic or interesting impression. A a normal or medium telephoto focal length will zoom in on the couple as the take their vows and exchange rings. A tighter telephoto shot will capture a more private or intimate glance- a special private moment between the couple- the out of focus background and foreground will add to the feeling of privacy and intimacy. A long focal length can pick out “faces in the crowd” to record the reactions of parents, siblings, close relatives and friends during the ceremony- perhaps some cute kids! You are creating sequences for albums as well as material for photo-montages and special effects that you will create in editing.
Sometimes reception shots of speeches and toasts can seem boring but with a wide angle lens you can easily frame the couple under the best man's arm as he raises his glass in a toast to the couple. A rim light from 135 degrees can turn a mundane shot into a cinematic visual experience. A wide angle lens can show the reaction of the couple to funny speeches and jokes (in the same shot) as theses events take place. We are telling the stories of the event, not just making stagnant portraits or flat snapshots.
Where the is ethnic or active rock 'n' roll dancing, with a wide angle lens we can hoist the camera over our heads, shoot from a high vantage point or even set the camera on the floor and capture some unique and breathtaking points of view. Working in comparatively close to this action gives the scene mere presence and excitement.
Medium telephoto lenses and zoom setting are extraordinary tool for classical portraiture. Shallow depth of field which can be obtained and wider apertures can produce impressive bokeh, help subdue distracting backgrounds and isolate the subject on a non-distracting background. Natural or studio-type vignetting can also be accomplished by shooting through foliage or using vignetting lens accessories- also incorporating shallow depth of field. Moderately long focal lengths enable rendition of facial and body style features in aesthetically valid and pleasing perspectives without distortion.
For the purpose of story telling, I have incorporated some “wide angle portraiture” in my wedding coverages. There is done with a moderate wide angle lens, say a 35mm prime lens or zoom setting in a full frame DSLR body of the equidistant for a smaller sensor. As I alluded to, most better lenses are of rectilinear design meaning that the do not have intrinsic distortion. Older lenses oftentimes exhibited barrel or pin cushion distortion.
Wide angle portraiture is where we incorporate more definite background detail in the composition to “tell the story”, Usually a ¾ view of the subject works well. The camera is kept parallel to the subject- no tilting up or down to avoid foreshortening or exaggeration of height. Smaller apertures will give us more depth of field and render objects in the background in acceptably sharp detail. The usefulness of this technique is only limited by the photographer's imagination. How about a shot of the couple with the entire church interior or exterior in the background- or the interior or exterior of the reception venue. Water fountain at night. Clients spend so much time , effort and money on choosing theses venues and locations, so why not record them in all their glory in you photographs.
On the other side of the coin, with a long enough lens and a wide enough aperture you can take a modest back yard or garden and make it seem like the Hanging Gardens of Babylon or turn a virtual “junk yard” into a perfectly suitable geometric abstract background. It all in your skills and the “personality” of your lens choices. As wedding photographers we oftentimes run into less that ideal shooting situations and locations. Sometimes a wedding assignment becomes an exercise in problem solving and working around obstacles. Savvy lenses and focal length choices are our weapons against boring, mundane, cluttered or mediocre imagery- that why some of us call out lens inventories an “arsenal”!
As a wedding photographer, I never considered myself only as a pure documentarian but more of an artistic interpreter, a color fantasist and a bit of a visual dream-weaver. After all, even the most modest couple who are getting married in a simple church or civil ceremony and celebrating with a back-yard barbecue deserve a fantastic wedding day and a set of images to match! That's why they pay us the big bucks!
OK- so I'm crazy! They let me out of the institution on weekends so I can shoot weddings- it's therapeutic!
With kindest regards, Ed
As professional wedding photographers we have a vast choice of lenses out there on the equipment market. There are many opinions and arguments about lens brands, makes, models focal lengths and types as to zoom or primes. I don't really want to get into those brand and style issues in that as professionals, I don't believe that anyone of us is going to use inferior equipment and there is hardly a mainstream lens maker that is producing a poor quality lens. Of course the lens is the camera's eye and its quality is important but for the purposes of this article, I will assume that y'all are using fine quality reliable lenses.
Some photographers are of the opinion that we can't shoot a wedding with a lens of a single fixed focal length. Old guys, like me, however remember a time when we did exactly that! Now, I'm not suggesting that we should give up our wonderful arsenal of fine glass but a bit of history is in order to help me explain my theory about lenses. Back in the day we started off with a 4x5 press camera and although the normal lens for that format, theoretically, is about 210mm, most press and wedding shooters preferred a focal length of between 127mm and 135mm- slightly wider that normal. In the medium format era, depending on the actual format in use, the preferred focal length range was between 75mm and 95mm although the theoretical "normal lens" was/is about 105mm or thereabout. In full frame 35mm, 50mm was the accepted norm although 45mm was popular.
Post press and candid wedding shooters preferred formats that were slightly wider than normal for a number of reasons. We often had to work in close quarters, we wanted lenses that afforded us a bit more depth of field and a bit more angle of view but with minimal intrinsic distortion. Oftentimes we had to shoot "blind" holding the camera over our heads or shoot rapidly by "scale focusing' and thereby depending on acceptable focus via depth of field. Slightly shorter that normal lenses worked well in all these situations.
Although large format press cameras had interchangeable lenses, actually changing lenses during a wedding shoot was not practical. The lens board would have to be uncoupled, the rangefinder cam changed and the front bellows extension had to be moved to an alternative set of infinity stops on the focusing track. All too time consuming with the potential of serious mistakes. Although some popular medium format camera enabled lens interchangeability, the popular twin lens Rolleiflex had fixed normal lenses. Back in the day, few wedding studios went to 35mm in that the grain structure of most faster films were too course and negative retouching was nearly impossible.
So...most of us used a single so-called normal lens and believe it or not, we managed well and there was some pretty high quality and artistic stuff going down in the wedding photography industry. We did lot of walking back and forth. We came in close for tight shots and walked backward for wider views. We shot full length formals from a kneeling position so that the camera was at the subject' waist level to avoid foreshortening. Close ups made from 6 to 8 feet away from the subject did not show any appreciable distortion. Even in that era, most normal and slightly shorter lenses hand little or no intrinsic pin-cushion or barrel distortion- the were, for the most part, rectilinear formulas. We could get nice "bokeh" by using wider apertures an stop down when more depth of filed was required. We managed to shoot ceremonies without really becoming obtrusive without having to "hide" somewhere at 60 feet away. Perhaps the presence of a professional photographer at ceremonies was somewhat more acceptable in the good old days.
Now folks- back to the future. Nowadays, even in the digital era, I still shoot quite a bit with my slightly wider that normal lenses or zoom settings, say between 35mm and 50mm on a full frame body! When I go to wide angle and telephoto focal lengths, I like to consider the "personality" of each of my lenses or focal length choices according to t the story I want to tell, the statement I want to make with any particular shot and the part of the story I want to tell with each image. So...lets look at some focal length "personalities"!
Normal lenses and zoom setting and those SLIGHTLY longer or shorter will render people and scenes in a perspective very close to what most folks actually see with their so-called naked eyes. With good lighting there is the illusion of dimension and the perception of depth. At normal viewing distance, prints, albums and screen images will appear as normal. Most folks (customers) can relate to this kind of imagery and it works well in a multitude of story-telling scenarios.
When we go to LONGER focal lengths and number of changes occur. Very long lenses tend to compress perspectives, that is, scenes or objects in the background seem closer to the subject. This can work in some situations but sometimes it creates a kinda claustrophobic effect, that's when it nullifies the illusion of space behind the subject- that sometimes cuts down on the illusion of depth. Of course, longer focal lengths can enable less depth of filed and better selective focus and "bokeh". This can be very effective in subduing distracting background, isolating the subject on a non-distracting background, creating a feeling of privacy and intimacy, enabling foreground vignetting and of course, medium telephoto lenses and zoom setting are great for proper facial and body style perspective in classical bridal portraiture.
Like everything else in life, certain elements of long lens usage can become too much of a good thing. I have seen wedding coverages with great close up detail shots and fine portraits with astounding "bokeh" and wonderfully artistic selective focus but it seems that the bride and groom and a few family members were at the wedding celebrations all by themselves. These is not enough atmosphere or activity in the coverage. This is mainly why I don't like to shoot the entire affair from a distance using my longer lenses and zoom settings.
Wide angle lenses, as the term obviates, has a wider field of view, at a given distance, as compared to a normal or telephoto lens. Perspective wise, at normal viewing distances, images made with wide angle lenses tend to show exaggerated foregrounds and backgrounds that seem further away. In most cases, wide angle lenses are not appropriate for most kinds of traditional portraiture, especially close up views, in that distortion of facial features, the rendition body styles and the length of limbs can appear exaggerated and distorted. Certain types of portraiture, entailing wide angle lens usage, can be accomplished in an aesthetically pleasing manner- I'll get into that later on. Wide angle lenses are outstanding for certain kinds of candid shooting in that at certain working distances and smaller apertures, they can furnish greater depth of field that normal and telephoto lenses. Wide angle views can include more atmosphere in any given shot and helps in the task of story-telling in a wedding coverage. Oftentimes, forced or exaggerated perspectives enable many creative compositions with dynamic lines and exciting and unique points of view.
So...as the “official wedding story teller” you the photographer get to choose the lens “personality” that will best make the statement you want to convey in each and every shot. You get to interpret each scene and event within the wedding day! You can work like a cinematographer making a “movie” using your wide angle lens to set the scene, your normal lens to create the “mediums shots” and you long focal lengths to come in tight for impact and detail. Even simple scenarios can take on a dynamic sequence. Of different perspectives and views.
Let's take a routine ceremony sequence: You are in the sacristy or anti-room at the church shooting out onto the altar. Your wide angle shot will show the couple, the bridal party in attendance and the officiator- setting the scene. This image may also show the entire congregation and perhaps the vastness of the church and such details as stained glass windows, the organ or choir loft and the floral decorations. Even a smaller church will take on a more majestic or interesting impression. A a normal or medium telephoto focal length will zoom in on the couple as the take their vows and exchange rings. A tighter telephoto shot will capture a more private or intimate glance- a special private moment between the couple- the out of focus background and foreground will add to the feeling of privacy and intimacy. A long focal length can pick out “faces in the crowd” to record the reactions of parents, siblings, close relatives and friends during the ceremony- perhaps some cute kids! You are creating sequences for albums as well as material for photo-montages and special effects that you will create in editing.
Sometimes reception shots of speeches and toasts can seem boring but with a wide angle lens you can easily frame the couple under the best man's arm as he raises his glass in a toast to the couple. A rim light from 135 degrees can turn a mundane shot into a cinematic visual experience. A wide angle lens can show the reaction of the couple to funny speeches and jokes (in the same shot) as theses events take place. We are telling the stories of the event, not just making stagnant portraits or flat snapshots.
Where the is ethnic or active rock 'n' roll dancing, with a wide angle lens we can hoist the camera over our heads, shoot from a high vantage point or even set the camera on the floor and capture some unique and breathtaking points of view. Working in comparatively close to this action gives the scene mere presence and excitement.
Medium telephoto lenses and zoom setting are extraordinary tool for classical portraiture. Shallow depth of field which can be obtained and wider apertures can produce impressive bokeh, help subdue distracting backgrounds and isolate the subject on a non-distracting background. Natural or studio-type vignetting can also be accomplished by shooting through foliage or using vignetting lens accessories- also incorporating shallow depth of field. Moderately long focal lengths enable rendition of facial and body style features in aesthetically valid and pleasing perspectives without distortion.
For the purpose of story telling, I have incorporated some “wide angle portraiture” in my wedding coverages. There is done with a moderate wide angle lens, say a 35mm prime lens or zoom setting in a full frame DSLR body of the equidistant for a smaller sensor. As I alluded to, most better lenses are of rectilinear design meaning that the do not have intrinsic distortion. Older lenses oftentimes exhibited barrel or pin cushion distortion.
Wide angle portraiture is where we incorporate more definite background detail in the composition to “tell the story”, Usually a ¾ view of the subject works well. The camera is kept parallel to the subject- no tilting up or down to avoid foreshortening or exaggeration of height. Smaller apertures will give us more depth of field and render objects in the background in acceptably sharp detail. The usefulness of this technique is only limited by the photographer's imagination. How about a shot of the couple with the entire church interior or exterior in the background- or the interior or exterior of the reception venue. Water fountain at night. Clients spend so much time , effort and money on choosing theses venues and locations, so why not record them in all their glory in you photographs.
On the other side of the coin, with a long enough lens and a wide enough aperture you can take a modest back yard or garden and make it seem like the Hanging Gardens of Babylon or turn a virtual “junk yard” into a perfectly suitable geometric abstract background. It all in your skills and the “personality” of your lens choices. As wedding photographers we oftentimes run into less that ideal shooting situations and locations. Sometimes a wedding assignment becomes an exercise in problem solving and working around obstacles. Savvy lenses and focal length choices are our weapons against boring, mundane, cluttered or mediocre imagery- that why some of us call out lens inventories an “arsenal”!
As a wedding photographer, I never considered myself only as a pure documentarian but more of an artistic interpreter, a color fantasist and a bit of a visual dream-weaver. After all, even the most modest couple who are getting married in a simple church or civil ceremony and celebrating with a back-yard barbecue deserve a fantastic wedding day and a set of images to match! That's why they pay us the big bucks!
OK- so I'm crazy! They let me out of the institution on weekends so I can shoot weddings- it's therapeutic!
With kindest regards, Ed
Jun 5, 2017 10:16:11 #
My preference is to use zooms for the actual ceremony which allows me not be intrusive, keeping the intimacy of the ceremony intact. The only time and in the 'mix' is during the processional. This allows me to work with one camera body and stay light on my feet. For portrait/posed time I go to primes as well at detail shots. During the the toasts I go back to a zoom but for all other major events at the reception I use primes.
Here is a little fun video my BH put together as to how not to shoot a ceremony or what not to wear ;)
https://vimeo.com/45557637
Here is a little fun video my BH put together as to how not to shoot a ceremony or what not to wear ;)
https://vimeo.com/45557637
Jun 5, 2017 10:29:41 #
Beercat wrote:
My preference is to use zooms for the actual cerem... (show quote)
I am with you on the non-intrusive part Jerry. I am self conscious about moving my 6'3" and 250lb self around a tightly packed ceremony. I am also clumsier than ever after the back surgery. Pain is gone, but I am not as agile as I used to be. For that reason I stick with the two standard zooms (24-70 & 70-200) although the new Sigma 135 1.8 prime is calling my name.
Jun 5, 2017 10:37:57 #
E.L.. Shapiro wrote:
A little while ago there was a post, here on the H... (show quote)
I love this post (tutorial) Ed. Such a great summary of lens creativity and the artistic/storytelling result of that creativity. You really have an ability to teach via your writing talent.
Jun 5, 2017 10:41:44 #
jaysnave wrote:
I am with you on the non-intrusive part Jerry. I am self conscious about moving my 6'3" and 250lb self around a tightly packed ceremony. I am also clumsier than ever after the back surgery. Pain is gone, but I am not as agile as I used to be. For that reason I stick with the two standard zooms (24-70 & 70-200) although the new Sigma 135 1.8 prime is calling my name.
I use a 24-105 and a 70-200. 24-105 for the processional and then I switch to the 70-200 and keep my distance.
Jun 5, 2017 13:41:57 #
Beercat wrote:
I use a 24-105 and a 70-200. 24-105 for the processional and then I switch to the 70-200 and keep my distance.
Do you have a system for changing lenses? I usually keep my camera bag strategically located. I may end up with two bodies on me, but don't like to carry that much equipment when I am moving about.
Jun 5, 2017 13:57:35 #
Hi gang!
I am pleased to see everyone's participation in this post. On a forum like the Hog, it's important to have all of your ideas and approaches to the techniques we use and issues we all face a wedding photographers. I't very important for the newcomers to our industry to hear the way that experienced and seasoned professionals get the job done in an artistic, responsible and ethical manner.
The issue of the professional photographer becoming a distracting or obtrusive influence during wedding ceremonies and celebrations arises, now and again, on photo-forums, wedding publications and in the rules and regulations issued by various houses of worship and the folks who officiate at wedding ceremonies. So let's examine the problem from various points of view and try to come up with a solution or at least some positive ideas.
It's difficult to come up with a cure-all rule of thumb or policy because allot of this predicament (if it exists in your service area at all) varies greatly in different ethnic, cultural, religious, geographic locations and societal groups as well as the attitudes of each of our clients. With some folks the professional photographer is an intrinsic and integral part of the wedding celebrations and in some places and societies, he or she is a necessary evil. In some situations, the photographer being look upon as the bad guy or gal, may be justified by the rude, overbearing or dictator-like actions of the odd professional or not really profession photographers in the past. Some folks will paint us all with the same bad brush. It's not an unheard of injustice where the good people are punished for the bad actions of a few- it part of life. As professionals, it is an attitude we can overcome by setting good examples, teaching newcomers to the business and becoming respected members of out business and social communities.
From the photographers point of view, we are sometimes placed between the proverbial rock and a hard place. We are expected to get all the must have shots, and then some, and yet remain somewhat invisible- that can be a tall order especially in close quarters in a small church or reception venue. In a large church, cathedral, a big synagogue or temple, we can work from a sacristy or an anti room or hide behind a large pillar, work from a balcony, choir or organ loft and go about our business almost unnoticed.In a smaller location we become more noticeable. Personally speaking, I am at heart, a shy guy, and don't like being the center of attention, especially at someone else's ceremony! I prefer to keep a low profile when I work so here are some of my methods.
So yes! in many cases do use my telephoto and zoom lenses and try to keep my distance during solemn ceremonies. During these ceremonies I try to use as much available light as possible and minimize flash usage. With today's full-frame DSLRs and fast lenses, using elevated ISO settings and shooting in low light is no longer as serious handicap or as detrimental to picture quality as it used to be. With out-of-doors ceremonies, there is usually ample light and space and there are seldom any problematic issues.
If there is any universal rule of thumb that I teach to newcomers and my own trainees is the rule of RESPECT. In order to EARN respect and cooperation from church officials, officiators, catering folks and of course, clients we first have to have show, offer and give respect! There are a few very old churches in my city that are as dark as a coal mine at midnight. I take the time to go well in advance and secure permission, from the clergy, to use flash in order to capture a few important highlights of the ceremony. I have NEVER been refused! I explain that we a there to furnish the wedding couple with a visual memory of the religions aspect of there wedding day and at the same time we want to help maintain the decorum and sanctity of the occasion. This places us in a different light- that of professionalism and respectful members of the community- not some kind of "paparazzi" that is going to wreak havoc in a house of worship.
Of course we advise our clients of all theses issues and keep them in the loop as to all permissions and plans. We want them to enjoy the intimacy, solemnity and privacy of the ceremony without distraction.
Another suggestion I usually stress is "DRESS FOR SUCCESS"! Our dress code for photographers and assistants is for conservative and businesslike attire. Dependent on the formality of the affair we dress in dark toned business suits or tuxedos for the guys and suitably conservative and comfortable dresses or pants suits for the gals. This is our form of CAMOUFLAGE- we blend in and therefore call less attention to ourselves. e move swiftly, start out of the way as much as possible and we most are complimented for our working methods and, thank goodness, are never admonished or complained about for obtrusive behavior. KNOCK ON WOOD!
Personally speaking, I am not a small person. Only a few years back, I weighed in at 285 lbs. and stood a bit over 6 feet tall. Hang a couple of cameras around my neck plus my flash power pack... so a look in the full length mirror was a frightening sight to me! I looked like an overweight and old embedded photojournalist going into a combat zone! Nowadays, having lost 135 lbs. and a few inches of height (with age), I look more like a utility pole in a suit. I am told that, in spite of my physique and the equipment, I move gracefully so I don't come off as a klutz! YET! Give me a few more years! Well, in 3 more years, I will walk down the aisle, backward, with a camera in hand, for the last time. I don't want to die during a wedding ceremony and be carried down the aisle in a box- that would be the ultimate distraction!
Sincerely, Ed
I am pleased to see everyone's participation in this post. On a forum like the Hog, it's important to have all of your ideas and approaches to the techniques we use and issues we all face a wedding photographers. I't very important for the newcomers to our industry to hear the way that experienced and seasoned professionals get the job done in an artistic, responsible and ethical manner.
The issue of the professional photographer becoming a distracting or obtrusive influence during wedding ceremonies and celebrations arises, now and again, on photo-forums, wedding publications and in the rules and regulations issued by various houses of worship and the folks who officiate at wedding ceremonies. So let's examine the problem from various points of view and try to come up with a solution or at least some positive ideas.
It's difficult to come up with a cure-all rule of thumb or policy because allot of this predicament (if it exists in your service area at all) varies greatly in different ethnic, cultural, religious, geographic locations and societal groups as well as the attitudes of each of our clients. With some folks the professional photographer is an intrinsic and integral part of the wedding celebrations and in some places and societies, he or she is a necessary evil. In some situations, the photographer being look upon as the bad guy or gal, may be justified by the rude, overbearing or dictator-like actions of the odd professional or not really profession photographers in the past. Some folks will paint us all with the same bad brush. It's not an unheard of injustice where the good people are punished for the bad actions of a few- it part of life. As professionals, it is an attitude we can overcome by setting good examples, teaching newcomers to the business and becoming respected members of out business and social communities.
From the photographers point of view, we are sometimes placed between the proverbial rock and a hard place. We are expected to get all the must have shots, and then some, and yet remain somewhat invisible- that can be a tall order especially in close quarters in a small church or reception venue. In a large church, cathedral, a big synagogue or temple, we can work from a sacristy or an anti room or hide behind a large pillar, work from a balcony, choir or organ loft and go about our business almost unnoticed.In a smaller location we become more noticeable. Personally speaking, I am at heart, a shy guy, and don't like being the center of attention, especially at someone else's ceremony! I prefer to keep a low profile when I work so here are some of my methods.
So yes! in many cases do use my telephoto and zoom lenses and try to keep my distance during solemn ceremonies. During these ceremonies I try to use as much available light as possible and minimize flash usage. With today's full-frame DSLRs and fast lenses, using elevated ISO settings and shooting in low light is no longer as serious handicap or as detrimental to picture quality as it used to be. With out-of-doors ceremonies, there is usually ample light and space and there are seldom any problematic issues.
If there is any universal rule of thumb that I teach to newcomers and my own trainees is the rule of RESPECT. In order to EARN respect and cooperation from church officials, officiators, catering folks and of course, clients we first have to have show, offer and give respect! There are a few very old churches in my city that are as dark as a coal mine at midnight. I take the time to go well in advance and secure permission, from the clergy, to use flash in order to capture a few important highlights of the ceremony. I have NEVER been refused! I explain that we a there to furnish the wedding couple with a visual memory of the religions aspect of there wedding day and at the same time we want to help maintain the decorum and sanctity of the occasion. This places us in a different light- that of professionalism and respectful members of the community- not some kind of "paparazzi" that is going to wreak havoc in a house of worship.
Of course we advise our clients of all theses issues and keep them in the loop as to all permissions and plans. We want them to enjoy the intimacy, solemnity and privacy of the ceremony without distraction.
Another suggestion I usually stress is "DRESS FOR SUCCESS"! Our dress code for photographers and assistants is for conservative and businesslike attire. Dependent on the formality of the affair we dress in dark toned business suits or tuxedos for the guys and suitably conservative and comfortable dresses or pants suits for the gals. This is our form of CAMOUFLAGE- we blend in and therefore call less attention to ourselves. e move swiftly, start out of the way as much as possible and we most are complimented for our working methods and, thank goodness, are never admonished or complained about for obtrusive behavior. KNOCK ON WOOD!
Personally speaking, I am not a small person. Only a few years back, I weighed in at 285 lbs. and stood a bit over 6 feet tall. Hang a couple of cameras around my neck plus my flash power pack... so a look in the full length mirror was a frightening sight to me! I looked like an overweight and old embedded photojournalist going into a combat zone! Nowadays, having lost 135 lbs. and a few inches of height (with age), I look more like a utility pole in a suit. I am told that, in spite of my physique and the equipment, I move gracefully so I don't come off as a klutz! YET! Give me a few more years! Well, in 3 more years, I will walk down the aisle, backward, with a camera in hand, for the last time. I don't want to die during a wedding ceremony and be carried down the aisle in a box- that would be the ultimate distraction!
Sincerely, Ed
Jun 5, 2017 15:32:26 #
jaysnave wrote:
Do you have a system for changing lenses? I usually keep my camera bag strategically located. I may end up with two bodies on me, but don't like to carry that much equipment when I am moving about.
I leave a mail bag with my 70-200 at a place out of site and change out after the exchange. However,there is something new coming out this fall ...
https://www.youtube.com/watch?v=nye4eAjtwT0
Jun 6, 2017 10:48:06 #
I really can't add anything, other than to make a comment so I can follow any further discussions.
Love trying to stay invisible, but we did a wedding on the 20th where it was impossible. The bride INSISTED, that we stand where she wanted us, and didn't care if the guests could see her or not. The photos were the most important thing. That being said, made me very uncomfortable. I would much rather not be seen at all. I'm sure the guests didn't like looking at me either, but I did what she wanted. It was refreshing to have a bride say just how important the album was to her, because she was more worried about keeping her memories, than the view of her friends.
My wedding this week is also another bride who has stated that she really cared nothing about the food, the DJ or anything, other than the photos. Do we think this might finally be a turn in the tide where people are now "getting it?" ... or am I just being lucky?
Love trying to stay invisible, but we did a wedding on the 20th where it was impossible. The bride INSISTED, that we stand where she wanted us, and didn't care if the guests could see her or not. The photos were the most important thing. That being said, made me very uncomfortable. I would much rather not be seen at all. I'm sure the guests didn't like looking at me either, but I did what she wanted. It was refreshing to have a bride say just how important the album was to her, because she was more worried about keeping her memories, than the view of her friends.
My wedding this week is also another bride who has stated that she really cared nothing about the food, the DJ or anything, other than the photos. Do we think this might finally be a turn in the tide where people are now "getting it?" ... or am I just being lucky?
Jun 6, 2017 11:18:56 #
bkyser wrote:
I really can't add anything, other than to make a ... (show quote)
"lucky"
Gee, nobody said anything about the video ...
Jun 6, 2017 15:52:11 #
It is great when the bride and groom are "on our side"! It can be difficult when or if the odd couple kinda sabotages their own photographer and their own investment by not cooperating. Luckily enough, I have not seen too much of that in the last number of years. I find that preparation and careful planning is to key to avoid difficulties. We attend and photograph weddings all the time, for the client, oftentimes it's the first experience.. I simply and gently explain that elegant formals and emotion packed portraits don't materialize all by themselves and some cooperation is required. I further explain that after the formal session, I really want to be somewhat invisible and free to capture all the spontaneous events and make certain that they can have uninterrupted enjoyment of all their festivities! When everyone is on the same page, Murphy's law is much LESS likely to set in!
If the clients require video coverage, we supply the crew and work together carefully with them so that we don't get in each other's way or disturb any of the ceremony. We encourage a cinema-verite coverage, that is, a totally candid and authentic coverage so there is no "posing" to consume time that is needed for the still photography.
There are some folks who just don't listen to professional advice but I don't feel insulted or singled out for such treatment. After all, the same folks probably don't take the advice of their doctors, lawyers, accountants, financial advisors, teachers or renovation contractors! We just work around things! We get the job done regardless and at least none of our less cooperative customers get seriously ill, die, go bankrupt, their house won't fall down, the won't end up in jail or flunk out of school as a result of their stubbornness. Thank goodness!
Kindest regards, Ed
If the clients require video coverage, we supply the crew and work together carefully with them so that we don't get in each other's way or disturb any of the ceremony. We encourage a cinema-verite coverage, that is, a totally candid and authentic coverage so there is no "posing" to consume time that is needed for the still photography.
There are some folks who just don't listen to professional advice but I don't feel insulted or singled out for such treatment. After all, the same folks probably don't take the advice of their doctors, lawyers, accountants, financial advisors, teachers or renovation contractors! We just work around things! We get the job done regardless and at least none of our less cooperative customers get seriously ill, die, go bankrupt, their house won't fall down, the won't end up in jail or flunk out of school as a result of their stubbornness. Thank goodness!
Kindest regards, Ed
Jun 6, 2017 16:55:19 #
Beercat wrote:
"lucky"
Gee, nobody said anything about the video ...
Gee, nobody said anything about the video ...
I'm allowed to go to UHH at work, but video is blocked. Too much bandwidth. I will watch it at home. I case I forget to mention it later. My comment will be....LOVED the video.
bk
Jun 6, 2017 16:57:58 #
E.L.. Shapiro wrote:
Yeah, if I listened to my doctors, I probably would be a lot more "invisible" As it is, I'm kind of "obvious" wherever I am.It is great when the bride and groom are "on ... (show quote)
People kind of notice when the "Michelin Man" is at the wedding.
Jun 6, 2017 17:36:32 #
bkyser wrote:
Yeah, if I listened to my doctors, I probably would be a lot more "invisible" As it is, I'm kind of "obvious" wherever I am.
People kind of notice when the "Michelin Man" is at the wedding.
People kind of notice when the "Michelin Man" is at the wedding.
You made me laugh ... thanks
Actually I've lost 30 pounds in the last 40 days. Going to take off 60 total. Doctor said I slid into Diabetes type B so hopefully the loss of 60 pounds should make it go away.
Jun 6, 2017 21:52:53 #
Beercat wrote:
You made me laugh ... thanks
Actually I've lost 30 pounds in the last 40 days. Going to take off 60 total. Doctor said I slid into Diabetes type B so hopefully the loss of 60 pounds should make it go away.
Actually I've lost 30 pounds in the last 40 days. Going to take off 60 total. Doctor said I slid into Diabetes type B so hopefully the loss of 60 pounds should make it go away.
Ok, you guys are motivating me (maybe) to lose some poundage.
Jerry, when I watched the video I was imagining how much worse it would be if it was big ole me instead of that girl.
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