crazydaddio Loc: Toronto Ontario Canada

Godox ad600 is what I am saving up for.
Shoot it at the ceiling and you can make an entire ballroom look like daytime...like you, for now, lots of little yongnuos on RF transmitters....

bkyser Loc: Fly over country in Indiana

That's one I'm strongly considering as well. Especially the non-ttl one, since I don't use TTL anyway, and it's a LOOOOT less expensive. (almost affordable)

Pistnbroke Loc: UK

Sorry don't get this ..I know I am talking UK receptions but you would have no space to put up stands and umbrellas ,probably the manager would stop you running leads or obstructing the passage of staff .
why would you want to do anything other than put a flash on your camera and keep it over the lens with a flash flipper?. the idea of burnt highlights and contrasted shots is from the film era. A flash exposure is made of two parts the available light + the flash . so if you are using a Nikon at base iso 200 then when you put the flash on it goes to 800. That 800 increases the available light component( I assume they can see to eat) + some flash. No shadows as the flash is over the lens. You would never use flash for the dancing ..if you do then the pictures will look like midday outside. P mode auto iso .

bkyser Loc: Fly over country in Indiana

The light stands can be put in corners, etc. You get much more directional light, and interesting shots if you can use off camera flash. It's one of those things we do to set ourselves apart.

If you can find a book by David Zinser, it will change your life.

Think of it as creative portrait lighting, on a much larger scale.

Pistnbroke Loc: UK

You live in a different reality ...the tables are so close together usually there is only room for the waitress to pass . don't think I have ever been to a UK reception with enough space to put up a stand. You kid yourself it you think the customers understand quality. Try doing bokeh and see how many complaints you get about being out of focus.

bkyser Loc: Fly over country in Indiana

Possibly, but if you supply exactly what everyone else does, then you are competing with everyone else. If you set yourself apart, and find a way to make things work to be more creative than "the other million wedding photographers" people will seek you out.

I've been in extremely tight spaces, and there's always a way to put some flashes around the perimeter. The only use for the on camera flash is for fill flash.

Again, It's your choice, and whatever works for you, works for you. My theory is don't do what everyone else does... find the people who stand out and make tons of money and are in demand, and do what THEY do.

That's also a lesson that Ed tries to get across in his posts in many sections here on UHH, along with Cliff (Captain C) Lawson, who is probably the most successful regular on this website.

Again, not trying to be "preachy" but it's good to figure things out. I've even gone so far as to tie an off camera flash to a light fixture to be able to get the shots and lighting that I wanted. Where there's a will, there's a way.

Pistnbroke Loc: UK

Certainly with #Greek weddings I have set up a mini studio in an anti room or corridor and when it rains take studio style group shots of individual families. Here the reception is basically eating a meal when I don't like to photograph people eating and then the speeches .
We do go the extra mile with large sheets of artificial grass to lay people down. stools to sit them on.two cake knifes and a fishing rod to pull out the veil as the bride runs .
I also have 50 half tennis balls but you know what they are for …..

E.L.. Shapiro Loc: Ottawa, Ontario Canada

I have never worked in the UK, however, I have photographed many weddings of folks from all over the UK who now reside in Canada and English citizens who are working here in the diplomatic service or the corporate sector. Nice people!- never had an issue with "bokeh" or out of focus BACKGROUNDS- as long as the people are sharp. Never had an issue with a soft focus images either. Seems not every bride wants to see the pores in their closeup portraits.

You make it seem like shooting weddigs in the UK is mortal combat- a war with the clients and the venue operators- I hope not- it sounds like a hard way to earn a living.

I have used multiple lighting flash systems at weddigs since 1958- I have worked in grand ballrooms, cramped legion halls, recreation room above fire halls and even receptions in church basements and small homes and apartments. I have covered ceremonies in cathedrals, small country churches and registry offices. If there is no room for light stands, I have my assistant man at least one mobile slave light on a mono-pod. All the lights can be battery powered and there is no need for wires all over the dance floor or anywhere that they can be hazardous. When I use AC operated units, the are well out of the way like up in a balcony or loft. Everything is triggered by radio/slave units so there is no hard wiring between units.

We also use available light, when it is available, daylight with flash fill, daylight with reflector fill, candlelight and window light. Other techniques involve bounce flash, bare bulb, mono-light with soft boxes and umbrellas- wahtever is needed to do the job. All our location gear is portable and designed for quick setup and take-down.

Beleive me, customers understad quality- they have eyes in the heads and the see high quality images every day- on TV, in the movies, in adverting, publications and packaging. Not every client is an expert on fine photography and they may not be familiar with all the technical terminology but when the come in and see our sample albums and portraits the may say "they look 3-dimensional, they have mood and shadows- we like the romantic images etc... we like the spontaneous candids! We don't bombard them with complicated technical terms- we just promise "lighting like in the movies" and they get it! They are also willing to pay for it.

When I attended seminars and classes at conventions and at the Winona School in the U.S. there were photographers there learning theses methodologies - multiple lighting. advanced wedding photography and portraiture and the accompanying marketing strategies form all over the word. I met shooters form the UK, Australia, Hungary, New Zealand, Western Europe, Asia, the Middle East, and Asia. Theses Methods are not confined to North America.They can be adapted to any situation.

I operate a full-time commercial photography business and if I though the wedding business was not profitable and that our clients were not appreciative of our quality and service, I would shut down that aspect of our studio in a heartbeat and spend my weekends and evenings relaxing at home.

jaysnave Loc: Central Ohio

This has turned into an interesting lighting discussion. Let me jump in!

Bob and Daddio, I purchased the 600pro and would highly recommend the extra $ for the pro. Why? the recycle time is practically instantaneous. For me it is a dream come true. How many times have you needed to press the shutter rapidly to get that ideal expression or pose and the flash doesn't fire? Priceless, to have that benefit. Just my take on what is important to me. Oh, and Daddio I plan to use the 600 to light up large rooms as you described for some of the events I do.

Pistnbroke, yes bokeh is probably not that great during the reception, but I can't believe you Brits don't appreciate it for portraits. For OCF during the reception, I at least find a spot for the back/rim light nested with the DJs lights. I do have on camera fill and try to keep it low enough that it is a small percentage of ambient to try and avoid that midday look. Having said that and speaking of DJ lights, using them makes for some very interesting and creative dance shots.

bkyser Loc: Fly over country in Indiana

Hey, Jay.
So are you saying that the 600 pro recycles faster? I thought the only difference was TTL, the standard 600 even still has HSS.

It would be interesting to find out. I literally can't stand using TTL, too old of a dog, and too used to just doing what I do using Aperture to control how much light I'm getting from my flashes. For some reason, messing with exposure compensation, still seems more difficult than just adjusting what needs adjusted. On my flashes (and studio strobes) I never power them higher than 1/2 power, so they all recycle pretty fast anyway.

Pistnbroke Loc: UK

I am waiting for someone to ask me what the 50 half tennis balls are for. ) or tell me)

bkyser Loc: Fly over country in Indiana

I'll ask. What are the 50 half tennis balls for? Thought maybe it was a thing from the UK or something.

jaysnave Loc: Central Ohio

I don't use TTL that often. It is useful only when lighting is changing quickly or using it to get in the ball park, then going manual. TTL is not a big deal to me, but without looking up the specs. again I believe the 600pro is .5 sec at full power and standard 600 is 2-3 sec. They have different batteries. You can save some money with the 400pro as it has the same recycle time which I may do if buying a second light.

jaysnave Loc: Central Ohio

Hmmm, maybe cushion for the artificial grass? Couldn't be a lighting modifier. Attached to a board for background? Prop for weddings at Wimbledon? I give up.

Pistnbroke Loc: UK

Well I got banned from one site for this ….
It seems popular to have a heart shape with all the guests or the b and g initials made up of guests....so you divide the number of guests by 2 and arrange the half balls in a heart shape about 3 ft apart. You then ask the guest to stand between the balls conga style and put on foot on the ball ( to hide it) 100 guests in a heart shape in less than 5 min ....
Hope you like that ...helps if the daughter has access to a tennis club !!
I might be a bit crazy but not totally stupid.
How many use a megaphone to organise the guests ???