To be honest shooting wedding details is one of my favorite parts of the wedding day. In the beginning of the day it gives me time to settle and prepare myself for the wedding day ahead. It’s a quiet time where I get to observe the bridal party vibe while I’m in the other room or in a corner by the window taking pictures.
Shooting details the morning of the wedding is different from how I shoot details during the reception. Typically, receptions by me in the NYC area are held at night, indoors and with almost no natural light. As much as I’d like to make them look all light and airy to match the rest of my photos, that’s just not what the actual reception looked like. My job as a storyteller is to tell the actual story, not alter it to my liking. With that in mind, here are the two principles I keep in mind while shooting reception details:
Off Camera Flash
This is one of the biggest reasons that I get my reception details done quickly and consistently. I’m normally setting up two Profoto B1 lights, with grids on each of them, on either side of a reception table. Doing this gives me enough light evenly over the table while highlighting the centerpiece and not blowing out the tablecloth.
Because I have my exposure set to manual on my camera and my lights, I’m able to get my settings and then walk around the table shooting every nook and cranny. All of my exposures stay consistent throughout my shots and it helps me get all the shots I need in a short amount of time.
Lens and Aperture Choices
A lot of photographers use their aperture setting and lens choice to obtain a look for their photos that is indicative of their style. Even though I said I’m attempting to portray the reception as it is, rather than imposing a style that’s the opposite of what’s really there, I do believe in keeping consistent to you style of photography.
For me, I still use a fairly shallow depth of field when shooting details, roughly around 2.2-3.5 depending on what it is that I’m photographing. If I’m using my macro lens, I’ll definitely go to a higher f-stop, around 5.6 and up if possible. I also use a higher compression lens as well, typically my Canon 50mm 1.2 or 85mm 1.2. Throughout the day, even with large groups of people, I rarely take out my 35 or 24mm lens because I like the look of a higher compressed image. These two intentional choices help keep my style consistent while still showing the reception hall as it was.
For a behind-the-scenes look at what it looks like when I’m shooting morning bridal details on an actual wedding, check out this Adorama TV episode of Breathe Your Passion:
