Amateur Wedding Photography FAQ, Something I just found.... Long but interesting... Options

[I'm now a Mrs]

Amateur Wedding Photography FAQ

The purpose of this FAQ is to provide suggestions, advice, and some
professional guidance to the amateur photographer who will be
photographing a wedding in lieu of a professional. This FAQ is not meant
to be a comprehensive guide to photographing a wedding, nor will it give
anyone all the information they need to replace a professional
photographer. It will provide some tips and tricks of the trade for those
who find themselves in the wanted or unwanted position of filling in for a
friend.

"…you cannot teach wedding photography in a few paragraphs on the
Internet. Attempting to do so only gives people a false sense of
confidence which is dangerous." (Kevin Zwack)

1. I Need Help (or What Have I Gotten Myself Into?)
2. The Equipment
2.1 Cameras
2.2 Lenses
2.3 Lights
2.4 Filters
2.5 Miscellaneous
3. The Film
3.1 Film Types
3.2 Exposure
3.3 Developing
4. The Photographs
4.1 Must Have Shots
4.2 Posing Tips
5. The Importance of Being Organized
6. Other Vendors and Other People
7. Other Resources
7.1 Books
7.2 Videos
7.3 Other Resources
8. Turning Pro (or I'm Crazy Enough To Want To Do This Full-Time)
9. Attributes
10. Revision History of the FAQ


1. I Need Help (or What Have I Gotten Myself Into?)
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If you are reading this FAQ, we assume that you've been asked by
a friend or family member to be the "official" photographer for their
wedding. The first thing any pro wedding photographer will tell you in
this situation is: don't do it. Run, don't walk to the nearest exit.
Shooting a wedding is NOT for the faint hearted. Your friends may tell
you that they understand that you're an amateur and that they don't have
any expectations. Don't believe them. They do. A wedding is a highly
emotional event with many expectations all around. They expect more of
you than you think they do. There are a lot of variables to shooting a
wedding and if something goes wrong (and it will) YOU, the photographer,
will be blamed – even if it's not your fault. Friendships and
relationships have been ruined, and family feuds have started because of
wedding photographs that didn't turn out.
Make every effort to get the couple to have some kind of
professional photography and use you as a backup. Try to convince the
couple to hire a professional for Formals Only photographs and let you get
the candids at the reception. Another option is to get the couple to have
formal studio portraits taken either before or after the wedding to make
sure they get at least one good portrait. If you can afford it, hire them
a photographer as a wedding gift, although this may be out of range for
most people.
If the options above aren't feasible, and assuming that you've
considered the risk to your personal life carefully and feel that you are
either up to the challenge or simply have no choice, the following
information should help provide some guidance.


2. The Equipment
---------------------------------
2.1 Cameras
We are not going to discuss the value of 35mm vs. Medium Format
in this FAQ. Suffice it to say that professional wedding photographers
use Medium Format and/or 35mm depending on the photographer and the style.
They may use Hasselblad, Bronica, Pentax, Nikon, Canon, Mamiya, etc.
Each camera has advantages and disadvantages and what you use is a matter
of personal choice. For the purposes of this FAQ, the type of camera you
use is not as important as your familiarity with your equipment and its
condition.
It is a priority to make sure your camera is in good condition
before you photograph the wedding. Before the wedding you should shoot a
roll of film with flash and a roll of film without flash. Have them
developed at your local one hour lab. This will let you know immediately
if you have any kind of mechanical problem with your camera and/or flash
and give you time to either fix the problem or back out gracefully.
Make sure you are familiar with how your equipment works. Can
you load a new roll of film quickly, while the subjects of your shot are
standing there waiting? You should be able to set aperture and shutter
speed without having to stop and look at the camera. It doesn't do you
any good to be fumbling with the aperture ring while the bride and her
father are walking down the aisle towards you. Know where each button on
the camera is and what it does so that if you push one accidentally during
the wedding you're not stick with a situation where your camera suddenly
won't work and you don't know how to fix it If you need to, spend some
time before the wedding "dry-firing" your camera. Practice changing
shutter speed, aperture, focus, all on the fly.

2.2 Lenses
Lens selection is also very much a matter of personal taste and
the style of photography you prefer. Again, however, some basic
guidelines for the amateur using a 35mm camera: Have one standard or
slightly wide angle lens (35 - 55mm) to capture overall scenes like the
ceremony in the church, the reception site, etc. Have one slightly
telephoto lens (70 - 85mm) for portrait work. This focal length allows
you to obtain closer images without being right in the subjects face. It
also helps to compress the background just slightly, focusing more
attention on the subjects. Have one longer telephoto lens (200 or even
300mm) for taking close up shots during the ceremony like the exchange of
the rings, the kiss, etc. A zoom lens in the 70 - 200 range is a good all
around lens for the reception, as it allows you to take the portrait type
shots of the cake cutting, toast, etc., and also allows you to take
candids from a distance. One pro mentions that he prefers a 35mm for all
around work (I find it too wide angle for general purposes, but this is a
matter of preference). Also make sure that if you use a zoom lens, it is
of good quality. An all purpose 28 - 200 zoom may seem like a godsend,
but the quality of your pictures will suffer.
Here, too, it is important to know your equipment. You should
be able to change a lens in a matter of seconds, in order to catch events
as they happen. Practice this action, too. It will be invaluable.

2.3 Lights
Most amateurs will be limited to on-camera flash. There are
several things to keep in mind when using on camera flash.
First, how is your flash mounted to your camera? A direct, on
camera mount has two disadvantages. The flash is usually not high enough
to not reflect in the lens of the subjects eyes and cause "red-eye" – it
should be at least 6 inches about the lens. And, if you turn your camera
to get a vertical shot, you have just changed the relation of the flash to
the lens, which can cause very harsh visible side shadows. A flash
bracket can help in resolving some of these problems. A good 35mm bracket
will help raise the flash up enough to prevent "red-eye" and allow you to
turn the camera within the bracket, without changing the flash/lens
relationship. There are several good brackets out there: Stroboframe and
Newton are two of the more well known.
Second, how powerful is your flash? A small Nikon or Canon
built-in flash is not going to provide enough output to light more than a
couple of people at close range. While you can get around this somewhat
by trying to take portraits outside as much as possible, most of your work
will be inside a church or in a reception hall where the lights have been
dimmed for dancing. Make sure your flash is powerful enough to capture a
family group of 10 or more at the altar of the church. Remember that the
bigger the group, the father back you have to stand, therefore the more
powerful your flash will have to be. If you don't have a separate flash
buy, borrow, or rent one for use at the wedding. (As with your camera
equipment, make sure you are familiar enough with the equipment to make
its use second nature)

2.4 Filters
Filters are not a requirement for shooting a wedding. However,
if you are comfortable enough with your equipment and would like to try to
incorporate some "special effects", here are some suggestions of the most
popular.
Soft Focus: every soft focus filter is different and whether or
not you like the effect of a particular filter is a matter of taste. Be
warned that there is a difference between "soft focus" and out of focus –
don't try to pass one off as the other. You can try anything from a
commercial soft focus or diffusion filter to a piece of nylon stretched
over the lens. Some people have taken a Skylight (UV) filter and dabbed
clear nail polish on it for a similar effect. Experiment to find out what
you like – just don't experiment at the wedding!
Star Filters: if the wedding is in the evening and there is
candle light, a star filter can provide a nice effect, turning the candle
flames into multi-beamed stars. Star filters come in 2, 4, 6, and 8
point, with 4 and 6 being the most popular for weddings. A star filter
can also double as a very nice soft focus filter, if the need arises.
Vignette: a crisp clear center and a misty, diffused edge can
make a nice effect if you're doing a close up of rings, the cake,
invitations, etc. It's also a nice effect framing the bride's face for a
close up portrait. Again, commercial versions are available in varying
degrees of diffusion and darkness. You can also take the standard Skylight
(UV) filter and paint clear nail polish around the edge.
Warming Filter: a touch of warmth from an 81A filter can work
wonders in an outdoor situation. Try not to get it too warm, however, or
the effects will look unnatural.
There are many different brands of filters and filter systems
out there. Again, it is all a matter of personal taste. For wedding work
you should consider using a system that allows for "drop-in" filters
rather than the screw-on type. This will save you a lot of time and
effort in the long run (focusing through a filter that you've just
threaded on to your lens can be a pain). Cokin is the most popular of the
drop in styles and is available at most camera stores, although Lindahl,
Cromatek, and Sailwind are also well known brands in the pro line.

2.5 Miscellaneous
Batteries: Too many people forget the batteries. Stock up on
batteries for both your camera and flash. Get at least twice as many as
YOU think you'll need, and be sure they all go to the wedding with you.
Tripods and/or monopods are invaluable to the wedding
photographer. While many of your photographs will be "on the fly", having
a tripod handy will allow you to take longer available light exposures at
the ceremony. It's also good to have in situations where you're using a
longer lens and can use the extra stability at the reception or for
formals.
An Emergency Kit is another rarely mentioned but frequently
needed item that you should consider taking with you. It's surprising how
often the photographer is the only source when an emergency crops up. The
following items are from a "kit" carried by a professional photographer:
small hair dryer (dries raindrops or teardrops on clothing); clamps,
including hardware, clothespins, binder clips, etc. as a temporary repair
for anything that falls apart during the wedding; pins, including
straight pins, hairpins, safety pins, etc. for the same reasons; duct tape
to cover power cords and for repairs (it can even be used to hem a
dress!); small sewing kit; a lighter for any candles; tissues; a razor;
clear nail polish for runs in pantyhose (extra pairs of hose in various
sizes and colors if you want to be really prepared); hair spray (buy the
pump kind), sandpaper for the soles of new shoes; black shoe laces; collar
button extenders; a set of shirt studs for a tuxedo shirt; aspirin and
cough drops or hard candy; a set of champagne flutes and a cake knife; and
insect repellent for outdoor weddings. (Thanks to Jack Gurner for the
list and the idea)
A step stool or step ladder is another invaluable piece of
equipment. It helps to get some perspective during reception shots, and
can be useful when photographing large groups of people on the altar steps
(even better for short photograpers!)

2.6 Backups
BACK UP YOUR EQUIPMENT!! This cannot be stressed enough. If
you only have one camera and the couple is relying on you to capture the
moments of their day – what will you do if your camera unexpectedly quits?
If you don't have it already, beg, borrow, or steal (ok, rent) a backup
body. This goes for a flash, too.


3 The Film
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The most important thing to remember about the film is to
always have enough. Take twice as much film as you think you'll need and
then double that. Most pros carry at least 20 rolls of 24 exposure to a
full wedding and reception ceremony. Many carry upwards of 30 rolls, just
in case. Make sure it's easily accessible from where you're shooting and
always carry an extra roll in your pocket – just in case.

3.1 Film Types
Film brands are again, very subjective. Some people swear by
Kodak and some by Fuji. Whichever you select, try to use professional
films and not Kodak Royal Gold or whatever. Pro films tend to have more
medium contrast and more pleasing skin tones which works better for a
wedding/portrait situation. Amateur films are designed to make colors pop
for a nice bright snapshot – great for still lifes and fashion, but not so
great for a wedding.
For the amateur a 400 speed film would probably be the best as
it will allow for higher shutter speeds and smaller apertures overall.
Kodak's 2 400 speed films are PMC and PPF. PPF is a little more contrasty
than the PMC, which can cause some problems when shooting a black tux next
to a white dress, but overall still a good film and worth checking out.
Fuji's NPH and NHG are comparable to Kodak's 400 emulsions, again just a
matter of personal taste.
Kodak also makes a professional 1000 speed color film called
PMZ. While this isn't the best film for all around use (too grainy for
portraits) it is an option when shooting available light during the
ceremony and possibly for some candids during the reception.
Black & white film is also a popular option both for formals and
candids. Kodak's Pan-X 400 speed film provides excellent skin tones,
while Kodak's T-Max 400 is a good all-around film. Kodak also has a TMZ
3200 speed black & white film that performs very well in low light. The
results are slightly grainy, but clear with good contrast, and makes nice
"artsy" prints.
As with your equipment, test shoot first. Select the films you
are interested in and shoot a couple of rolls of each – with and without
flash. Look them over carefully when you get the results back and then
make your decision based on what you think looks best.

3.2 Exposure
For the purposes of this FAQ, it is assumed that you are
familiar with the fundamental concepts of exposure, including the
relationship of aperture to shutter speed, fundamental use of your flash,
etc. If you don't have this basic understanding DON'T PHOTOGRAPH THE
WEDDING. Stop right here and tell your friends that you just aren't
qualified or comfortable with being responsible for their wedding
memories.
You will probably encounter four distinct exposure situations in
during the course of shooting a wedding. The first one – outdoor formals
– is probably overall the easiest. The best thing to remember about
shooting outdoors is to try to place your subjects in open shade – i.e. an
area where there is no direct sunlight, but is still well lit. This will
provide the most complimentary lighting to your subjects. Do not
photograph people in direct sunlight if at all possible, as this will
create harsh shadows on their faces. Try to keep your subjects from facing
into the sun, as it will cause them to squint. Similarly, don't place
your subjects so you are facing into the sun, as it will create flare in
your lens. You can use a flash to open up shadows in an outdoor setting
by setting the exposure on your flash (on a manual setting) to 1 stop
below the camera exposure (a very simplified explanation of fill flash).
Indoor formals can be a little more difficult. Most churches
don't have an excess of available light indoors. You will have to make
sure that (as mentioned above) your flash is powerful enough to provide
light for all the members of the groups. Also keep in mind that if you
use very bright flash and a fast shutter speed or a small aperture, you
will wind up with a bunch of well lit faces floating in a black hole.
Presumably the church and reception areas have some meaning to the couple
and it is to your advantage to provide some pictures that show this
background. The best thing you can do is to take a light reading for the
church before you begin shooting. (This is where the tripod can come in
handy) If at all possible, use a shutter speed and aperture that will
capture some of the available light and provide detail in the background.
As long as your shutter speed is not too slow (below 1/15th, or better
1/30th, of a second), you can rely on your flash to freeze any small
motion of the subjects. Remember if you have large groups of people,
don't set your aperture too low or your depth of field will be to small to
keep everyone in focus.
Available light photographs are usually taken during the
ceremony and this is another area where your tripod will come in handy.
Take a reading off the bride's dress with your camera. Using the meter as
a guideline you can open your aperture (or slow your shutter) by 1 or 1½
stops to get a correct exposure (this is because your meter will suggest
an exposure for 18% gray and opening it up will correct to the white of
the brides dress). This usually provides very nice available light
ceremony shots. (This is also where you can use a star filter and get a
very nice effect with the lights and candles.) Make sure that these
photographs are taken during a time in the ceremony that there is very
little motion – during a prayer can be good if you have a quiet camera.
Also during the exchange of the rings, as the couple will pause with the
blessing of the rings.
Inside candids can be as easy or as hard as you want to make
them. The simplest version is to set your camera for 1/60th of a second
at f8 or even f11, set your flash on "auto" and leave it there. This
insures that you won't forget to change shutter or aperture at any point
and wind up with unusable photos, but still gives you acceptable lighting.
Any minor exposure problems can be corrected by your lab in processing
and/or printing (as long as you don't try to overextend the power of your
flash). Although the f8 or f11 aperture doesn't give you much in the way
of background light, it will give you enough depth of field to allow for
some focusing discrepancy – this is especially important when you are
focusing on a moving target (dancers, for example) in a dark reception
hall.
If you are comfortable enough to work with your flash on manual,
you can have a little more control over your lighting while taking
candids, with very little hassle using the following method: Set your
flash on manual at the ISO of your film. Set your flash power to the
appropriate setting where your readings are (approximately) 9 feet at f11,
14 feet at f8, and 20 feet at f5.6. Now you have distances that
correspond to "close to the subject" at 9 feet, "away from the subject" at
14 feet, and "farther than that from your subject" at 20 feet. Using
these distances, you can adjust your aperture setting without having to
adjust your flash. Sounds simplistic, but it does work as long as you
remember to adjust your aperture for the appropriate setting. (Thanks to
Gary Fong for the phrasing and the concept.)

3.3 Developing
If it is at all possible, have your film developed at a
professional lab rather than at Wal-Mart or Costco or someplace like that.
The advantages are many: a pro lab is used to processing weddings and
events and will work with you to obtain the best prints from your
exposures. They can work with you if there is a problem with an image and
help you to get it fixed. Perhaps most importantly, their equipment is
calibrated for the pro films you'll want to use when shooting a wedding.
Check your local phone book for a pro lab and the call in advance and talk
to someone there or get a referral from your local pro-photo supply shop.


4 The Photographs
-------------------------------------------------
4.1 Must Have Shots
What are the must have images when shooting a wedding? Well,
the short answer is "all of them". Seriously, the one image that is
missing – out of the 400 that you took – will be the one that the bride
will be heartbroken over. Check out any bridal magazine on the stands
today for the "Must Get" list of photographs. It's often two pages long!!
This FAQ does not include the "master list" as it is simply too long and
often too confusing for the amateur photographer. The following are some
suggestions on poses for the day, though.
Be sure to get pictures of the bride and groom with each of
their parents, together and separately. Do include stepparents, but don't
force ex's and their spouses together unless they volunteer. Try to get a
picture of the bride w/ each of her attendants separately as well as a
group picture of all of them. Same for the groom.
Make sure you get a picture of anything that is special to the
couple or that they paid lots of money for. A limo or other different
method of transportation, a special candle, the cakes, an expensive silk
garter – these are all important or the couple wouldn't have spent money
on them. Make sure you have one picture at least of these items. During
the ceremony a picture of the bride walking down the aisle with whoever is
escorting her is important as is the recessional when the couple comes up
the aisle as husband and wife.
Get lots of pictures of the kids involved and the family
members, especially older family members. Many times wedding pictures are
the last photos anyone ever has of grand and great-grand parents.
At the cake cutting be prepared to fire off a series of shots
as they feed each other and kiss (they always kiss, so be prepared). At
the toast get a shot of the person making the toast, the couple's
reaction, and the reaction of the crowd. These are always good.
If you have time, pictures of the invitation if you have a copy,
the guest book , the couples rings, all make nice touches. One trick is
to take the rings and nestle them in a flower in the brides bouquet (a
paperclip or some floral wire helps to balance the rings) for a pretty
picture. You can also take one of the cocktail napkins with the couples
name, roll it up and slide the rings over it, and nestle it among the
flowers or next to the invitation.

4.2 Posing Tips
For groups shots, as a general rule have everyone stand with
their weight on their back leg, and their shoulders at about a 45 degree
angle to avoid getting police lineup shots. Also when doing group shots,
ask the men to grasp the cuffs of their sleeves or the bottom of their
jackets lightly to keep them from folding their hands in front of their
crotches (resulting in a whole series of photos that look like the men
can't wait to go to the bathroom). Have moms and sisters tuck their hands
into the groom's elbow for something a little more interesting than just
hanging hands. Have the men shake hands or otherwise interact with each
other.
When photographing the bride and groom together, ask him to put
his arm around her and "squeeze" her to him. The resulting shot is always
great. Also, have them put their arms around each other and tell the
groom to "squeeze her tight". This will bring their faces together and
get a much better expression than a stiff smile. 3/4 length shots are
great for shots of the bride and groom, individually and together. Try to
bring the bride's bouquet in to the bottom or edges of the frame for
interest.
Try to get pictures in a variety of locations where you can have
people sitting as well as standing. Finally, spread people out as much as
possible – don't squeeze group shots so tightly together that you can't
see people's faces.


5 The Importance of Being Organized
-------------------------------------------------
Organization will be the key to successfully photographing
anyone's wedding. If equipment backups are critical, organization is at
least as important. Weddings, as we have said before, are highly
emotional events. Your friends whom you normally see as sane, calm,
collected, human beings, can and will lose all control during their
wedding. You, as the photographer, must be prepared to give guidance and
a sense of sanity to an otherwise hectic situation. You can only do that
if you are organized and under control yourself.
Make it a point to check out the locations of the wedding and
reception before the big day. Try to visit as close to the time of the
wedding as possible and see how the lighting looks at that time. Scout
out likely spots for portraits, spots that might be troublesome. See if
the church has a choir loft to take ceremony pictures from, find out where
the bride and groom will be dressing, find out where the exits and
entrances are, etc. Finally, find a safe place to stash your equipment.
You'll be thankful you did all of this on the big day.
It is a good idea to schedule an engagement or other informal
session with the couple before the day of the wedding. This gives the
couple insight into the capabilities of the photographer and opportunities
of images that could be taken at the event itself. It also helps develop
a rapport that is invaluable during the actual wedding day.
Ask the couple to provide you with a list of important people.
If possible ask them to assign a family member or close family friend to
point these people out to you. This will help you not only to organize
the family portraits, but it will give you guidance during the reception
when you have to get candids.
Try to seek out allies on each of the families. There is always
someone in each family that has a commanding presence, so when orders need
to be given, groups gathered, missing uncle found, attention gotten, this
person has the power to get it done just by asking for it. (Hanson Fong
calls this person a "godfather") Asking this person for help early enough
will get the following aid. They can gather the family together just
after the wedding so when you call for the Family of the Bride, there
they ALL are. If you have a problem with a drunk, or pushy other camera,
a quick word will get significant help. I find this person to be the
father, mother, or aunt and uncle, sometimes it is the bride herself. A
good godfather is worth two assistants.

If you are taking formal posed photographs, establish up-front
that, during the formal wedding photo session, you're the boss. And stick
with it. Don't be a jerk about it, but be firm in your instructions and
don't be afraid to demand everyone's attention when you ask for it. Be
prepared to give orders to people whom you don't know to get them to line
up for your photographs.

[chrisby]

It's probably a bit outdated as it talks only about film, and it is a bit biased towards american weddings.

But there are some good bits in there,

For the purposes of this FAQ, it is assumed that you are
familiar with the fundamental concepts of exposure, including the
relationship of aperture to shutter speed, fundamental use of your flash,
etc. If you don't have this basic understanding DON'T PHOTOGRAPH THE
WEDDING.

unfortunately most people ignore this and think a friends wedding is a good time to learn

The following items are from a "kit" carried by a professional photographer:
small hair dryer

Hmm, never seen a photographer with a hair drier before, maybe he means the hair and makup person