Photography Tips and Tricks

Taking successful group shots is a challenging issue facing all wedding photographers. Ideally, the weather is nice enough to take the group outside so you can eliminate any problems of space. If it is a bright sunny day, you really need to get everyone into open shade- such as under trees, or the shadow cast by a nearby building. What you are trying to ensure is that everyone is evenly lit by daylight. The last thing you want is for your audience to be squinting because of the sun in their face, or some members in shad and some not.

The photographer may at times discoverthat there is no open shade available so position yourself and your crowd sideways to the sun or shoot into the sun as a last resort. The easiest outdoor group shots happen when the weather is dry but overcast.
It can be trickier taking group shots indoors. First you have to find a good amount of space to fit everyone and you’ll normally find that extra light is needed. If you find the ambient light is poor use your portable flash units off camera into umbrellas.

Two of these can work magic, and you might want to use a silver umbrella for stronger bounced light. To achieve the best spread of light place your umbrellas high on either side of the group and aim them into the middle row of your group (not the front). With just one umbrella to hand the best thing to do is place this above and behind from your shooting position. One speedlite firing into a 100cm umbrella on full power can handle a group of 15-20 people during the shoot of the picture.

A trick you might want to try is to start everyone off with their eyes closed and tell them to open on the count of 3. At the moment you shout “open” keep your finger on the shutter for 4-5 continuous shots just to be sure. Just before you take a group shot it is also worth spending 10seconds quickly scanning the group to make sure you can see all faces without obstruction. Remind them that if they can’t see you the camera will not see the them. The other side of this is to position yourself as the photographer in a good vantage point. The photographer will either need to step up on a chair or ladder or arrange the crowd up a staircase to bring each individual into view.

Your final concern for group shots is of course one of focus. As your group will likely consist of numerous rows of people you’re immediately going to need an aperture of F8 or F11 (which also means you get the sharpest performance from your lens incidentally).

As the bride and groom are going to be front row, focus on their eyes. Remember that focus extends further back into the frame than in front, so by focussing on the front row you can snap everyone behind into focus too.
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Equipped with a modern digital SLR many photographers learn their trade using natural light. Whether it is artificial or natural the three qualities of light are quality, quantity and colour. The most important of these is the quality of light as this has a marked effect on the photograph. The quality of light is dictated by a number of factors and as we are dealing with available light, the biggest influence is the weather and time of day. For example cloudy and overcast days produce flat and cool toned images. It doesn’t matter where you are, time and weather impact photography if working with available and natural light.

Wedding photographers face a demanding battle with available light. Venues often have very low light, mixed lighting or just not enough of it. Outdoors, there’s often bad weather to deal with and too much of the wrong light, such as overhead midday sun. Even in a static environment, light can be very varied as the photographer moves around. As a result, exposure compensation and ISO/aperture choices become prevalent in dealing with available light. Thankfully processing in RAW modes is a big bonus for dealing with the problem of colour and light. If you shoot in Jpeg, you’ll need to worry a whole lot more about colour casts and finding a suitable setting foryour white balance.

Facing up to the demands of limited quality and quantity of light means you are going to push your technology to the limits and be forced to work within the confines of the availability in light. It is usually at this point that you really appreciate why you should have spent more on a better camera. The key reason why photographers buy expensive SLR cameras is because of the ISO ability – how high the ISO range is and the ability of the camera to limit visual noise are the major selling points for professionals. Why? Because high ISO makes the camera more sensitive to low light at higher shutter speeds – available light is no longer a major problem – just the quality of the light.

With the majority of modern photography is taken in colour, the quality of light become even more critical. Many purists of available light photography shoot in colour to later render. A Colour photograph offers plenty of scope for creating a black and white image, as different colours become adjustable as individual shades of grey.
One other trick available for available light work is to bracket a shot and create a HDR imag. The HDR combination of different exposures creates much more dynamic range in the image when combined. The down side of course, is that you would ideally use a tripod and the subjects of the scene need to avoid moving during the duration of the exposure.

Faced with the complexities of finding good quality natural light, it’s no wonder many photographers turn to flash photography – at least this puts the photographer in control of the quality and quantity of their light for predictable results.
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You’ll find many photographers who pigeon-hole their style of photography: Contemporary, traditional, reportage, fine art and so forth are all popular phrases for photographers. From the client’s perspective they usually do not really understand the differences –they simply see modern or old fashioned looking wedding pictures.

Particularly in wedding photography the important thing is to capture emotion, and one thing which clients really appreciate in wedding images is the natural look – they get that.

Wedding photographers are often in conflict with tradition in trying not to focus on ‘standard’ photographs. Such images are cliché and for a client comparing photographers – it can be very difficult to differentiate. Such tick-tock imagery is bound to lose its impact with clients, but clients still want these pictures regardless of the style they have booked for; the cliché lives on.

How to address this problem is one that more successful photographers have acknowledged. Shooting with a wide lens aperture for example gives a more modern ‘movie’ ‘3D’look to images, pulling the viewer to a particular component on the scene. Capturing candid expressions in this fashion can take cliché shots and present them in an incredibly natural fashion that is always a hit with the client.

Other photographers focus on timeless images. Being able to anticipate the action and be prepared to capture it is a valuable skill. Photographs that captures the mood of the moment as it unfolds appear timeless in that their emotional impact is just as vivid today as it will be 50 years on, and there is nothing in the picture that will seem overtly dated. Simplicity is a key tool for the professional photographer and the best images usually happen by themselves. Authenticity brings out the story in wedding photography. If the image is overcooked in post-production that purity is lost.

Use of colour or not is also a cliché. Spot colour (where a single element of a black and white image is given colour) is generally frowned upon by most modern wedding photographers, but clients still really like it (they probably will not in 10 years). Similarly pure black and white photography is traditionally regarded as artistic and well suited for portraits – colour is often a distraction in a busy photo, so a conversion brings back simplicity to the composition. Often in wedding photography, the use of colour is rarely artistic at source – but applied in post for clichéd effect.

Unfortunately there is a trend among most clients to expect as many pictures as possible from their wedding, but they also want to book their photographer for as few hours as possible. The result is that the photographer does not have time to capture much more than the cliché pictures. Simply herding guests together for a long list of ‘requested’ shots from the couple is a real time waster, and impatient guests make for pictures that are not natural in form. Similarly, a private portrait session with the bride and groom is also critical, but there is often little time to find scenic backdrops and explore poses and props that would really create memorable pictures that are not cliché.

Ultimately, wedding photography has moved on thanks to technology, but remains cliché due to expectations and tradition. Unless you are prepared to pay a premium and devote extra time on the day for the wedding photographer, that’s what the market decides.

This article is copyright of www.Visualsnap.co.uk – Kent wedding photography. Established and Professional Kent photographer and supporting wedding videography services for London, Surrey, Kent and the south east of England.

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