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Andre, Weddings are typically not simple; they're complex encompassing doing many kinds of photographs over most of an entire day. They're also physically and mentally demanding. The "down time" comes in little bits and pieces here and there, a few minutes at a time. Traditional wedding still photography of traditional weddings requires two completely different modes of shooting, portraiture and photojournalism (or editorial), and requires skills with both. Portraiture is controlled and requires skill with lighting, posing people, assembling individual poses into a grouping and knowledge/experience about how to place them against a background properly (to avoid background distractions from the portrait). At a wedding, this requires being able to do it quickly too. The photojournalism (editorial) part records the events of the day and "tells the story" with pictures. It requires being able to anticipate when something important or of interest will happen, and being in the right place, at the right time, prepared to photograph it, *before* it happens, and it should not be unduly intrusive on events as they occur. Being able to position and compose a photograph quickly, and timing shutter release for the "decisive moment" of the actions or event are critical. With an SLR, if you see the "decisive moment" through the viewfinder, you've missed it (SLR viewfinder blacks out during exposure). Knowledge about the traditional sequence of events for a wedding day, including the ceremony and main reception events helps greatly. These are the biggest artistic pitfalls and potholes beginners stumble into. The biggest technical ones are: (1) Not having enough flash/lighting power. Distances are farther and spaces are much larger than found in most studio or home photography. Insufficient flash power results in underexposed negatives which are a Bad Thing for making prints. A flash that takes too long to recycle and having to wait 5-7 seconds for it to be ready again results in missed shots. (2) Underestimating film and battery requirements. A wedding can consume more film than some people use in an entire year. For the 35mm photographs, I take 15 rolls of 36-exposure color film for 35mm. It's rare to use all of them, but running out is catastrophic. Likewise, running out of battery power for a motorized camera, or a flash is equally catastrophic. (3) Inadequate backup of camera body, lens and flash (the three most critical components), and a plan thought out in advance about what to do if something quits working right. (4) Not quite as serious at the first three, but can greatly affect image qualities are inadequate shadow control and elmination of red-eye risks. Simply puting a flash into the prism hot shoe is very high risk. Turn the camera vertical and there are shadows cast to the side of everything. Add a closer background such as someone near a wall, and the result can be less than appealing. Red-eye is a particular problem with dimly lit receptions after people have been consuming some alcolhol. The only highly reliable technical solution is getting flash farther above the lens than most hot shoe mounted flashes allow, and keeping it above the lens with camera vertical or horizontal. (5) Many lower end auto-focus consumer camera bodies have trouble focusing in low light, particularly when combined with the slower (narrower aperture), less expensive consumer lenses. Even if the user can override the AF system, trying to do so through a dim viewfinder created by a slow lens in very low light is almost impossible. If you have an auto-focus camera, **test** its ability to focus accurately in low light! If this is a non-pro shoot (not for $$$), see my wedding survival guide:
http://johnlind.tripod.com/wedding/ My survival guide is intended for non-professional friends and relatives of bride/groom who, for whatever reason, get asked (or roped into) shooting a wedding. It's *not* intended for someone who wants to get into the business of professional wedding photography. Even though it does discuss the major issues wedding photographers must deal with, the solutions given are for the non-professional and the type of equipment an experienced non-pro is more likely to have, or can acquire beforehand (and practice with) without "breaking the bank." Make an honest assessment of your skills/experience compared to what's required. Take stock of your equipment and whether you have at least the minimum of what's required. Then make a decision. I don't want to scare you away from it. I've found weddings enjoyable even though I'm physically tired and mentally drained after one. I do want you to understand the nature of it, what's required, and knowledge about how to avoid major problems (i.e., disaster) if you choose to do it. Good Luck!
-- John
June 15, 2003
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