Wedding photographer at Brandshatch Place Hotel

Here's a selection of shots from Helen and Paul's wedding on Sunday - see their full wedding gallery.

1/320, f/8.0, ISO 100, (0, -2, +2 HDR) EV, 16mm (16-35)

1/1000, f/1.2, ISO 100, 0 EV, 85mm (85)

1/250, f/3.2, ISO 200, -1 EV, 85mm (85)

1/640, f/3.2, ISO 200, -1/3 EV, 85mm (85)

1/200, f/2.8, ISO 1600, 0 EV, 35mm (16-35)

1/200, f/2.8, ISO 800, 0 EV, -2/3 FEC, 35mm (16-35)

1/125, f/2.8, ISO 800, +2/3 EV, 0 FEC, 16mm (16-35)

1/125, f/2.8, ISO 800, +2/3 EV, 0 FEC, 35mm (16-35)

1/500, f/4.0, ISO 400, 0 EV, 35mm (35)

1/400, f/1.8, ISO 100, -1/3 EV, 85mm (85)

1/80, f/3.5, ISO 1600, 0 EV, 0 FEC, 16mm (16-35)

1/160, f/2.8, ISO 2500, +1/3 EV, 200mm (70-200 IS)

1/100, f/2.8, ISO 2500, +2/3 EV, 100mm (70-200 IS)

1/100, f/2.8, ISO 2500, +2/3 EV, 195mm (70-200 IS)

1/125, f/2.8, ISO 2500, +2/3 EV, 85mm (70-200 IS)

1/125, f/2.8, ISO 2500, +2/3 EV, 200mm (70-200 IS)

1/200, f/2.8, ISO 2500, +2/3 EV, 110mm (70-200 IS)

1/250, f/2.8, ISO 2500, +2/3 EV, 135mm (70-200 IS)

As you can see they were a very jolly bunch and I was able to get some great candids during the speeches. The hotel has tricky lighting conditions - windows are small giving hard light within, there are spotlights all over the ceilings and, worst of all, mixed light sources in all the rooms. At times I was having to deal three different light sources - window, tungsten and fluorescent!

My main website: Kent photographer

Wedding Photography - exposure values

For further photography-related information check out my compendium of tips.

Continuing on from yesterday's post.

Thanks for that detail David. So just to clarify - you did not use flash in that shot? I'm not too clear on what the thinking is with point 1 in your reply. I'm keen to know at what point you decide to turn off your flash outdoors. For example, in your full length portraits of the couple (over 100mm focal) would there be any point using flash on a bright day? I'm guessing the shutter speed would always be above the flash sync, so would even FEC +2 give enough power to make a difference?

Thank you, Neil

David, was there a reason you went with f/8 for this shot? With the crowd in a level line you could have gone wider right? Underexposing for ambient is difficult in daylight as the shutter speeds become so high, the Speedlite HAS to work in high-speed sync mode, reducing its range a lot - I think about 7ft is your limit. David what do you think?

Peter

Hi chaps,

Thanks for the comments. I'll address them one by one:

1. No flash was used with any of the group shots.

2. To address point 1 in my original reply let's look at some hard exposure figures (also check out my post on exposure values for some background info). To expose correctly for faces in the group shot (the subject) required 1/125, f/8.0, ISO 100 (we'll ignore the exposure compensation tweak) - this equates to an exposure value of 13. If I had wanted to expose correctly for the sky (the background) the exposure would have been in the region of 1/4000, f/8.0, ISO 100 - an EV of 18 and a 5-stop smaller exposure than that required for the group shot. If I'd wanted a bit of drama I would have needed to underexpose in addition. If I did so by a further 2 stops (ie 1/8000, f/11, ISO 100) the subject matter would now be 7-stops underexposed - and I'd have to make up this difference with my Speedlites! This is a huge amount of light which is beyond their capabilities. Their output is further limited under these conditions since the X-sync speed on my camera is 1/250 so we'd have to set the Speedlites to high-speed sync (FP) mode which reduces power output to about 1/3. Also the smaller the aperture of your lens the harder the flash unit has to work - and we're at f/11!

3. Using flash outdoors is a judgement call based upon the factors I mentioned in the original post - primarily the exposure balancing required and the subject area that needs to be lit (both of these determine the amount of power output required).

4. I probably could have used flash with the couple shots to just add a 'kiss of light' - I was shooting at f/2.8. Speedlites have a Fresnel lens for focusing light (up to a focal length of 105mm on my 580EX IIs). Having said this, I would probably have taken the flash off-camera though and had someone holding a Speedlite just out of frame and directing the light for me.

5. Flash units are quickly overwhelmed outdoors!

On to Peter's comments:

6. f/8.0 - f/11 is generally the sharpest aperture of a lens. If I can, I try and shoot groups at this aperture as well as the crowd-pleasing wider apertures!

7. High-speed (FP) sync mode reduces output to about 1/3. Range will depend upon the aperture you're shooting at but it probably won't be far from the figure you suggest.

Hope this helps! All the best, David

My main website: Kent photographer

Wedding photography - sunny days

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Sunny days without a cloud in the sky (particularly when the sun is low and there's no shade available) create demanding conditions to shoot in - check out the original post regarding the placement of the sun in the above shot. It prompted a few questions.

Hi David,

Did you also use flash when shooting into the light in this shot? Couldn't you underexpose the ambient to bring out the sky and flash light the group for more drama?

Ta, Neil

Hi Neil,

Many thanks for your comment. I should have addressed this issue in my initial post.

As you rightly point out, underexposing for ambient light and then lighting the subject with flash is a great way to add drama to a shot.
The factors to consider when doing this are:

1. The difference in exposure between the subject and the background.

2. The subject area that needs to be lit.

3. The number of shots that need to be taken in this situation.

In my example above, all of these factors were against me applying this technique.With the sun at full tilt mid-afternoon there was at least a 5-stop difference between the sky and the faces of the guests and I had to take lots of large group shots. Lighting wedding groups evenly under these conditions is beyond the three Canon 580EX II Speedlites I have in my bag! To have a few shots without the sky being blown out (there were no clouds but the sky was a lovely blue away from the sun) I shot a few groups with sidelighting. A blue sky is a more manageable middle-grey tone. I hope this all makes sense. Feel free to post further comments.

All the best, David

My main website: wedding photographer in Kent

Wedding photography at Brandshatch Place Hotel

I had the pleasure of photographing Helen and Paul's wedding at Brandshatch Place Hotel, near Fawkham in Kent, yesterday. Yet again it was a beautiful sunny day - April 2009 was a very good month! Their gallery will be appearing shortly.

My main website: Kent wedding photographer

Wedding photography - exposure technique

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Another question:

Hi David,

What's the best way to expose faces in bright sunshine when shooting towards the sun? It's really hard to judge on the LCD screen (shooting wide angle full length portrait for example). Would you suggest spot metering is the way to go? How do you manage blinking highlights and histogram information in this scenario?

Thank you

Tim

Hi Tim,

I'm not suggesting that what follows is the 'best' way, it's just 'my' way. It doesn't matter how you expose your shots as long as it's accurate, reliable and efficient.

I have to say I never spot meter at weddings - too time consuming and easy to get wrong in a high pressure situation. I prefer exposure compensation and do it on 'instinct'. I certainly wouldn't claim that all of my shots are perfectly exposed but I haven't lost a shot due to an exposure error for over a year.

I quickly judge if the scene is lighter or darker than middle grey, or is backlit as in the scenario you mention, and then compensate accordingly. This happens in an instance - I'm unconciously competent at this now. But occasionally I might underexpose if I want to guard highlight details or overexpose if I want more detail in the shadow regions.

I don't have a formula that I follow - it's on a shot-by-shot basis. I may have a quick glance at the LCD screen after an occasional shot (the 5D Mk II produces high resolution thumbnails which are pretty accurate) but I rarely check the histogram. Again, due to time considerations.

This is probably not much use to you but it is honest!

All the best,

David

My main website: Kent wedding photographer

Wedding photography - the confetti shot

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Another question:

Hey David,

Looking at your galleries, I can't see any pics of the bride exiting the church and the confetti shower etc. I'm interested to know your tips for photographing this sequence, does autofocus have difficulty with all that stuff flying around. Do you switch to AI Servo mode? Do you walk backwards while using single shot?

Thank you

Tim

Hi Tim,

I always take a shot of the bride and groom walking down the aisle after the ceremony. I generally use my 16-35mm f/2.8 L lens in one-shot mode (occasionally AI servo), shoot at f/4 with a kiss of flash, and keep the shutter speed above 1/100 by adjusting the ISO speed, whilst walking backwards! I've not had problems with autofocus in these situations. If the church is really dark the AF-assist beam of the 580EX II will kick in.

At many civil venues, couples don't actually exit the building but move to another room for drinks. So there's no opportunity for the pose outside the building and they obviously don't bother with confetti!

With church ceremonies I take a shot of the couple exiting the church and will post it online if the venue is photogenic - a surprising number of churches seem to be in a permanent state of scaffolding. Bear in mind also that I only post 20% of shots.

Even with church ceremonies the confetti shot only occurs at about 30% of weddings. I've included an example from Louise and Adam's wedding last year, which was a traditional church affair.

All the best,

David

My main website: Kent photographer

Wedding Photography - In the church

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More recent questions:

Hi David,

I'm interested in how you approach lens changes at a wedding. What sort of strategy do you have for each lens usage? How do you handle church weddings where you are not permitted to move around - stick with the 24-70?

Thanks!

Robert

Hi Robert,

I change lenses a lot. I have a Lowepro rucksack loaded with all my lenses on me at all times. Even if the vicar is very strict this allows me to discreetly changes lenses without problem. During the ceremony I use the 16-35 f/2.8 as the bride and her father enter, then switch to the 85 f/1.2 and 35 f/1.4 for the exchange of vows, the 35 f/1.4 for the signing of the register and then back to the 16-35 f/2.8 for the exit. Being familiar with the ceremony procedure means you're not changing lenses at key moments.

Hope this helps.

Yours,

David

Hi David,

Yes that's very helpful. Many thanks. This is a really good blog btw. What is your cue for making it to the exit in time if the vicar doesn't like you to move? Would it be okay to take flash shots before the ceremony starts generally? I'm shooting my first church wedding in a few months - and I've got a stern vicar to deal with. Any other tips appreciated!

Robert

Hi Robert,

Thanks for your positive feedback. The vicar ought to invite you to photograph the signing of the register. Shortly after this will be the exit from the church. Try and establish the ground rules for photography with the vicar before the wedding. There ought to be no problem with using flash before the ceremony but, unfortunately, it's impossible to generalise about what's acceptable. See previous posts on the behaviour of vicars!

Good luck!

Yours,

David

My main website: Kent photographer

Canon EG-S focusing screen

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Another recent question:

Hi David,

Like you I enjoy using fast apertures for portraits. I am considering the EG-S focusing screen so I can see the DOF in the viewfinder. I understand you've used one on your old 5D (I think you mentioned it in another post). My question is as these are designed for lenses F2.8 or faster - does stopping one of these lenses down give you the darker image problem you would have if you used a default F4 or slower lens? Or does a darker image only apply if your lens is default F4 or above?

Thank you!

Ricko

Hi Ricko,

The EG-S focusing screen is only designed to help you with manual focus. It makes it easier to see when a subject is properly focused. It won't give you any benefit in visualising DOF. To do this you'll still need to press the DOF preview button adjacent to the lens release button on the front of the camera.

When you look through the viewfinder the lens is always set to its widest aperture to allow the maximum amount of light in. It only stops down to the aperture you've selected for your exposure when you fully depress the shutter release button. Hence the reason that a DOF preview button is available (though I have to say I don't find it very useful).

The EG-S screen will transmit less light, hence it's recommended that you only use it with a lens with an aperture of f/2.8 or below. For slower lenses the viewfinder may be unacceptably dark.

Yours,

David

My main website: Kent wedding photographers

Wedding Photography - Glasses and Flash

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Another recent question. This refers to the post entitled Photography at The Salutation, Sandwich.

Hi David, Second picture down in this post - I can see you used flash. How did you avoid the reflection in the groom's specs?

Thank you!

Ricko

Hi Ricko,

That's a good question. I typically ask glasses-wearers to lean their heads forward by a degree or two to reflect the flash light downwards. Sometimes a little trial-and-error is required but you can generally get a shot without a reflection.
All the best,

David

My photography website: Kent Wedding Photographer

Lightroom and the Canon EOS 5D Mark II

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I received the following question today.

Hi David,

I just discovered your blog and was especially interested in your post "Lightroom vs Aperture with 5D Mark II RAW files". I'm a big fan of Lightroom and a new owner of a Canon 5D MkII. However, I'm a little bit disappointed. Although I have the latest version of Lightroom (2.3) and Camera Raw (5.3) and always shoot in RAW (usually sRAW1, 10MB), my pictures are always too contrasty and I frequently lose information in the shadow/dark areas, getting only a black surface.

Do you have any idea what might be the problem? How do you personally capture and process your images?

Congratulations on your blog. It's a real pleasure and inspiration to look at your pictures. Thanks for your help.

Regards,

Olivier

Hi Olivier,

Thanks for your kind words.

I've not shot in sRAW 1 and so am not aware if there are any particular limitations with this format. I'd be surprised if it were different to the 5D Mark II's standard RAW format but life is full of surprises! I've not yet encountered any problems with recovering detail from shadow areas whilst shooting the standard RAW format on the 5D Mark II.

I think you need to do a few photographic experiments.

Put your camera on a tripod and shoot a scene in both RAW and sRAW 1 with -1, 0 & +1 stops of exposure compensation. Process the six shots using Lightroom and also Canon's DPP software. Comparing your results you might be able to answer some, or all, of the following questions.

Is there a difference between RAW and sRAW 1?
Is there a difference between Lightroom and DPP?
Is the camera underexposing with the lens you're using?
Which settings give the best results?

I'd love to know how you get on.

All the best,

David

Any other suggestions or comments?

My main photography website: Kent Photographer

Wedding Photographer at The Grand, Folkestone

A selection of photos from Marie and Olly's wedding that I shot on Saturday.

1/250, f/1.4, ISO 400, 0 EV, -2/3 FEC, 35mm (35)

1/200, f/1.2, ISO 400, 0 EV, 85mm (85)

1/160, f/2.5, ISO 1600, +2/3 EV, 85mm (85)

1/160, f/1.4, ISO 400, 0 EV, +1/3 FEC, 35mm (35)

1/400, f/2.8, ISO 50, +1 EV, 200mm (70-200)

The sun was intense and low in the sky giving a huge tonal range. I obviously wanted to see the expressions on their faces so I exposure compensated by one stop - some detail in the dress had to be sacrificed.

1/500, f/2.8, ISO 50, +2/3 EV, 200mm (70-200)

1/640, f/2.8, ISO 50, +2/3 EV, 160mm (70-200)

Contrast had to be significantly boosted in post-production with this shot. I saw minimal flare in this sequence of shots despite the low sun - one of the benefits of L-series lenses.

1/800, f/1.2, ISO 250, 0 EV, 85mm (85)

The sun was so intense I decided to shoot the majority of the group shots inside. We found a room with beautifully soft light.

1/250, f/2.0, ISO 250, 0 EV, 85mm (85)

1/250, f/2.0, ISO 320, +1/3 EV, 85mm (85)

1/400, f/1.4, ISO 320, +1/3 EV, 35mm (35)

1/100, f/8.0, ISO 50, 0 EV, 35mm (35)

Back outside for the full group shot. I used the steps up to the hotel entrance in order to be able to see everybody which meant that the scene was sidelit. Again, the tonal range between lit and shadow sides was enormous. Shooting in RAW and then recovering highlights and boosting shadows with Lightroom has reduced this contrast.

1/200, f/4.0, ISO 50, +1 EV, 35mm (35)

Shooting with the sun behind the group and exposure compensating has kept faces free of shadows and burnt-out highlights.

1/250, f/2.8, ISO 1250, +2/3 EV, -1/3 FEC, 35mm (35)

A 'kiss of flash', softened by a Lastolite micro Apollo, gives the subject a nice boost.

1/320, f/4.0, ISO 1600, +1/3 EV, 0 FEC, 16mm (16-35)

Any comments or queries welcome as ever.

Check out my main website here: Kent photographer

Wedding Photography at The Grand, Folkestone

I had the pleasure of photographing Marie and Olly's wedding yesterday at the United Reform Church, Canterbury and The Grand, Folkestone. Their wedding gallery is already online to view!

Check out my main photography website here: Kent wedding photographer

Photography at The Salutation, Sandwich

A small selection of photos from Amy and Bruce's wedding in Sandwich on Saturday. The gardens belong to a beautiful house called 'The Salutation'. A lot of shots taken outside were underexposed to preserve highlights.

1/100, f/2.8, ISO 500, 0 EV, -2/3 FEC, 35mm (16-35)

1/250, f/2.8, ISO 400, +1/3 EV, -1/3 FEC, 29mm (16-35)

1/200, f/4.5, ISO 800, 0 EV, 0 FEC, 17mm (16-35)

1/125, f/4.0, ISO 400, +1/3 EV, 0 FEC, 35mm (16-35)

1/250, f/1.2, ISO 100, -1/3 EV, 85mm (85)

1/160, f/1.2, ISO 100, +2/3 EV, 85mm (85)

1/200, f/1.4, ISO 100, +1/3 EV, 35mm (35)

1/200, f/8.0, ISO 100, -2/3 EV, 35mm (35)

1/8000, f/1.4, ISO 100, -1/3 EV, 35mm (35)

1/8000, f/1.4, ISO 100, -1/3 EV, 35mm (35)

1/8000, f/1.4, ISO 100, -1 EV, 35mm (35)

1/500, f/2.8, ISO 100, 0 EV, 145mm (70-200)

1/6400, f/1.2, ISO 100, -1 EV, 85mm (85)

1/4000, f/1.2, ISO 100, -1 EV, 85mm (85)

1/6400, f/1.2, ISO 100, -2/3 EV, 85mm (85)

1/1600, f/2.0, ISO 100, -2/3 EV, 85mm (85)

1/6400, f/1.2, ISO 100, -2/3 EV, 85mm (85)

1/5000, f/1.2, ISO 100, -2/3 EV, 85mm (85)

1/800, f/1.4, ISO 50, +2/3 EV, 35mm (35)

1/250, f/2.8, ISO 800, -1/3 EV, 35mm (16-35)

1/1250, f/2.0, ISO 1600, -2/3 EV, 85mm (85)

1/2500, f/1.2, ISO 1600, 0 EV, 85mm (85)

Any comments or queries are welcome as ever.

Check out my main photography website here: Wedding photographer in Kent

Wedding Photographer in Sandwich

I had the pleasure of photographing Amy and Bruce's wedding in Sandwich yesterday. The ceremony and reception were held at The Bell Hotel but we popped into the gardens of The Salutation (a beautiful house designed by Sir Edwin Lutyens in 1912) for the group photos and bride and groom portrait session. The weather was fantastic.

I've almost already finished processing their photos thanks to an early morning call from my daughter at 4:30am!

Check out my photography website here: Kent Wedding Photographer David Fenwick

Strong sunlight with no shade

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Whilst taking Chloe and Aidan's wedding group shots in Herne Bay's Memorial Park last Saturday, the weather was transformed from that of a gloomy winter's to a glorious summer's day in the space of 5 minutes as the sun burnt off all the cloud cover. My soft lighting was replaced by intense, high contrast lighting and there was no shade in sight.

What can you do in this situation?

Well, you should certainly try and avoid that old adage about 'keeping the sun behind you'. This will direct the sun into your subjects' faces, often causing them to squint, and can easily cast shadows under their brows (causing 'panda eyes') and noses - not very attractive. Even if you get away with this, the lighting can often look flat.

Try putting the light behind your subjects, as in the shot above. You may need to exposure compensate depending upon the tonal distribution of the shot. Expect to see the sky being burnt out though - don't worry about an unhealthy-looking histogram, we're only interested in detail in the subjects' faces.

Here's a close-up of Chloe and Aidan - no squinting, no shadows on their faces. The rim-lighting (and shadows in front of the group) also add depth to the shot.

Two more examples of shots taken under these conditions - strong, high contrast lighting with no shade.

One caveat - if the sun really is directly above you (most likely at midday in mid-summer in the UK) then you won't be able to avoid shadows on your subjects' faces. Open shade will have to be sought under these circumstances.

Side-lighting can also add depth to a shot. You just need to decide if the shadows created are too great a distraction for your purposes.

Check out my main photography website: David Fenwick Photography

Wedding Photographer in Herne Bay

A selection of photos from Chloe and Aidan's wedding at Herne Bay on Saturday.

1/400, f/3.2, ISO 100, -1/3 EV, 35mm (16-35)

1/250, f/4.5, ISO 100, +1/3 EV, 35mm (16-35)

1/100, f/2.5, ISO 400, -1/3 EV, 85mm (85)

1/160, f/2.8, ISO 800, +1/3 EV, 35mm (35)

1/160, f/2.8, ISO 800, 0 EV, 34mm (16-35)

1/320, f/4.0, ISO 100, -1/3 EV, 22mm (16-35)

1/50, f/4.0, ISO 100, +2/3 EV, 16mm (16-35)

1/320, f/8.0, ISO 100, 0 EV, 16mm (16-35)

1/125, f/8.0, ISO 100, +1/3 EV, 35mm (35)

1/100, f/8.0, ISO 100, -2/3 EV, 35mm (35)

1/800, f/2.8, ISO 100, +1/3 EV, 35mm (35)

1/1250, f/2.0, ISO 100, +1/3 EV, 35mm (35)

1/1600, f/2.0, ISO 100, +1/3 EV, 35mm (35)

1/250, f/2.8, ISO 100, -1/3 EV, 200mm (70-200)

1/500, f/2.8, ISO 100, 0 EV, 125mm (70-200)

1/800, f/2.8, ISO 100, 0 EV, 110mm (70-200)

1/60, f/4.0, ISO 500, -1/3 EV, 35mm (35)

1/800, f/1.6, ISO 500, +1/3 EV, 35mm (35)

Comments and queries welcome as ever.

My photography website: Kent wedding photographer

Herne Bay Wedding Photographer

A selection of Chloe and Aidan's wedding photos are now online. Shots with EXIF data to follow soon!

Check out more of my photography here: David Fenwick Photography

Wedding Photography in Herne Bay

I had the pleasure of photographing Chloe and Aidan's wedding in Herne Bay and Chartham yesterday. The weather forecast predicted rain, so I packed my wedding umbrellas in the car, but fortunately they stayed there as it turned out to be a gloriously sunny day!

Their gallery will be published online very soon.

Check out more of my photography here: Kent photographer

East Kent Portrait Photographer

I did a photoshoot for Martin and his family on Sunday in Preston, near Canterbury - please check out the gallery. The light was lovely and soft inside but space was limited - I therefore shot primarily with 16-35mm f/2.8 L and 35mm f/1.4 L lenses.

Check out more of my photography here: wedding photographer in Kent