Gallery Rooms

Alex's Gallery: Weddings

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This is merely a conglomeration of ideas by a few PENTAX users. Some are professionals and some not so professional. I truly hope you find many useful ideas here. Best of luck and may the PENTAX gods be with you.

What should I expect

Warning

"Friendly" weddings can be very stressful. However they are a wonderful way to get experience -- both with the shooting and with the stress.

The first thing any pro wedding photographer will tell you when asking for advice on shooting a wedding is: don't do it . Run; don't walk to the nearest exit. Shooting a wedding is NOT for the faint hearted. Even if it is your best friend and they tell you they have no expectations, they do. A wedding is the biggest event in some people's life. It is highly emotional and contains many dreams and wishes for your friend. If you shoot the wedding and something goes wrong, you will be blamed, even if it is out of your control. Remember that friendships have been ruined and it has even gone so far as to start family feuds over wedding pictures. I am by no means saying that if you shoot a wedding everything or anything will go wrong. I just want you to be warned that there is a possibility that something may go wrong.

If you cannot talk the happy couple into hiring a pro, or you cannot hire one for them the following tips may help.

Most importantly, enjoy yourself. It really shows in the pictures.

What is it going to cost me?

Okay when I volunteered to do my first wedding I never took into account what it would cost. Professional film runs about $6.00 a roll and to develop it right it will cost anywhere from $10-20 a roll. I joined a pro camera club at my local camera shop and the cost is considerably less for me than it was if I had not joined the club. I would plan on no less than 10 rolls of film for one wedding. You are putting at least $60 in film alone. Then to develop it you are spending at least $100. You need to be sure that the bride and groom are aware of these costs long before they decide to or not to do a wedding. This does not include the price to crop and enlarge the pictures.

What am I supposed to do?

Remember when you accept the role of photographer that you are no longer a guest. You now have responsibilities to perform. If you are taking part in the toast, perchance, how can you take pictures of the toast. If you need to use the restroom, who will take the pictures of the B&G cutting the cake?

In fact, drinking anything at all will probably be right out; if anyone saw you take even the merest drink of champagne on the big day any of your pictures turn out blurry, someone will swear that you were drunk the whole night. In other words, you can be the photographer or you can be a guest. You can't be both.

If something happens and you do not have the technically correct equipment to do the job, as long as you have the equipment to shoot the job, don't let the Bride in on your problems. You will only lessen her confidence in you and increase the stress of the day, which will show in the final images. Only advise her if the problems will affect the schedule or if you will be unable to take any photos at all.

Should I charge

This is a question that only you can answer. If it is your first wedding and you are not a professional photographer, I would say no, do not charge. If you do charge make sure it is a fair price, you are after all, not as experienced as someone who does this for a living.

On the other hand, if you do not charge anything for your services, a lot of people at the wedding (including B&G) won't take you and your orders seriously. You will be considered an amateur and treated as such.

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What equipment should I use?

...But as we all know 'tis not the camera that makes the image, yadda, yadda...

BACK UP YOUR EQUIPMENT! This cannot be stressed enough. If you do not have at least 2 bodies and 2 flashes you will never be able to shoot the wedding. If you do not own two bodies you could rent one from most major camera stores. There is also the possibility that you know someone who would loan a second body to you. If you do rent or borrow be sure you have the camera in plenty of time to get familiar with it.

Make yourself a checklist!

Cameras

Most professional wedding photographers use a medium format camera. The reason behind this choice is the size of the negatives. If a negative is 2x2 or larger it will make better enlargements then the smaller negatives of the 35mm. A few pros use the 35mm. If you do use it be sure you crop closely with your cameral. FILL THE WHOLE FRAME! If you do this it will be a better enlargement than if you leave part of the frame empty. The type of camera is up to you as long as you choose a PENTAX it shouldn't matter if you use a medium format or a 35mm. Of course there are other advantages and disadvantages to each type of camera, but it is not the camera you choose that is so important, it is how well you can operate the camera that is most important. Make sure you can change the roll of film in a matter of seconds. You know how to readjust apertures etc... without removing the camera from your eye to see what you are doing. Learn your camera well enough you can operate it in total darkness.

Some other random pieces of advice; take at least two bodies The two bodies mean you can have a long prime (85mm) and a short prime (for me that is either a 50 or a 24mm), and swap between the two. Also, inevitably, a critical moment will come and you need to change film. Just grab up the other body, and do the film change later when it is quieter.

If possible, set your camera so it does not rewind automatically. Rewind when you can, away from the party. If your camera is quiet be sure you let the subjects know when you have finished the pictures so they do not stand around waiting for you to take a shot you have already taken.

Lenses

When selecting your lenses you will use personal taste mostly. Some basic guidelines do appear to be helpful, for the beginner with only a 35mm lens. One standard 35-55mm lens will come in helpful when capturing overall scenes such as the ceremony and the hall. One slightly telephoto will come in handy for portrait work. It has been suggested that this lens be approximately 85-110 mm. This focal length allows you to obtain closer images without being right in the subject's face. Have a longer telephoto lens for taking close ups during the ceremony. This one should be approx. 200-300mm. A zoom lens also comes in handy at the reception. Be sure that your zoom lens is of high quality so that the quality of pictures does not suffer.

Again, it is important to know your equipment and where you have put it. You may need to change lenses in a matter of seconds or miss the most important shot of the wedding. Practice changing lenses so that you can do it without thinking. This will be invaluable to you.

Lights

For outdoor shots I expose for the ambient light and set the flash fill ratio at -.7.

The more formal shots at the bride's house can be done with a small umbrella, and flash on a light stand, secured by sandbag ankle weights at the bottom. Remember that umbrella will cost you ~2 stops; thus, you need to take into account how powerful your flash is.

Bracket

There is one item that will improve your flash shots more than anything else, and that is a bracket. Get the type that rotates so that the flash is directly over the lens in both vertical and horizontal formats. Your shots will look phenomenally better because of this, as the shadow from the flash falls directly behind the people and there is no distracting edge shadow. It will also eliminate the red-eye if you use lenses shorter than 200mm. A decent bracket will run about $50 or sometimes less. This will, of course, also necessitate the use of an off-camera flash cord.

The other advantage of the bracket is that it makes you look "more professional". It is important to look professional, because you do not just work with your equipment, but also with people and their preconceptions and prejudices.

On-camera flash

If you are limited to an on-camera flash there are several things to keep in mind. The direct mounted flash has two disadvantages. The first is it is usually not high enough and reflects the subject's eyes thus causing red-eye. The flash needs to be at least 6 inches above the lens to prevent red-eye. Another problem you have with a direct mount flash is when you turn your camera to take a vertical shot, you change the relation of the flash to the lens thus making a very visible harsh shadow to the side to the subject. The most recommended cure for these problems is the flash bracket. But don't let anyone tell you those dinky pop-up things are useless battery munchers: the tiny bit of fill the RTFs provide can make a picture.

Flash power

Another question you should consider is how powerful is your flash. If it is a built in flash it will probably not have enough output to light more than a few feet. Remember that you will take most pictures in a dimly lit church or hall. Make sure your flash will provide enough light to light up large groups of at least 10 people. Also, remember that the larger the group the farther back you are going to have to stand from them. If your flash is not big enough buy, borrow, or rent one that is. Elevating the flash should eliminate the Red Eye problem.

Using available light

Think about using available light as a primary or a secondary light source. Daylight (when you shoot outside) is the most common choice of a primary light source. Daylight coming in from a window (when you shoot inside) is the other common choice. Think of using it both as a primary and a secondary light. Video lights of a professional videographer (is this a correct term?) may also be quite useful. Using different light sources leads to the next important topic.

Flash-Exposure-Compensation

In most everyday situations such as inside family shots at Christmas, you may want to leave the flash-compensation off. The camera is highly capable of getting a proper exposure. The only problem with this, is that it looks like you took the picture with a great big flash (which is fine for that sort of situation). However, when you are doing a portrait for someone or for your portfolio, you may want the flash to improve the light situation a little bit but you would not want the photo to show that you used a flash. This is where the compensation comes in. If you used -1.0 stops on the flash under cloudy/overcast conditions, you may still get too much flash on the shot. Vice-versa, if you used -2.0 on a sunny day, you may not see any fill-flash at all thus it would be useless. Good starting point would be a negative compensation of -0.3 from the body's flash compensation dial, depending on how cloudy the day is. This way you may avoid the "stark" look. On a sunny day, you might want to start with +.03 for fill flash.

However, remember that if you are photographing a traditional "white" wedding, there is lots of reflectivity from the dresses. The camera is supposed to use TTL, which it does, and get the "right" amount of exposure automatically. Unfortunately for white/bright dresses, the TTL is fooled a bit by the enormous amount of white, and it thinks it's gotten enough light when it really is getting the reflectivity from the dress, and the resulting picture is underexposed. Compensation like +0.7 or +1.0 seems like a good starting value. But if the dress is not bright/white, then you don't need [much] compensation.

For outdoor fill flash, on a cloudy day, I wouldn't do any compensation (-/+0) or do

Your mileage may vary

It's really depends on personal preference. What you might want to do, is take a friend/helper to a park an a sunny day. Use the same lens, same camera, same film. Shoot a role of 36 at different settings in different conditions. Try some in direct sun with the sun somewhat behind your subject and go through the flash-compensation range. Then do the same, but this time in the shade. Your results will show you which settings you like in which lighting situation. Then you can decide for yourself! :)

Filters

You can shoot a wedding and never touch a filter. However, by using filters you may incorporate "special effects".

Soft Focus

: Soft focus filters all differ from one another, and if you like one or not depends on personal taste. Remember that there is a difference between "soft focus" and out of focus. You can try anything from a commercial soft focus or diffusion filter to a piece of nylon stretched over the lens (black nylon and white nylon provide very different results). 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.

A final word about filters: DON'T GO OVERAlexRD

. Too many amateurs are infatuated with the "neat" effects they can get with filters and wind up shooting the entire wedding through one kind of filter or another. One or two filtered shots are nice. A whole album of filtered shots is not. Also avoid the more "bizarre" filters out there: keyhole shapes, weird mirrored effects, artificial movement effects - none of these are really appropriate to wedding photography and are certainly not appropriate for an amateur to be experimenting with during the "real thing".

Miscellaneous

Miscellaneous items are as important, if not more important than the other things I have mentioned.

Use a tripod whenever possible

Batteries: Make sure you have enough batteries even if it means buying more. Also, make sure that they make it to the wedding and do not end up just sitting on your table.

Tripods and/or monopods are invaluable to the wedding photographer. Although it may seem that you will always be on the move while taking wedding shots a tripod will come in handy for a available light exposure. It will also come in handy if you are taking shots with a longer lens from a balcony. It will be nice at the reception also.

In talking to a man at my local camera store he suggested that you take with you the following items. He calls them his just in case kit, it sounds to me like a good idea. He carries a small hair drier to dry raindrops and tears off of the clothing. Clamps including clothespins, binder clips, and hardware.

He uses these for as a temporary repair for anything that falls apart during the wedding. He carries pins to fix hairdos and rips in dresses, and duct tape to cover power cords and for repairs. His mother insists on him taking a small sewing kit. H also caries a lighter and a razor. He carries tissues. He takes a pump bottle of hair spray to fix hair and runs in hose. He also takes aspirin and cough drops or hard candy. 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 photographers!)

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Any special type of film

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.

Film Types

VPS and NPS are the most common choices of a wedding photorapher for inside shots. These films are often rated at 125, and you can hardly go wrong with them.

You may also use XP2 and Agfa Portrait for the day, Fuji 800 for the evening. The first two will help you cope with the wide contrasts (black tuxes, white dresses), the latter will get you those low-light candids that are fashionable at the reception.

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The Photographs

You've heard all valuable technical advice. Let me give you one kind of "non-technical" one. Make sure that there is at least one picture of the bride where her shoes are visible. Small detail, but sometimes a valuable one. I had never had such situation before that. You might find out what are the details the bride and the groom are proud of. Concentrate on getting several really good shots of just the bride and groom together. These are always the most popular photos.

What shots you should take depend on what the bride and groom want. I am providing a list but it is for standard wedding and can use a little more creativity. Also, there is greater coverage you can give depending on how much the bride wants to spend. Nothing should stop you from taking any good shot you see. 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. For example, a bride on alt. wedding posted once that although she got over 150 beautiful images of her wedding and reception, for some reason the photographer didn't capture the shot of her and her father coming down the aisle together. Because of this she didn't think she should have to pay the photographer because he had violated his contract by not getting "all" of the shots. True story. Aside from that, check out any bridal magazine on the stands today for the "Must get" list of photographs. It's often two pages long! The following are some suggestions on poses for the day, though.

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. For example, a bride on alt. wedding posted once that although she got over 150 beautiful images of her wedding and reception, for some reason the photographer didn't capture the shot of her and her father coming down the aisle together. Because of this she didn't think she should have to pay the photographer because he had violated his contract by not getting "all" of the shots. True story. Aside from that, check out any bridal magazine on the stands today for the "Must get" list of photographs. It's often two pages long! The following are some suggestions on poses for the day, though.

Expected

• Maid of honor helping bride.
• Mother helping bride as bride sits in front of mirror (get both faces in mirror, watch out for flash, shoot at an angle)
• Bride adjusting fathers tie.
• Candids of bridesmaids and bride helping, goofing off-- don't be afraid to pose some shots
• Any other good shots at house that tell the story
• Shot of best man straightening groom's tie, lapels, etc.
• Picture of groom looking at a watch. (Possibly with groomsmen)
• Several shots of the bride alone (bride looking at his ring dreamily)
• Bride and parents
• Groom alone
• Groom and best man
• Groom trying to escape held back by groomsmen

During procession and ceremony-

• Mother of groom coming down the isle
• Mother of bride coming down isle
• Have bride and dad pause and look at each other just before they go up the isle. Get the shot
• Dad kissing bride before he sits down (move off to the side, or instruct them on how to turn so you can get a good shot, or all you will get is dad's butt).
• A couple of shots of the bride and groom during the ceremony, one with them looking straight ahead, one with them looking at each other.
• If a Jewish wedding, where the groom smashes the glass
• If a Catholic wedding, if the bride goes to the shrine of Mary.
• (If possible) a shot from the balcony of the whole scene, people in seats, bride's train at the alter
• The kiss (if you miss it, you can re-create it after the ceremony, just get in tight so that all you get is the preacher and the bride and groom. Tell the couple to hold the kiss for a slow count of four, if your flash recycles fast enough, this may also give you time to get off two shots.
• Bride and groom coming down the isle. Walk backward in front of them, and fire off as many shots as your recycle time will allow.
• Shots of the other couples coming down the isle are not usually done anymore, except by special request. Make sure that you discuss it with B&D in advance.
• Clear out the sanctuary
• Posed shot of entire wedding party at the altar (also get outside on steps or lawn if appropriate).
• The following shots are optional at the bride's request, taking into account the possibility of print sales later
• Bride and attendants at alter
• Groom and attendants at alter
• Any other group that the bride (or anyone else, for that matter) wants, such as the couple with each of the families, a favorite aunt and uncle, etc. Remember that these people may never be together again-- or at least, not together again this well dressed.
• If there are any really beautiful settings at the church, you can get shots of the bride and the couple in them.
• Somehow, some way, get at least one full-length shot of the bride in her wedding dress
• The couple kissing behind a candle.
• The couple entering the room
• The couple looking at rings together
• Bride winking at camera while the groom is hugging her his back to the camera and she is doing the okay sign.
• The rings by themselves
• The toast by the best man
• The first dance with daddy
• The first dance with hubby
• The cutting of the cake
• The couple feeding each other cake
• The couple drinking the champagne with arms intertwined
• If a Jewish wedding get the part where they lift the couple up in the chairs (the hora)
• If an Italian wedding, the line dance
• Kids dancing shots that show the general excitement.
• Obviously, you will want to get any shots that tell the story here. Use up a few of 36-exposure rolls at the reception, if you are shooting 35mm.
• The car, if decorated
• If a limo or carriage, the couple getting into it
• The couple waving from inside the limo
• Take two or three shots of something about 100 proof.

Optional

• Bridesmaids and bride on front steps of house, or in another good setting
• Dad helping Bride into car
• Shot of dad helping bride out of car
• Bridesmaids and bride helping each other and goofing off at church

If formal portraits are being done against a backdrop

• Bride with each bridesmaid
• Anybody else the bride wants you to take a picture of her with
• Just the parents (NOTE- professionals want to do this kind of shot because it means more print sales later. You may want to take a different tack if you are not making money off of print sales)

During procession and ceremony--

• Mother of groom coming down isle
• Each bridesmaid coming up the isle (not usually done anymore)
• Pop the bride and groom into the room that the portrait set-up is in, and give them a couple of minutes alone to settle down, then shoot their formal portrait against the backdrop, if you are using one.
• The cake, all by itself
• The room, empty except for beautiful place settings (professionals do this so that they can give a print to the caterer, making sure that the photographer's name and number appear prominently on the print)
• The food, or any other spectacular display by the caterer
• Other formal portraits that may be salable later
• Make sure that there is at least one picture of the bride where her shoes are visible.
• Other important couples dancing
• Shots of the tables-- get the people on one side of the table to get up and stand behind the people on the other side, have them smile and look at the camera.
• Any shenanigans that the bride and groom go through before getting into the car and driving off
• Look around, see if anything else looks like a salable shot. Talk to the mother of the bride or whoever else seems to be most in charge, and ask if there is anything else to shoot.

Extra

Bride getting ready at the house (this whole setting is usually extra, and sometimes the bride gets ready at the church)

Going Beyond

- if there is a balcony or high place at the reception, try for a huge group shot, with everybody looking up at you. Get them waving and again just smiling. Take several frames of each just to make sure. It will really impress anyone who sees it.

Super Hint

- Get a cheap, wooden three-step stepladder and paint it flat black. Use it if possible for all non-backdrop portraits, so you are not looking up at the subjects. This is extremely important at the altar after the ceremony, where there may be a raised platform. You do not want to be looking up at your subjects. The backgrounds look bad, and you can get some major double chins, which will go away when the subjects are looking up at you a little bit. It doesn't take much, just a foot or two. Use it outside, too.

Also, don't be afraid to be creative, though it may take a couple of weddings before you are conscious enough and confident enough to think about it. And always ask the bride if there is anything she wants shot. Be as deferential and gallant to her as possible, and keep reminding her that it is her day, and you are at her service.

We take photos of the bride and her shoes.... Usually about a foot or two beside the bride We think (and sold many reprints) of the barefoot bride ....Sitting... swing.... Etc. make creative interesting shots.

If you are doing formal portraits up against a backdrop, my suggestion is to do them before the ceremony. Usually, about an hour ahead of time, I start doing the bride's formal shots, then the bride with each attendant, then with each parent and both parents. Then, send the bride out and do the groom, usually just singly, with the best man and then with his parents. Leave the portrait set-up set up, and shoot the portraits of the bride and groom immediately after the ceremony. That usually only takes 5-10 minutes.

Interestingly, during the ceremony is when you can relax a little bit. The only shot you really need to get is the kiss, but I usually get a couple of shots of the bride and groom facing each other, and if there is a balcony, some wide-angle available light shots on a tripod from up there.

When the wedding party comes down the isle, this is where the fast recycle

Battery packs really earn their keep. Alternately, use a really good autofocus and keep the aperture as wide as possible. Remember that good posing and getting good expressions is as important as getting good exposures.

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.

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.

Backdrops

I took with me some black felt for a backdrop, as well as a much larger, blue stippled fuzzy cotton blanket for possible outside shots (but never used that).

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The people around me

The main thing to remember here is that you are not the only thing the bride or groom has to worry about that day. There are caterers, florist, and whatever else the bride has to attend to. Don't be an attention hog!

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Where can I turn for extra information?

I recommend getting a book such as "Professional Techniques for the Wedding Photographer" by George Schaub. Study the photographs in it and read the suggestions. Also give the bride a copy of the Wedding Photo checklist conveniently supplied with this book. This along with any notes you include will become your "script" for the day. Don't be surprised if nothing goes according to plan. If you shoot 30% to 40% of the shots as planned you are doing good. Just make sure you get as many of the shots on the checklist as possible. "Wedding Photographer's Handbook" by Robert & Sheila Hurth (Amherst Media). "Pro-Photo: Wedding Photography" compiled by RotoVision S.A.. "The Business of Wedding Photography" by Ann Monteith (Amphoto). "Wedding Photography" by Jonathan Hilton. "Wedding Photography: Down the Aisle Backwards" by Steve Sint. "101 Tips for the Professional Photographer" by Steve Sint. All of the above books are supposedly very good. George Schaub's came with the highest recommendations of all of them.

Although I have never seen one discussed here, I have heard that there are several good videos having to do with photographing weddings. They may be something worth investing in.

One other way you can get some experience is to volunteer to be a helper for a local photographer. This is a great way to learn any art. Some local photographers will not like to have a helper but if you are persistent or you pay enough you should be allowed to help someone shoot a wedding. For my Christmas present this year my aunt paid to allow me to help the professional photographer take pictures at her daughter's wedding. You will basically change a lot of film and carry a lot of equipment, but it is a great way to learn something you have never learned before.

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Should I have a helper?

Once again this is not a decision I can make for you. It would be very nice to have a helper who could slip out, rewind your film, and change it for you during the ceremony. Don't just pick up anyone from off the street to do this for you because you could end up with a messed up camera or film that is loaded wrong. Or something else, like a stolen camera. If you do hire a helper make sure s/he is as well versed in using your camera as you are!

Hello som, I do my weddings with an MX w/ a 35-70/4 lens and a Vivitar 285 at minimum. There are other stuff I take but most of the time this is all I use; when things get hectic during the wedding you may not have any time to change lenses and accessories. I take another body along as back up; this comes in handy when there's no time to change film. Specifics though may be different considering our culture may vary in what is expected from photographers ... so I'll stop here. But do prepare to fast ... especially during the actual event where you may not have time to eat anything. Hope these helps. Bong ___________________________

You're all set, as far as I can see. IMHO, what you need is: 1. PZ70 2. a shooting vest 3. your 35-80 4. your 20/2.8 5. your 100/2.8. 6. 400ASA film 7. a good flash, preferably a hammerhead. A shooting vest will be helpful for changing lenses, else a spare camera body is a good idea. If no flash is permitted, use the 20/2.8 for closeups and the 100/2.8 for further-way shots. Where flash is permitted, get as close as possible, set exposure to about 1/60 f5.6 with flash on TTL. Use lenses 3 & 4 mostly. 5. if you are doing a 1/2 body shot. That covers most of it in a nutshell.

At 03:25 12/26/98 -0600, you wrote:
My favorite cousin is getting married in June, July, or August of this
year, and his fiancé asked me to take the pictures, I told her
absolutely not I was not qualified and I would not do it. At this she
started crying and I changed my tune, after all it is her wedding and if
she thinks I can take the pictures... I may have to go on a 40 day fast
for this one but I will give it a shot. (sorry if the religious
reference offends) Anyway I have limited equipment. It is as follows:
Bodies:
1 pz-70
1 me
and nobody shoot it was a good deal($25) Yashica Mat - 124
LENSES
1. 35-80mm1:4-5.6 which sticks at about 60
2. 20mm 1:2.8
3. 17-28mm 1:3.5-4.5
4. 100mm macro 1:2.8
5. 100-300mm 1:4.5-5.6
flashes
1.af 330ftz (it zooms but doesn't tilt, and cannot be set for the me)
2. Promaster ft1700 (it came with the Yashica)
other
saitex 2x converter ($3) very very low quality
and various cokin filters.
1 bogan 3030 head and tripod and 1 cheap tripod
As I have never done this before should I buy a different body, ( i want
one anyway) do I need a different lens, What kind of filter should I buy
for the fluorescent lighting in the church, Can I stop the 20mm from
looking like a fisheye for the group pictures or should I use the 50mm.
Or should I just get real sick and have her hire a professional
photographer? Whatever advice you could give me on this equipment would
be great. I am headed for the archives now to look at the particulars.
Thanks in advance
som
...

Luckily for me, I'd brought extra batteries for both camera and flash, and a beat up P30T as backup. New batteries made the flash come back alive, and I started shooting again. (I use three, including an MZ5 and an old Mamiya C2 for the posed shots). I had my Pentax 28-70 f/4 for the most part and sometimes my Sigma 70-300 APO was used (maybe 5, 6 shots). The main lens I use is the FA 28-105

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• List of shot suggestions was contributed by William Cornett