{"id":92653,"date":"2023-03-02T13:00:53","date_gmt":"2023-03-02T18:00:53","guid":{"rendered":"https:\/\/www.adorama.com\/alc\/?p=92653"},"modified":"2023-03-02T14:44:57","modified_gmt":"2023-03-02T19:44:57","slug":"lighting-wedding-photography-guide","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/lighting-wedding-photography-guide\/","title":{"rendered":"A Guide to Lighting for Wedding Photography"},"content":{"rendered":"
Weddings are, for the most part, predictable. Traditions repeat across weddings and the events of the day are planned months in advance. Yet, with all the predictability of tradition and planning, no two weddings are ever the same.<\/p>\n
Weddings are collaborative. The wedding day involves interdependent players, each doing their part to achieve a common goal \u2014 a successful wedding day results in beautiful visuals. Weddings also place the photographer in the unique position of producing photographs under a broad range of lighting conditions.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
There are a host of other variables that can\u2019t always be predicted. This, for example, includes the vibe of the people and the condition of the venue. A single wedding day can potentially involve a bright white space, a dark small space with no windows, outdoor midday sun, and a low-light ballroom with 20-foot ceilings. When it comes to lighting for wedding photography<\/strong>, you need to be prepared for anything and everything.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
How to Start in Wedding Photography<\/strong><\/h2>\n
Like many photographers, my journey in photography started as a hobby that evolved into more. A lawyer by profession, I did not enter the world of wedding photography with intent.<\/p>\n
I would encourage photographers starting out to spend time holding lights and avoid the pitfalls of emulation. Novice photographers are sometimes inclined to emulate the work of their mentor or their favorite photographer. Photography is a fusion of art and technical execution. When it comes to being a great wedding photographer, you need to take a balanced approach between finding your voice to create your style and developing technical skills.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
A non-shooting photographer\u2019s assistant is exposed to the flow of the wedding day, the troubleshooting, the technique, and the soft skills needed to be a great wedding photographer without the pressure of being on the hook for any deliverables. Assisting is the perfect way to absorb information while working and gaining experience.<\/p>\n
Posing Your Subject(s)<\/strong><\/h2>\n
Lighting plays an important role in wedding storytelling. Lighting has the power to transform a space, pull the viewer’s eye, and evoke emotion. I love the challenge of finding light and pushing myself to use that light creatively. My aim and thought process with lighting is to create an image that preserves the ambient light, colors, and textures of the setting.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
When I use found light \u2014 like a window, patch of sunlight, or ambient light from a lighting fixture \u2014 controlling the direction and quality of the light is important. I shape and diffuse found light by using modifiers like a bounce or reflector to redirect the light.<\/p>\n
Posing and positioning my subject so that the light falls on them in a desired way is another great way to control found light. Although working with found light is fun, creating light using off-camera lighting and modifiers opens many more options and possibilities.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
Tips for Lighting a Wedding Scene<\/strong><\/h2>\n
Be Lightweight But Be Prepared<\/strong><\/h3>\n
I work with compact systems that have easy to no setup required. Generally, this is all I need for the bulk of the wedding. I rely heavily on simple one and two-light setups that are often a mix of on-camera and off-camera handheld by an assistant. Although I take a minimalist approach to carrying gear around on the wedding day, I still have my 7-foot umbrellas and 12-foot lightstands within reach. We typically keep backup gear in one place just in case it is a necessity.<\/p>\n
Practice the Skill of Observation<\/strong><\/h3>\n
You should learn to see light through observation. Maintain an open mind about what type and quality of light that should be used for wedding photography.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
Take Your Flash off Camera<\/strong><\/h3>\n
The ability to place your lighting setup anywhere in the venue gives you more control over the mood and look of the work you create. Play with your light being closer and farther away from your subject.<\/p>\n
Take a Conservative Approach to Flash Power<\/strong><\/h3>\n
Very rarely do we need full power to light the scene. Start with the lowest GN and dial up from there as needed to create controlled and accurate lighting. Spend time testing with different modifiers to gain a better understanding of when you might want to use a softbox, grid, or barn door. I use portable softboxes for getting ready and formal portraits. I use smaller modifiers, like grids, to achieve a dramatic portrait.<\/p>\nPhoto by Kesha Lambert<\/figcaption><\/figure>\n
Gear for Lighting in Wedding Photography<\/strong><\/h2>\n
With the fast pace of the wedding day, it\u2019s important to have gear that keeps up with the day. Here is a view of some of the lighting gear that can be found in my bag:<\/p>\n
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