One of my favorite photos from a recent wedding, is this one of the groom and bride being hoisted aloft, with his priceless expression of surprise. Timing and framing is everything, of course. And the lighting. This is pretty much the way it came out of camera, with only minor adjustments to the RAW file. Note that the light on the groom is about the same as the amount of light on the bride in the background. (Yes, she changed into white overalls after jumping into the pool with her dress.)
But back to the lighting -- an equal Read more inside...
This is a fairly straight-forward portrait of the bride just as she was done with her prep. But this simplicity might belie the deliberateness in how I shot this. Because the rest of the bridal area was mostly bland walls, I purposely used the busy room in the background to give that indistinct out-of-focus background which is still complimentary. There were spotlights in the ceiling just outside the door, so I asked her to step forward of those lights. They would have been too hard to fight against.
My exposure settings were set for Read more inside...
When photographing wedding receptions, I would ideally like to get away with just one on-camera flash that I bounce off surfaces behind me. A venue with (close to) white ceilings and walls are just perfect. Super easy. Even with really high ceilings, I try to make it work. Here for example, I used a single bare on-camera flash to light up the entire place -- Wedding reception lighting with one flash. No diffuser cup or white bounce card. Bare flash with the Black Foamie Thing. But occasionally I reach the dead-end of a venue with black Read more inside...
With the tutorials here on how to bounce flash, the questions inevitably come up - what if there is nothing to bounce your flash off? What if there are dark ceilings? Well, these limitations do affect how I use flash at events - but I still work according to a few set guidelines that give me the best results with bounce flash.
I bounce my flash into the direction that I want to come from, regardless of whether there is a white wall or ceiling. It really is all about the Direction of Light.
I also shy away from using any of the Read more inside...
Bounce flash and choice of background + backlighting
This is where style and technique intersect - the choice of how to use flash (or any other kind of additional lighting) at wedding receptions. Many photographers prefer the crisp look of multiple off-camera flash setups at wedding receptions. While I do think some of the photos look incredible, I am not convinced that the success rate is all that high. Hot spots in the background, and weird cross-shadows will mar many of the photos. My preference has always been for the predictability and flexibility of using on-camera bounce Read more inside...
Wedding photography: Bounce flash "indoors" … in the limo
This is a reminder that when you have a high-contrast situation such as when photographing the bride and groom inside the limo - then using on-camera bounce flash is your easiest way to control the lighting. Simply bounce your flash behind you into the limo. Even with the dark interior and fittings inside a limo, enough light should spill back to lift the shadow detail.
The trick here of course is to expose correctly for the ambient light, if possible. With the camera settings then dictated by the ambient light coming Read more inside...
Bouncing flash forward without getting that direct flash look
When bouncing my on-camera flash, I rarely point the flash straight-up. Most often the flash is pointed behind me or to the side to a certain extent. This way I get directional light. I want that off-camera soft-box effect. However there are those times when it just isn't that practical.
With this recent wedding, the indoor ceremony was held in this large room. As you can see here in this test shot, the ceiling isn't white, but is a light brown, with wooden beams. The thick cross-beams have the effect of blocking flash Read more inside...
As another example of bounce flash technique, here is a portrait of the bride from a recent wedding. The technique is quite simple, and should be obvious by now to regular readers of the Tangents blog:
I used a wide aperture, focused on the eye closest to the camera .. and bounced my flash towards the bride, but blocked by the black foamie thing. No direct flash. No diffuser cup. No tupperware on your flash.
Because of this indirect directional light, we have this broad swathe of light coming in from camera-left. The intention was Read more inside...
