174 Better Available Light Digital Photography
as well as the tightest shots possible of the couple at the altar.
Ceremonies can provide the greatest lighting challenge. The altar
is often backlit with spotlights or large windows placing the couple
into silhouette, making it necessary to manually increase the expo-
sure. This can be done using the Exposure Compensation adjust-
ment on the camera or setting the camera to Manual mode and
increasing the exposure beyond what the in-camera meter says.
This will overexpose that bright window behind the couple, but
provide the detail necessary to see the exchange of vows.
Be ready for the unexpected moments: Tears can fl ow, rings can
slip from fi ngers, or fl ower girls and ring bearers might do some-
thing funny. Often the bride or groom will create a mischievous
moment of their own. If the camera’s not up to your eye, you’ll
miss these memorable images. No two weddings will ever be the
same. If you’ve been given the green light to move about the
church, it’s worth photographing from the sides of the altar. Not
only can you get great individual photographs of either the bride
or groom, but you can capture the families seated in the front row.
Once the “I do’s” have been said and the offi ciator pronounces the
couple “husband and wife,” it’s time for the kiss. The guests may
applaud and begin to stir a bit. It’s the sign to move in closer and
even use the fl ash for added light. It’s best to stay close to the
couple as they leave the ceremony. This provides wonderful natural
photo ops because they’re letting down after the big ceremony.
How happy will this bride be to know that her family’s being
photographed during the ceremony? Juxtaposing the family
images on one page of an album spread opposite the bride and
groom at the altar gives the photo story more content.
The family portraits are most often taken between the ceremony
and reception. If they’re taken at the altar, additional lighting is
usually needed. Digital photography makes this part of the day
easier than ever. Barry sets up his tripod and attaches one of his
dedicated on-camera fl ash units to the camera, setting it to the
Master mode. This speedlight will control a second dedicated
speedlight set on a lightstand. This second light will be bounced
into an umbrella and positioned about 45 degrees off-camera on
the groom’s side of the photographs. This is important. The light
must be on the groom’s side of the church because they’re
usually wearing the dark tuxes that need more light than the
bride’s white dress. It’s the best way to get properly exposed
group portraits. If you’re fortunate enough to be taking these
formal photographs outdoors, open shade, sidelighting, or back-
lighting are Barry’s preferences. Anything except full front light-
ing will reduce the squinting and tendency for people’s eyes to
be closed during exposure. The biggest challenge with group
photos is getting all eyes open when each photograph is made.
The dedicated on-camera fl ash can be used outdoors to fi ll in the
shadows under eyes and add a bit of “snap” to the images.