Styles of Wedding Photographers

I was reading an on line forum today where a number of photographers were complaining about other wedding photographers. The respondents each had an opinion of the right way to photograph a wedding. The arguments stemmed from the judgmental attitude that each one’s way was the only correct way. As this went on the camps that were formed seemed to be: natural light only, automatic flash on camera, and manual flash off camera.

The natural light only camp felt that using any kind flash or strobes at a wedding was wrong because then the photographer was changing the scene and interjecting himself into the wedding. This falls some what in line with the photojournalistic idea of wedding coverage where the photographer should be neither seen or heard. He or she seeks to document what happened that day with out alteration. This is often done in black and white only and the photographer often refuses to take posed formals. I guess I understand where these people are coming from, but I have always felt it leads to some obvious flaws. First is this what the couple and or family wants? If so great. However I have had a chance to meet many "I only shoot natural light" photographers. Some were truly gifted at what they do. The others (who were in the majority) simply did not have the skill to control or modify the light and so were incapable of taking a well lit formal photo.

The auto flash on camera group clearly saw the need to improve the lighting in dark churches and reception venues. They felt that auto flash was the fastest way to cover the wedding and get a high percentage of useable photos. Here again I should point out that I have met some photographers wh could do this well. The problem here is that on camera flash while effective is not the most flattering way to light a person or a group. Often the pitfall here is that the photographer has bought a fairly low end camera with a lens that came in a kit. As such, it has what are referred to in this industry as "slow glass." (This refers to the lens’ ability to function in low light.) Often the camera bodies are similarly bad performers in low light. Such gear leads to grainy, artifact ridden images when using available light so the photographer depends on the on-camera flash as a crutch. As an aside to this approach, if a hired photographer intends to photograph your wedding using the small built in flash on his camera, you will want to find some one else.

The off camera flash only group is maybe the most dangerous. These photographers are artists, experimenters and gear heads. If this is done right, the light becomes an extension of the photographers will. He or she will have anything in their bag from the latest wireless ETTL Radio controllers to modifiers made of cardboard drinking straws and gaffers tape. This group is a toss up, as you may get brilliant dramatic photos that you love or brilliant dramatic photos that you hate. Good luck.

For me, to go to a wedding and say "I will only use ETTL" would be as unlikely as saying "I will only use off camera manual flash". Both work for me and I use both. I also use available light, which is why I have a Canon EOS 5Dmk2 and very good lenses. My one gear rule is that I don’t let my equipment define or limit what I do.


My goal at a wedding is to serve my client and to provide the best photos that I can. If that means I need to be subtle and shoot available light, then I will. If I have a moment to set up a stand and an umbrella, then I will do that. I am not going to limit myself to one way of working. After all I could probably shoot a whole wedding with my G9, but why would I want to?

In general a day goes like this:

Prep shots- for makeup hair and prep I use a mix of gear depending on available time and room. During the time before the ceremony there is usually time to setup somewhat posed lit photographs. Think of these as semiformals. Best to do as much as possible while the hair and makeup are still fresh

Ceremony- natural light. I carry my camera and try to stay out of view of the video people. I also set up remote cameras before the ceremony to get angles that would be to obtrusive or disruptive.
Formals- manual strobes, as many as needed to make the backgrounds pop and provide depth of field sufficient to have every one in focus

Reception- light the dance floor with manual strobes and add fill and key from an ETTL strobe often positioned by an assistant. I usually light the cake with manual strobes on a stand for better control.

The beauty of this plan is that I can switch to other options as I need to. As I said my clients needs are the first concern.