How to shoot winter weddings – A guide.

Dec 11, 2008 | Flash, Wedding | 44 comments

This is the time of year that fills some wedding photographers with dread when they throw open the curtains on a Saturday morning to reveal driving rain and dingy light.

When the weather is bad don’t let your creativity evaporate. Rise to the challenge and embrace a whole new set of opportunities.

When the weather is bad don’t let your creativity evaporate. Rise to the challenge and embrace a whole new set of opportunities.

There really is no escape from the fact that if you are going to shoot weddings in the winter you need to have total command of your artificial light sources…

A fear of the unknown has forced some photographers to avoid flash at all costs. Often shooting with ultra fast lenses and accepting the resulting noise caused by very high ISO settings. This might be fine as a deliberate style strategy but there are often times at weddings where the ambient light is awful, not just a lack of it, I mean coming from all the wrong places. Flattering light is needed for wedding pictures and being able to make your own light is the obvious solution to the problem.

Winter weddings often start after dark so be prepared for some dim locations. 1/15th second, f/2.8 ISO 400. ISO 400 was the maximum useable sensitivity of the P25 back and it goes to show just what can be done at low ISO.

Winter weddings often start after dark so be prepared for some dim locations. 1/15th second, f/2.8 ISO 400. ISO 400 was the maximum useable sensitivity of the P25 back and it goes to show just what can be done at low ISO.

Flash wedding pictures the Lovegrove way:

Placing a Speedlight on camera is generally to be avoided. It creates flatly lit pictures that could easily have been taken by uncle Henry. The solution I adopted from a few press photographer friends back in 1998 was to use the Speedlight hand held off camera. I held the flash in my left hand and the camera in my right hand. I still wanted full TTL control so I used a Nikon SC17 coiled lead to connect the flash to the camera. This system of one handed camera shooting was fine with my Nikon F100 camera but not fine with the substantial F4 camera for weight reasons. Ten years on and this system is still used by many of the top wedding shooters.

The table light on the piano was fitted with a very dim bulb. In order to render it correctly in the picture I needed to use ISO 800, 1/10th second at f/4. I used a splash of flash from the left to light the bride and groom.

The table light on the piano was fitted with a very dim bulb. In order to render it correctly in the picture I needed to use ISO 800, 1/10th second at f/4. I used a splash of flash from the left to light the bride and groom.

The Lovegrove flash system – kit choices:

Nikon:

Use a D700 or D300 sized camera, the D3 is just too heavy plus you would need to add more weight on top in the form of an SU800 commander. Use the pop up flash on your camera as a non firing commander, set it to TTL trigger your SB800 or SB900 Speedlight and finally fit the flash gun with the diffusing dome that it came with.

Note: The small but annoying delay that used to be present when using this system with the D200 has all but gone with the latest series of Nikons. There is a great coiled lead made by Nikon called the SC29 that has a focus illuminator built in and my wife Julie uses this instead of commander mode.

Canon:

Use a 5D or a 5D Mk2 camera, the 1Ds series are just too heavy for this trick. Fit a Sto-Fen omnibounce diffuser. There are other makes available, but try to avoid looking like a belisha beacon :) Fit your camera with a Canon STE2 transmitter and away you go. Unfortunately the Canon coiled lead is a bit too short and the re is no infra red focus aid built in so it becomes next to useless when the going gets tough at night.

Sony:

Use the Metz 54 MZ4i flash gun fitted with a Sto-Fen omnibounce diffuser. Then connect this to the camera with an SCA 3008A lead. You will also need an SCA3302 adapter. This set up will give you the same off camera full TTL control and infra red focus area illumination.

There are Metz adaptors for all the other emerging and established makes of pro DSLR contenders too like Panasonic, Pentax, Leica, Samsung and Olympus.

I used a zoomed in Speedlight on a stand to the left of the camera to light this doorway. I set the flash in a vertical orientation to match the shape of the frame. ISO 800, 1/125th second, at f/4.

I used a zoomed in Speedlight on a stand to the left of the camera to light this doorway. I set the flash in a vertical orientation to match the shape of the frame. ISO 800, 1/125th second, at f/4.

A close up picture at the same settings and taken under the same lighting as the previous shot.

A close up picture at the same settings and taken under the same lighting as the previous shot.

The Lovegrove flash system – settings:

Whatever kit you choose you can make small adjustments to the flash output by using the on camera flash exposure compensation or the on flashgun exposure compensation. Simply adjust it to taste using the camera screen as feedback and away you go.

Once your off camera flash kit is set up you just need to know how and when to use it. A combination of speed of operation and ease of use the key to flash picture success at weddings. I have a formula that I stick to and this is my key to producing consistently good results. Once the ambient light level is at EV 7 or below at ISO 800 (1/60th second at f/4), I set my camera to manual exposure, dial in those settings, switch on the flash and start shooting. At this magic setting of ISO800, 1/60th second at f/4, a candle looks like a candle, wall lights look right too and with the flash at a colour temperature of 5600 Kelvin it allows the usually tungsten ambient light to take on a rich orange glow. I always resist the urge to gel up my Speedlight with a warm up filter and alter my white balance correspondingly as this has a tendency to correct the colours in the scene and removes some of the magic. For commercial interior shots a half orange filter on the flash light sources and a white balance setting of 4000k is a good idea to make interior pictures more accurately rendered yet still warm. With weddings pictures I always keep the white balance on auto and choose to record the resulting rich vibrant colours that add to the atmosphere.

Knowing when not use flash is one of the most important decisions to make at a winter wedding and it not a matter of light quantity, it’s one of quality. ISO 400, 1/45th second, f3.4, Hasselblad H1 camera, Phase One P25 back, using a monopod.

Knowing when not use flash is one of the most important decisions to make at a winter wedding and it not a matter of light quantity, it’s one of quality. ISO 400, 1/45th second, f3.4, Hasselblad H1 camera, Phase One P25 back, using a monopod.

Group pictures with the big flash kit.

At winter weddings I can’t just pop outside for the group pictures so I use a Broncolor Mobil battery powered flash kit. I used to take one of my Bowens monoblocks from the studio but I found rigging mains leads a bit of a nuisance especially on staircases. I always use a white translucent brolly and rig the flash high on a stand. My aim is to use ISO 200 as this will give me the image quality I need. I combine that with enough depth of field for sharp focus across the frame usually f/5.6 – f/8. But in order to get some of the ambient light to record on the frame I often choose very long exposures and use a tripod. For this system to work the guest in the group need to be in the dark and I often turn off central chandeliers and I never use a modeling light on the flash either. This system is not for everyone as it can get a bit scary down at 1/10th second but fabulous pictures take a bit of risk at times. You can practice this stuff at home.

This group picture was lit with big flash fitted with a brolly. ISO 200, 1/4 second, f/7.1

This group picture was lit with big flash fitted with a brolly. ISO 200, 1/4 second, f/7.1

Tungsten lights for couple shots.

Continuous lighting is another of the tools I use. I use a battery powered video light for low level ambient light pictures like fireside shots and this works really well either on a stand or held by an assistant.

My all time favourite light source at winter weddings is the Fresnel spotlight. The great thing about working with continuous light is you can see exactly what you are shooting and by adjusting the light focus and barn doors all sorts of light shapes can be created. I usually rig my Arri 300w junior on a stand near the middle of a room. I set my camera to my magic exposure of ISO800, 1/60th second, at f/4 and then call in the bride and groom for a shoot session. Julie and I can usually take 8 or 10 frames in a single room in just a few minutes that will make the album. We then let the bride and groom mingle again while we rigging the Arri in another room.

Just one of the wow pictures on my new DVD. ISO 800, f/10 @ 1/125th second exposure. Program exposure mode on my Canon 5D set at -2 stops with a 580EX2 Speedlight on a stand, zoomed to 105 mm and triggered by an STE2 transmitter.

Just one of the wow pictures on my new DVD. ISO 800, f/10 @ 1/125th second exposure. Program exposure mode on my Canon 5D set at -2 stops with a 580EX2 Speedlight on a stand, zoomed to 105 mm and triggered by an STE2 transmitter.

Winter weddings can be fun once you have complete mastery of your lighting techniques. The majority of the pictures here are featured on the new DVD ‘Lighting Winter Weddings’ available now.

Please comment below.

If you found this helpful, you may also like to read Lurking in the shadows at weddings ~ pictures and technique

44 Comments

    • Damien

      Hi Martin,

      I was using a monopod. I don’t shoot hand held at those kinds of speeds.

      Cheers, Damien.

      Reply
  1. Martin Cheung

    Thanks. Very interesting read and just in time for winter weddings!

    Reply
    • Damien

      Thanks Martin,

      I hope your winter season flows well and you get inspired by light. Kind regards,

      Damien.

      Reply
  2. stuart-m

    I must say it was a rich wedding, the idea and concept was amazing and new. Loved the photographs and the logic behind them.

    Reply
    • damien

      Thanks Stuart. Stay inspired.

      Reply
  3. stuart-m

    Clever lighting in the third shot, both the bride & groom are highlighted perfectly.

    Reply
    • damien

      Hi Bob,
      your compliments are very welcome. I do seem to be moving in the right direction at the moment. I’m constantly trying something new and yet further consolidating my style. I do panic from time to time about if I can keep this pace of learning up but as an above the line thinker those moments are infrequent. Your support is like a fuel keeping me going so I thank you for that.

      Cheers, Damien.

      Reply
  4. Matthew Rycraft

    love image number 2 in the church, I focus a lot on architecture when at weddings, great use of available light too, it’s the hardest but most rewarding..

    Reply
    • damien

      Thanks Matthew :)

      Reply
  5. Jan Taylor

    Buy the DVD Tino! It tells all and you won’t be sorry!
    Jan :)

    Reply
    • damien

      Hi Jan,

      Thanks for the recommend :)

      Damien.

      Reply
  6. Tino

    Hi Demien
    when you shoot the lady in the evening did you frist got a reading of the back ground and then use the the flash i think the lady will be under exposed will you use the flash at full or at half thanks Damien you are great help
    Thanks Tino wish to bring you over to malta

    Reply
    • damien

      Hi Tino,

      I would love to come to Malta at some time. The picture you refer to was lit with a Speedlight with as Sto-Fen from the left. It was on TTL. I exposed the camera for the background and then adjusted the TTL flash accordingly using FEC.

      Damien.

      Reply
  7. Tino

    Hi very Photos
    Thanks

    Reply
    • damien

      Thanks Tino :)

      Reply
  8. Sarah McDonnell

    Really nice article. I use the st-e2 along with a 580 EX II and 430 EX II for my wedding photography and it’s a really nice setup. Worth mentioning that the 430 is actually much easier to get into slave mode.

    Reply
    • damien

      Thanks for your comments Sarah.

      Yes you are right about the 430 EX2 being quicker into slave mode. It’s because there is no Master function on the 430 EX2.

      Kindest regards,

      Damien.

      Reply
  9. Emmett

    Some incredible techniques here, especially love the tinkering of the 580EX II zoom to achieve the snoot effect on the last shot!

    Reply
    • damien

      Hi Emmett,

      Thanks for your compliments. The last shot was lit with a Speedlight in my Orbis ring flash. You can always spot on camera flash by the chin shadow ;)

      Cheers, Damien.

      Reply
  10. Chris

    Hi Jan,
    your magic settings will work a treat on the D700 and SB900. Great bit of kit.
    Chris Hanley

    Reply
  11. Jan Taylor

    On my Nikon D200 and with SB800 flash, I always use the flash settings taught by you, on one of my first workshops with you, ie ISO800 f/4 1/60th. Can you tell me similar settings that work as well as the above, for my D700 please with SB900 flash?
    Everything you do is so informative and easy to understand I put my photography success down to everything I have learnt from you Damien. Thank you!

    Reply
    • damien

      Hi Jan, To add to Chris’ comment. Some hotels are now using low energy bulbs that are about a stop less bright so you might need to go to ISO 1250 to get more pleasing pictures. The D700 is fine at that ISO as long as the exposure is good.

      Regards, Damien.

      Reply
  12. Tara

    Great information. On the stairs group shot, how did you determine the power output of the BronColor mobil, or was it just a couple of test shoots with the guest???

    Reply
    • damien

      Hi Tara,

      I knew I needed some depth of field so I dial in the aperture. I then set the ISO as low as I can reasonably go. I take a test frame without any flash to set the shutter speed to record the light fittings etc. Then I switch on the flash set at half power and take a test shot. I can then alter the flash power as required. Half power is best because the recycle time is much quicker than full power. But I will use full power if needed and just shoot a couple of frames.

      Damien.

      Reply
  13. David Creelman

    Really excellent tips – I have bookmarked this for reference as I am sure I will need to come back again for another look.

    Reply
  14. damien

    Hi Lloyd,

    Don’t get to hung up on the numbers. I never use a light meter, I use the camera screen to asses exposure. It’s all change this year because hotels have fitted dingy low energy bulbs everywhere and they give out about 1 stop less light on average. So expect to need ISO 1600 instead of ISO 800. Anyway all will be revealed on the 16th Nov. See you then.

    Damien.

    Reply
  15. Lloyd Siddall

    Hi Damien
    Just trying to get my head round the EV7.
    What you have said above is most office foyer are set to EV7.
    I have tried to replicate this. I set my light meter to F4.0 iso 800 and fired the meter in different rooms until I got a reading of 1/60th (entrance hall) so this is equivalent to EV7.
    Thanks for a great set of DVD’s and I am looking forward to my courses 13th and 16th November.

    Reply
  16. Charles Peart

    Just like to thank you Damien for all your tips and lots of info on wedding pictures.I am a amature photographer and have done some wedding pictures..( sort of) mostly for friends but the off camera video i saw on photozine was a lovely tip for me it made my day and the picture quality was amazing many many thanks i will always keep my eyes on this site thank you.

    Reply
  17. damien

    Hi Alex,

    As you know there is a pre flash from the on board flash unit on the D200 before the shutter opens and the main flash is triggered. This happens even if the unit is set to be non firing. This first flash triggers a reaction in the person being photographed and the resulting shot taken a moment later looks like a missed moment. It is a subtle effect but one that I considered worth buying the SU800 to overcome. Julie still uses her SC29 lead as this is quicker still.

    I hope this helps. Damien.

    Reply
  18. Alex B.

    Hi,

    I want to thank you for this amazing website full of inspiration and tips.

    I was interested in taking “model” picture if I can say it this way, and after looking each day at your urban picture, I went and buy myself an sb-600 to pratice and learn working with light :)

    I want to ask you, I have a D200 and a SB600 and I don’t feel the lag to be that big, around 10-15 ms I would say. I was curious why it was unusable for wedding picture ?

    Thank you again for sharing your experience and knowledge !

    Alex B.

    Reply
  19. damien

    Hi Scott,

    That’s a scoop, he’s a star! The first I knew about it was your comment. Thanks for adding a favourable comment on Scott’s blog. You were right about the visitor numbers…

    visitor graph

    I appreciate it.

    Damien.

    Reply
  20. damien

    Another principal reason for using an omnibounce on your flash in low light is it forces the flash to operate in the sweet spot of it’s power range. Rather than having to cut the flash at around the 1/64th power level it forces the flash to use about 1/8th power and that just happens to be right in the middle of the range where the highest flash exposure accuracy can be achieved whilst maintaining a fast recycle time.

    Damien.

    Reply
  21. damien

    Hi Dave,

    I may be steady but not that steady! I used a Monopod for the 1/10th second shots.

    Damien.

    Reply
  22. martin

    A surpising number of photographers I know think that adding an omnibounce to a speedlight makes it a soft light source. I think its worth saying that while getting the flash off camera (flash in one hand camera in the other) is much better than flash on camera, you also have to think about where the light is going – for e.g. bouncing off the wall, ceiling etc (using the omnibounce to help) if you want anything other than hard light.

    We leave our omnibounces on most of the time, even when there is nothing to bounce off. If only because it means you don’t have to aim quite so accurately :-)

    Reply
  23. Dave

    Great post Damien and as usual very inspirational.

    Are you hand holding the shots where you are down to 1/10th of a second and have the flash in your left hand?

    Or did you use a monopod as you describe in earlier posts?

    Reply
  24. damien

    Hi John,

    Thank you for your words of encouragement.

    EV or exposure value is a way of measuring light that a lot of us used to use in the olden days on film :) It is always linked with ISO (or ASA in those days). If you can imagine a room in the evening with moderate lighting like a commercial kitchen or a foyer of a modern office building. They will be lit to this level. Another way to describe it is the amount of light in a scene that correctly exposes it using ISO 800, at 1/60th second with an aperture of f/4. I could describe it as 800 LUX but I don’t think that will help either;-)

    I’m sorry it has to be a bit technical but you will eventually be able to recognise this level of ambient light.

    I hope this helps,

    Damien.

    PS: I found this online but I’m not sure it helps either unless that is you are keen to understand EV in more depth.

    Reply
  25. John

    Damien another great post with great information.

    There is one line that I am not able to grasp perhaps you could explain this for me.

    “Once the ambient light level is at EV7 or below at ISO 800 (1/60th second at f/4)”

    Many Thanks John.

    Reply
  26. Scott Wiggins

    Well done on your recommendation for people to visit from Scott Kelby’s blog. Don’t be surprised if your site traffic goes through the roof today.

    Scott

    Reply
  27. Scott Wiggins

    Damien,

    Thanks for the image, it does help. Look forward to practising that and adding it to the repertoire.

    Scott

    Reply
  28. damien

    Thanks for the thanks etc.

    Hi Scott – I’ve made the bottom picture of the bride a link to a full res version for you to download. I’ve left the EXIF in tact so you can see all the settings I used. The settings chosen by the 5D on program seem fine to me, but I suppose they would as it’s my camera ;-)

    It is all explained on the DVD.

    Have a great Christmas,

    Damien.

    Reply
  29. Scott

    Damien,

    Firstly thanks for some very good well written posts and being so generous with your information.

    One question if I may though regarding the bottom picture of the bride. I can’t see how Program mode gives f10 @ 1/125th. I could grasp it if you used Manual mode to give you that exposure and then let the flash sort itself out. I love the effect it gives to the image.

    Can you elaborate on it a little please or is all explained on the DVD’s?

    Thanks,

    Scott

    Reply
  30. Benny Ottosson

    Great information Damien! And I´m looking forward to the DVD arrives :-)

    /Benny

    Reply
  31. Margaret Smyth

    Fabulous info and detail Damien. Thank you.

    Mags

    Reply

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