Wedding Lighting: softboxes, brollies and other diffusers....

specialman

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Pat MacInnes
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So I shot a wedding on the weekend and due to a downpour, had to do an on-the-fly rethink about posed shots and shoot indoors. Not owning a body with upwards of ISO3200 capabilities, I had to really work the flashes hard and although, on the whole, things worked out well, a few shots just didn't work how I wanted and I'm putting it down to just not having enough equipment to help me shape the light how I wanted.

So, before i head into the weddings I have booked in the near future, just wanted a bit of advise about what you guys use.....

This shot is a prime example (although it's the worst for shadows - might as well go with a proper mess-up!!!):

stairs1.jpg


The B&G wanted stair shots so there are several considerations:

1)
Ambient was poor (and tungsten) and the window light was well above the subjects, so it wasn't exactly a great starting point. Ramp it up to ISO 800 and away I go....

2)
Light levels were mixed, as was WB, the further up the stairs you looked so so that makes getting an even exposure hard.

3)
High ceiling, uneven surfaces and the walls being a deep red meant any bounced light was losing its efficiency AND collecting a red glow... a nice addition to the tungsten bulbs and cold daylight...

4)
Space was limited as to where i could place flashguns so i had to light from the base of the stairs and the top of them.

Now, I used bare flash at the top to create a bit of contrast, especially where the groom was against that dark wall. At the base of the stairs I used a shoot-through brolly but I'm really unhappy that it just didn't diffuse very well, creating hard shadows. I suppose in the great scheme of things, it really didn't make the apparent light source that big, hence the heavy shadows.

How would you guys have got round this? Just use more flashes to try to fill the space with light, or would you have opted for different diffusion AND light positions? Reflectors? A nuclear blast?

I used a similar setup (bare flash and brolly) for the rest of the groups but that was in a room with a white ceiling that I could bounce off, plus everyone was grouped together as opposed to up a staircase. They turned out great, so I'm happy.

Of course, every venue is different and I might not happen upon these obstacle, but for my own piece of mind, the knowledge with how to deal with this situation would be greatly appreciated. :)

Cheers in advance )
 
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Depends on how many flash's you were using, but i would have put one to the left quite high up on a stand using a small diffuser on the bride and groom, and the same on the right, this would have hopefully eleviated the shadows more, then one at the bottom of the stairs pointing down onto the bridesmaids with a soft box or smaller diffuser, this would have been a bit of trial and error though which is obviously difficult at a wedding.
 
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I've found that shoot throughs are fine for singles or couples but for groups, when the power of the flash is higher, it seems to diffuse less. Reflective brollies seem to perform better but ultimately you'll want a large light source (for shots like this I'll head for an 86" parabolic with a small studio head). Failing that you'll need to set up a few speedlites for this type of shot to counter all the shadow possibilities.

What you've got there is quite a complicated setup for lighting. I'd approach it with three lights minimum, soft lights high up head on and a further soft light for the bride and groom. If the ambient is that bad then you'll need to light the whole scene.
 
One light. As far back and high up as I could get it almost on axis with camera - full power and work exposure from there.

The aim is to drop the shadows behind the people and hide the with their bodies. Kill all the ambient and you have no issues with colour temperature ;)

If you can get some diffusion on the light and still have enough power then great - with luck it will look like there's a really bright window behind the camera. If not, well for this shot I'd rather have a clean, sharp recognisable picture of the group than some "art".

I see you've used a fairly wide angle and I'm guessing this is because you're backed up. If you can get further back then do it. If you can get higher up (ideally eye level with furthest BM) then you'll remove a lot of the distortion.
 
JonothanRyan - thanks for that. Didn't really think about killing the ambient. Suppose that makes sense because what ambient there was, was a bit gash anyway.

Yep, used 17mm because I literally had my back against the way (and some drunken guests). The eye level point is something that I now want to kick myself over; was aiming to take a set of step ladders but I couldn't get hold of any, but I suppose i should have used my noggin and borrowed a chair at least....

You say 'on axis' - my knowledge of lighting terminology is poor - do you mean firing from just about the same direction as the lens is shooting?
 
You say 'on axis' - my knowledge of lighting terminology is poor - do you mean firing from just about the same direction as the lens is shooting?

Exactly. Far enough away from the direction to avoid red eye but close enough that the shadows are relatively close to the people and so small.

You're in a tough spot here and it's going to be challenging to get a great shot but using safe boring lighting will get you a good shot of the group they want. You can wow them with individual portraits shot later ;)

On the lens thing....lens correction in PS can fix some of this but the groom's head is close to the edge of the frame - watch out you don't tefal him.
 
Fristly, this is an excellent thread - and good of you to share your experience!

Not saying I could have done any better, but I think I would have gone for an approach that gave me safe flat lighting - avoiding the complexity of multiple lights and the risk of cross shadows.

In a studio, spending time sorting this out is fine, but at a wedding (as you know) time is limited.

So, if it were me I would have a a reflector brolly high above me (possibly with two speedlites if needed). Some fill on camera as well. This way I'd try to be emulating a sunny day

One last thing. Getting B&G to stand as close to the wall as poss may reduce shadows further.

I'll be interested to see what others think.
 
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