How to Photograph Weddings

Paul Lucia offers his top tips for capturing memorable images of this special day.

Article by Jenn Gidman

Images by Paul Lucia

Capturing genuine emotion-not stiff, pre-posed portraits-is Paul Lucia's goal when he's commissioned to shoot a wedding. The California photographer uses his Tamron SP 24-70mm VC and SP 70-300mm VC lenses during the Bay Area ceremonies and receptions, tapping into their versatility, sharpness, and Vibration Compensation feature to help him create beautiful, high-quality images of the nuptials. "These lenses cover the range I need," he says. "I'll use one lens, my second shooter will use the other one, and we'll get everything we want for the couple's wedding album."

Follow Paul's tips for finding those picture-perfect moments you hope for at every wedding, as well as the unexpected ones.

Control glare on a sunny day.
As a professional photographer, it's your responsibility to determine the best suitable location for shooting on the day of the event. Previewing the venue at approximately the same time of day as the event is necessary. Look for an area that offers shade, as well as a pleasant backdrop. If you have a backdrop that's an absolute "must use" but there's no shade, consider renting a flag to create the shade you need.

If you're taking pictures near water (e.g., at the beach or lakeside), I recommend using polarizing filters. If possible, keep the sun at 90 degrees to your side (not your back), and don't shoot into the sun-this will give you the best performance from your lens. Test your polarizing filter prior to the shoot to ensure you're proficient with it: Although it's fairly simple to use, it's imperative you come into a wedding shoot with confidence, not doubt.

If it's a really bright day and you're unable to do any of the above, a simple trick is to have the subjects stand with their backs to the sun and use fill flash, either on camera or off (have someone hold the flash unit if need be). Make sure you use your lens shade to prevent lens flare, and don't shoot directly into the sun (you could risk damaging your camera).

If there's a squinting issue, I tell everyone to close their eyes; then, on the count of three, I tell them to open their eyes and smile. I start shooting by the time I get to "two." That way, their eyes aren't all scrunched up and watery in the pictures.

Use your lens to your advantage to camouflage poor backgrounds.
Taking pictures at a wedding isn't like a studio shoot that you can control. If you've got a busy or otherwise not-ideal background when you're working with the bride and groom or bridal party, you often don't have the time to move them to a new location with a better background. That's the beauty of having a lens like the 24-70 in your toolbox: You can tame background "pollution" or noise by opening the 24-70 way up to get that soft bokeh effect that will draw the viewer's eye to your subject, not toward the distracting elements. That blur will then complement the rest of the image instead of take away from it.

Experiment with different angles.
Every bride is different, so I've found there are no rules when it comes to the best angles. I've heard, for instance, that you shouldn't photograph a bride from below because it could be unflattering. But I took a picture of a bride while lying on my back, and it turned out to be a really nice image because the bride was exceptionally beautiful-it just worked.

Learn about your subject and what works and doesn't during the engagement session and rehearsal. Broaden your scope so you think in terms of "I can take the picture from this angle" instead of "I can't do that"-shoot from above, from the side, straight on, from below. Staying creative is what it's all about to make your wedding photos stand out.

Tap into a second photographer if possible.
Having a second person who's as good a photographer as you are (or better!) helping capture the day offers different perspectives. For instance, I'll often ask my second shooter to take a bunch of static shots (e.g., the invitation, a portrait of the flower girl) before the ceremony begins while I'm working with the bride-then we'll switch.

If we're both capturing the same image from different vantage points, I'll have the second photographer stand about 35 degrees from me, then tell the bride and groom to follow my directions. This prevents confusion (which can result in poor images) and creates an opportunity to capture unique images from both photographers. For example, I recently took a landscape-type image of a bride and groom in the woods, while my second photographer took more of a tighter, portrait-style image. Both images work for different reasons.

You can also capture great candids this way. If the first photographer puts down his camera to change a memory card, the bride and groom often think no one's taking any pictures and let their guard down even more. Some of the coolest, most natural images I've captured have been when the bride and groom think no one's looking.

Keep the wedding party and other groups on their toes for photos.
As a wedding photographer, one of the most important things you have to do when you're taking pictures of groups is to keep the energy level up. Never, ever look at your camera after taking a picture and shake your head or say anything negative, like, "Whoops, that didn't come out like I wanted." That feeling then permeates through the whole shoot. I always tell the people in front of my camera, "You look fantastic! Wow, what a great picture!" It keeps them going.

I also try to mix things up when taking multiple images of the wedding party. Once someone stands next to someone else in a group shot, he or she will have a tendency to stand next to that same person in all of the shots. So I'll take a picture of the group, then have everyone switch where they're standing or sitting - for instance, I'll ask everyone on the left-hand side to go over to the right-hand side, and vice versa. You'll change the dynamic and get beautiful pictures you didn't even expect. If you have a second photographer for the day, you can even have her capture the individuals in the image bumping into each other and laughing as they're switching places. You'll get some great candids that you can always crop later.

Don't forget the detail shots.
Before the actual wedding, I try to gauge the personality of the person (or persons) in control so I know which detail images are important. Whether it's the bride, the groom, or the mother of the bride, there's always someone calling the shots and who knows what they want; when I do my consultations, I'm usually able to peg who that is. If flowers are important to them, then I know to capture some extra images of the centerpieces. If the wedding date has some special significance, I know to focus on the date on the invitation.

But no matter what, I always take pictures of the back of the wedding dress. Many photographers forget to capture that part of the gown, which usually is beautifully intricate. The bride spends so much time deciding on the perfect dress and then there are no pictures of it. The bride especially wants to remember what it looked like and how she felt wearing it.

To see more of Paul Lucia's images, go to www.paulluciaphotography.com.