Wedding Film Photography Tips

[Salt&Light]

Hello,

For anyone who has shot or currently shoots weddings professionally strictly with 120 and 35mm film, how many rolls do you typically go through during a full day (10-12 hours) of shooting? Also, do you have any good tips for another new wedding photographer shooting film only?

My set up will be a Pentax 645N using two fixed lenses, Canon EOS 1V using one zoom lens, and an olympus mju-II point and shoot.

Let me know your thoughts, please!

 

[Cholentpot]

Bring extra batteries and then bring extra on top of that.

If you can, bring a camera that is fully mechanical as a backup. Also, waste the first few shots with the back of camera open to verify that the film has indeed been taken up. Shoot short rolls, 24 shots max. Hand off the MJU to someone else occasionally. Always keep one camera loaded.

(Bring a digital camera as a last ditch backup plan)

 

[pentaxuser]

The most important tip. Avoid being commissioned by any bridezillas or groomzillas for that matter

pentaxuser

 

[Salt&Light]

Bring extra batteries and then bring extra on top of that.

If you can, bring a camera that is fully mechanical as a backup. Also, waste the first few shots with the back of camera open to verify that the film has indeed been taken up. Shoot short rolls, 24 shots max. Hand off the MJU to someone else occasionally. Always keep one camera loaded.

(Bring a digital camera as a last ditch backup plan)

I don't own any digital cameras, but I have mechanical 35mm and medium format cameras that I'll gladly bring. Thanks for that idea. Secondly, I always heard that shooting with the film back open ruins the whole roll of film even if it's just a few at the start. Will the film still in the case be safe? Lastly, Why do you recommend shooting short rolls? I've heard to do this with medium format too avoid weird shots due to the film not being perfectly flat.

 

[Salt&Light]

The most important tip. Avoid being commissioned by any bridezillas or groomzillas for that matter

pentaxuser

I've been wondering that. I'm hoping that being a film-only wedding photographer will land me into a more laidback, artsy clientele. Is there any good ways to tell whether someone is too uptight before working with them. What would you recommend? I'm thinking about doing an initial meet-and-greet to see if we'd work well together and make my judgement from that meeting.

 

[BrianShaw]

Answers to many of your questions can better be answered with some clarifications: are you to be the primary paid wedding photographer, a hired “second shooter” or a guest?

My advise to any new professional, though, is the same: know the craft, know the business, and gain initial experience under the thumb of a seasoned professional.

Do you have a portfolio and any credentials yet to show potential clients?

 

[Cholentpot]

I don't own any digital cameras, but I have mechanical 35mm and medium format cameras that I'll gladly bring. Thanks for that idea. Secondly, I always heard that shooting with the film back open ruins the whole roll of film even if it's just a few at the start. Will the film still in the case be safe? Lastly, Why do you recommend shooting short rolls? I've heard to do this with medium format too avoid weird shots due to the film not being perfectly flat.

Taking an extra shot with the back open on a manual 35mm won't be a problem. With the EOS and MJU you don't have to do this as it will reliably load the film.

Shorter rolls are helpful in case you get a jam, the film breaks, you messed up the film settings for the meter or a bunch of other things. You've only lost 24 shots instead of 36. With the EOS this shouldn't be an issue because it's generally reliable.

I've been wondering that. I'm hoping that being a film-only wedding photographer will land me into a more laidback, artsy clientele. Is there any good ways to tell whether someone is too uptight before working with them. What would you recommend? I'm thinking about doing an initial meet-and-greet to see if we'd work well together and make my judgement from that meeting.

I've found that having film as a side option works for marketing. As in, Yes I use film as an artistic expression of my work by I rely heavily on digital for the main work.

 

[Sirius Glass]

I don't own any digital cameras, but I have mechanical 35mm and medium format cameras that I'll gladly bring. Thanks for that idea. Secondly, I always heard that shooting with the film back open ruins the whole roll of film even if it's just a few at the start. Will the film still in the case be safe? Lastly, Why do you recommend shooting short rolls? I've heard to do this with medium format too avoid weird shots due to the film not being perfectly flat.

Do not open the film back with film in the camera except to remove a completed roll.

 

[koraks]

My advise to any new professional, though, is the same: know the craft, know the business, and gain initial experience under the thumb of a seasoned professional.

Absolutely. The questions about whether an opened film back will ruin a roll suggests to me at least that some more mileage in becoming acquainted with the craft would be desirable before dipping one's toe into the professional realm.

I'm hoping that being a film-only wedding photographer will land me into a more laidback, artsy clientele.

An 'artsy' clientele will be attracted primarily by appealing work and maybe by a certain type of personality. I think you'll be hard-pressed to find anyone on this planet who prioritizes their wedding photog shooting film over more regular requirements like getting photos in a style they like, getting them within a reasonable timeframe, dealing with a professional who knows the drill of shooting an event like this, an overall smooth transaction, a social connection / the feeling the photog understands what the couple wants, etc.

If you search on this forum you'll find one or two recent threads on questions along the lines of "which professionals on here still use film for their work". You'll find that the answers split into roughly two directions:
1: A very, very tiny number of members here who do shoot film and do so professionally. If memory serves, two or three of them. One is already posting in this thread. I'd take his advice on at least bringing a digital backup (or rather, using film as a bonus/add-on) very seriously indeed.
2: A vast majority who feels (and sometimes, damn well knows) that shooting film, charming as it may seem, is from a business point of view a dubious and in many lines of work probably downright stupid thing to do in this day and age. Wedding photography may be one of the few niches where there might be some appeal to the film proposition, but I don't think it'll sell as such - it will only work as part of a package of an overall decent/high-quality and appealing proposition (not just photographically so; see earlier comments).

Of course, many successful entrepreneurs will argue that they've been told that their ideas were stupid when they just started out, and look where it got them. But remember that there's a vast number of people, outnumbering the successful entrepreneurs by a massive landslide, who have learned some painful lessons because they didn't listen. Which is to say: by all means, give it a go, but don't give up your day job, and be very cautious of what risks you're taking. I've seen (and sometimes advised and evaluated/judged, professionally) my share of nascent entrepreneurs, and to be frank, your idea is one that would have garnered a vote of sympathy and not much else.

Sorry about the confrontational message, but as said, it would be odd if nobody would highlight the obvious problems with your idea.

Now, please carry on and explore the idea further, especially the aspect of how shooting film might (or might not) add to a sensible value proposition within a specific niche of wedding photography.

 

[Salt&Light]

Absolutely. The questions about whether an opened film back will ruin a roll suggests to me at least that some more mileage in becoming acquainted with the craft would be desirable before dipping one's toe into the professional realm.



An 'artsy' clientele will be attracted primarily by appealing work and maybe by a certain type of personality. I think you'll be hard-pressed to find anyone on this planet who prioritizes their wedding photog shooting film over more regular requirements like getting photos in a style they like, getting them within a reasonable timeframe, dealing with a professional who knows the drill of shooting an event like this, an overall smooth transaction, a social connection / the feeling the photog understands what the couple wants, etc.

If you search on this forum you'll find one or two recent threads on questions along the lines of "which professionals on here still use film for their work". You'll find that the answers split into roughly two directions:
1: A very, very tiny number of members here who do shoot film and do so professionally. If memory serves, two or three of them. One is already posting in this thread. I'd take his advice on at least bringing a digital backup (or rather, using film as a bonus/add-on) very seriously indeed.
2: A vast majority who feels (and sometimes, damn well knows) that shooting film, charming as it may seem, is from a business point of view a dubious and in many lines of work probably downright stupid thing to do in this day and age. Wedding photography may be one of the few niches where there might be some appeal to the film proposition, but I don't think it'll sell as such - it will only work as part of a package of an overall decent/high-quality and appealing proposition (not just photographically so; see earlier comments).

Of course, many successful entrepreneurs will argue that they've been told that their ideas were stupid when they just started out, and look where it got them. But remember that there's a vast number of people, outnumbering the successful entrepreneurs by a massive landslide, who have learned some painful lessons because they didn't listen. Which is to say: by all means, give it a go, but don't give up your day job, and be very cautious of what risks you're taking. I've seen (and sometimes advised and evaluated/judged, professionally) my share of nascent entrepreneurs, and to be frank, your idea is one that would have garnered a vote of sympathy and not much else.

Sorry about the confrontational message, but as said, it would be odd if nobody would highlight the obvious problems with your idea.

Now, please carry on and explore the idea further, especially the aspect of how shooting film might (or might not) add to a sensible value proposition within a specific niche of wedding photography.

Hello Koraks,

Thanks for your opinion. I've been working with film for close to a decade now, and yes, do I still not know everything and still have questions? Definitely. there's so much in learning film and I got into film after the production of film cameras ceased. Also, I live in a metropolitan city absolutely saturated in wedding photographers that only shoot digital. A big reason why I want to go into wedding photography is because I feel like I would excel at what you mentioned,

"getting photos in a style they like, getting them within a reasonable timeframe, dealing with a professional who knows the drill of shooting an event like this, an overall smooth transaction, a social connection / the feeling the photog understands what the couple wants, etc."

I will definitely consider your post. Thank you for offering the critique and challenge that you did. I was wondering whether you've started successful businesses or have monetary success with your photography. If so, I'd love to hear more from you regarding your thoughts on how you monetized your business.

 

[Omid_K]

The last wedding I shot was with nearly identical gear. I shot fewer than 10 rolls of 35mm and probably 15-20 rolls of 120. I used nearly the exact same kit as you (Pentax 645n and the Elan 7E). Some tips: Get a holdfast (or equivalent) strap so that both cameras can hang at your side simultaneously. If you don’t already, make sure you have a few spare backs for your Pentax (2 at a minimum, 3 or 4 preferred) and have them preloaded. Things move quick once they get going so having those really eases some of the stress of the pace. My most important suggestion would be to pick a single ISO and stick with it. I chose 800 so I bought Portra 800 and I shot all of my HP5 pushed a stop. If you’re alternating between various ISOs, you’re asking to make a mistake somewhere since your brain will be so focused on other things. One less variable.

Pay attention to your last frame. Both your cameras auto wind at the end. The 1V isn’t too loud but that Pentax is obnoxiously loud for that setting. Try to work it out to where frame 16 is taken from farther away even if you have to burn that frame on a shot of the ground and then swap inserts and go back to work. Lastly, bring a small external light meter just in case.

Honestly, shooting a wedding on film is not as scary as some would have you believe. If you don’t feel comfortable with strobes then perhaps you’ll need digital when you go to the reception. However, if you feel comfortable shooting strobes without the need to see the results in real time keep on shooting film. People did so for decades out of necessity. It can be done. That said, being able to dial in your settings on the spot with real time feedback of digital serves as a good crutch until you get to that comfort level.

-Omid

 

[BrianShaw]

Also consider lighting, the type of final product being offered, and what lab will be used, including their capabilities for professional-level printing. Most of the “wedding photography labs” went out of business or pivoted to digital in the 1990’s. Most churches and reception venues have “challenging lighting” to say the least and benefit from skillful strobe usage.

 

[Cholentpot]

Absolutely. The questions about whether an opened film back will ruin a roll suggests to me at least that some more mileage in becoming acquainted with the craft would be desirable before dipping one's toe into the professional realm.



An 'artsy' clientele will be attracted primarily by appealing work and maybe by a certain type of personality. I think you'll be hard-pressed to find anyone on this planet who prioritizes their wedding photog shooting film over more regular requirements like getting photos in a style they like, getting them within a reasonable timeframe, dealing with a professional who knows the drill of shooting an event like this, an overall smooth transaction, a social connection / the feeling the photog understands what the couple wants, etc.

If you search on this forum you'll find one or two recent threads on questions along the lines of "which professionals on here still use film for their work". You'll find that the answers split into roughly two directions:
1: A very, very tiny number of members here who do shoot film and do so professionally. If memory serves, two or three of them. One is already posting in this thread. I'd take his advice on at least bringing a digital backup (or rather, using film as a bonus/add-on) very seriously indeed.
2: A vast majority who feels (and sometimes, damn well knows) that shooting film, charming as it may seem, is from a business point of view a dubious and in many lines of work probably downright stupid thing to do in this day and age. Wedding photography may be one of the few niches where there might be some appeal to the film proposition, but I don't think it'll sell as such - it will only work as part of a package of an overall decent/high-quality and appealing proposition (not just photographically so; see earlier comments).

Of course, many successful entrepreneurs will argue that they've been told that their ideas were stupid when they just started out, and look where it got them. But remember that there's a vast number of people, outnumbering the successful entrepreneurs by a massive landslide, who have learned some painful lessons because they didn't listen. Which is to say: by all means, give it a go, but don't give up your day job, and be very cautious of what risks you're taking. I've seen (and sometimes advised and evaluated/judged, professionally) my share of nascent entrepreneurs, and to be frank, your idea is one that would have garnered a vote of sympathy and not much else.

Sorry about the confrontational message, but as said, it would be odd if nobody would highlight the obvious problems with your idea.

Now, please carry on and explore the idea further, especially the aspect of how shooting film might (or might not) add to a sensible value proposition within a specific niche of wedding photography.

I shot a wedding a few weeks ago, hybrid. I got one shot that came out ok on the film, the rest were unusable. Digital came out fine.

 

[Salt&Light]

The last wedding I shot was with nearly identical gear. I shot fewer than 10 rolls of 35mm and probably 15-20 rolls of 120. I used nearly the exact same kit as you (Pentax 645n and the Elan 7E). Some tips: Get a holdfast (or equivalent) strap so that both cameras can hang at your side simultaneously. If you don’t already, make sure you have a few spare backs for your Pentax (2 at a minimum, 3 or 4 preferred) and have them preloaded. Things move quick once they get going so having those really eases some of the stress of the pace. My most important suggestion would be to pick a single ISO and stick with it. I chose 800 so I bought Portra 800 and I shot all of my HP5 pushed a stop. If you’re alternating between various ISOs, you’re asking to make a mistake somewhere since your brain will be so focused on other things. One less variable.

Pay attention to your last frame. Both your cameras auto wind at the end. The 1V isn’t too loud but that Pentax is obnoxiously loud for that setting. Try to work it out to where frame 16 is taken from farther away even if you have to burn that frame on a shot of the ground and then swap inserts and go back to work. Lastly, bring a small external light meter just in case.

Honestly, shooting a wedding on film is not as scary as some would have you believe. If you don’t feel comfortable with strobes then perhaps you’ll need digital when you go to the reception. However, if you feel comfortable shooting strobes without the need to see the results in real time keep on shooting film. People did so for decades out of necessity. It can be done. That said, being able to dial in your settings on the spot with real time feedback of digital serves as a good crutch until you get to that comfort level.

-Omid

Thanks, Omid,

That is great advice! Thank you so much. I was planning on getting an extra film back, but I'll be sure to invest in more of them. Hmmm, that's a good idea on the whole keeping the ISO the same throughout. I was planning on shooting Portra 800 rated at either 800 or 400 without in-lab pushing and Delta 3200 rated at 1600 or 800 without in-lab pushing or a +1 push. So I figure I'd be fine since those stocks love overexposure.

Definitely using a light meter for family and couple shots, but not for candid. I'm fairly comfortable with flashes, used them before for studio work, but never for events. Do you normally rely on TTL flash setting or go manual at weddings? I feel like I'd probably just shoot TTL inside during receptions/low-lighting with Portra 800 and Delta 3200 rated at 800. Do you get good results shooting 800 with flash?

-Shane

Also consider lighting, the type of final product being offered, and what lab will be used, including their capabilities for professional-level printing. Most of the “wedding photography labs” went out of business or pivoted to digital in the 1990’s. Most churches and reception venues have “challenging lighting” to say the least and benefit from skillful strobe usage.

I don't have the space to process and scan myself after moving awhile back, so I'll have to use a lab. I've been using Indie Film Lab with great results recently. They offer uncorrected Noritsu or Frontier scans in .TIFF format, so that I can edit them all myself. I was thinking about just using Sprout Studio to handle all the prints and payments for clients.

 

[VinceInMT]

The most important tip. Avoid being commissioned by any bridezillas or groomzillas for that matter

My friends in the business tell is its more a mother-of-the-bridezilla these days.

 

[MattKing]

I don't shoot weddings any more - haven't done so for decades.
Which of course means that I've only used film for weddings.
You need to be efficient and quick and nearly automatic with all the technical things - loading and unloading film, handling cameras, handling lenses and lens changes, handling film, handling lights and stands and tripods and grips and cords and meters - all the stuff that goes with preparation and experience and technical proficiency.
You need to check the condition and correct operation of your equipment ahead of time. And it is a good idea to carry with you some basic tools to do things like tighten loose screws and re-condition pc tips "on the fly".
If possible, you should visit the venue(s) ahead of time and scope out the circumstances. If there will be people in charge - officiants, wedding planners, family members who organize things - it is really a good idea to talk to them ahead of time to understand their rules and expectations.
The same "talking ahead of time" definitely applies to the couple themselves - particularly with respect to final results. You don't want to organize your shooting to favour a few formal portraits and memorable events if the couple are more interested in high volumes of candid shots.
It is really helpful to identify a friend or family member who can identify for you the people at the wedding that the couple would really like to have a photo or two of. Great Aunt Edna from Saskatoon may be someone really important to them, whereas she might appear to you to be just another un-memorable guest.
I always tried to have a backup camera body and enough lenses that I could still function if I had an equipment problem.
Bring extra batteries!
I used to market my services with an example wedding album with 12 pages, which held about 20 photos of different sizes. Many people were happy with that output, plus the proofs, plus some enlargements for family and friends.
I was supported by a really good professional lab that was owned by commercial, wedding and portrait photographers, and oriented toward serving that market.
For a full day wedding, I used to bring 20 rolls of film, and shoot 12 exposures per roll.

 

[pentaxuser]

I've been wondering that. I'm hoping that being a film-only wedding photographer will land me into a more laidback, artsy clientele. Is there any good ways to tell whether someone is too uptight before working with them. What would you recommend? I'm thinking about doing an initial meet-and-greet to see if we'd work well together and make my judgement from that meeting.

The meet and greet strategy seems to me to be as good a way as any to gauge how "picky" they are. What's key is : can the non picky one exert any real influence over the picky one?

This sounds like "first base" stuff but unless you have decided that the couple need to have a penchant for film over digital then you are in direct competition with the digital shooters so you need an edge on price or service.

So on a like-for-like basis have you worked out how much film, including processing and printing, you can afford to shoot?

The ideal couple is the one sold on film for whom money is no object. How many of those are there in your area to allow you to earn a living or is wedding photography an additional income so you can pick and choose those you wish to be commissioned by?

I need to lay my cards on the table here. Other than as a favour I have only ever taken film photos at friends' wedding as a guest and then only in b&w as a novel addition to the digital professionals.

pentaxuser

 

[koraks]

A big reason why I want to go into wedding photography is because I feel like I would excel at what you mentioned,

Good, because those are things that will have to somehow pay for the added risk, longer lead times and lower image quality and quantity that will distinguish you from the fierce competition.

Not saying it can't be done, or that you shouldn't try it. I think it's an interesting proposition. There don't seem to be many (yet?) who appear to have turned it into a sustainable business case in today's landscape - so very interesting, indeed.

I will definitely consider your post.

Take whatever advice you want, from whomever you feel. One thing that has always struck me in my interactions with entrepreneurs (a substantial part of my work, and it extends to the 'creative industry') is that they hit the sweet spot between being remarkably attentive and incredibly stubborn.

 

[pentaxuser]

My friends in the business tell is its more a mother-of-the-bridezilla these days.

Ah, the dreaded soon to be mother-in-law We used to have the mother-in-law for Christmas dinner every year. I always knew it was her as soon as she walked up to the door. It wasn't that I could see her from my armchair but I knew it was her as the mice all started to throw themselves onto the traps

Do you have such jokes in the U.S. We're famous for them

pentaxuser

 

[BrianShaw]

Have you considered going to some local wedding shows/expos to size up the competition? Same with visiting bridal boutiques and florists; they tend to have lots of knowledge on what’s selling and who’s doing it. You might even be able to leave some promo materials and get referrals.

 

[Pieter12]

Be polite, patient and considerate and have a thick skin. But don't miss the key shots. Find out what is important to the families and schedule anything you can in advance, even a day or so before.

 

[images39]

Lots of great advice here. I shot weddings for a studio for around 8 years, mostly as a second shooter doing candids (which I found to be much more fun than being the main photographer). I can't add too much, other than emphasizing a few things:

-Extra batteries (absolutely goes without saying)
-More film than you think you'll need
-I strongly suggest having extra bodies. This allows for backup in case of equipment failure, but also allows you to shoot with a couple of different lenses (one with a zoom and one with a prime, for some natural light shots in tricky lighting)
-You must know your equipment 100% through and through. You can't be fumbling with settings, exposure modes, etc. It all has to be done reflexively and competently.
-You'll need reliable processing. If you're using a lab, don't make the wedding your first time processing with them.
-I agree with the suggestion to go to the venue ahead of time on your own. You can see scout good locations and see where lighting conditions are likely to be favorable.
-Meeting with the couple (bride especially) ahead of time is essential. Have a checklist of what she wants, posed vs. candids, which relatives/friends are important to her, etc.
-My niche was candids, but I found that a lot of people will say they want candids and don't like posed shots, but then end up ordering a lot of posed shots. I can't explain this, and maybe the market has changed since I did wedding work (2003-2013).

Dale

 

[Sirius Glass]

Be polite, patient and considerate and have a thick skin. But don't miss the key shots. Find out what is important to the families and schedule anything you can in advance, even a day or so before.

Make up a list of key shots that must be there.
Who
Which groupings
Which events
…

 

[Alex Benjamin]

I'm hoping that being a film-only wedding photographer will land me into a more laidback, artsy clientele.

You obviously haven't met many artsy people if you think being artsy prevents you from being a pain in the a**.

Kidding aside, "laidback" and "wedding" don't belong in the same sentence. It's an event that's planned months, if not years in advance, comes with a tremendous amount of stress for the bride, groom and family (especially for the family member who paid for it all), and the expectation of everything running absolutely perfectly puts a huge amount of pressure on everybody involved.

I was at a wedding recently, and the most laidback person in the place was actually the photographer. Really nice chap, had gear — main and back-up — that looked like it was worth more than my mortgage, and, most importantly, was absolutely prepared: knew what shot to take when, what was going to happen before it happened, agile enough to improvise when needed, and still took the time between two shots to chat with me about my OM-2n that looked like it could have been eaten by the monster lens he was holding.

All this to say that the "be prepared and then more" advice you're getting here is most essential.

 

[Sirius Glass]

Today's bridezillas want the wedding photographs complete and ready to upload on her computer at least two weeks before the wedding.