I must admit that at the beginning of my career, I also fell into the corny wedding party photo pitfalls. Just check out Chapter 12 in Wedding Storyteller, Volume 1, to take a peek. But since then, I have always pursued a better approach to photographing wedding parties without the clichés. In order to elevate the genre of wedding photography into one that is universally respected, we must stay away from clichés and deliver well-executed tasteful wedding party photos to our clients. In this chapter, you will see a wide variety of images from each of the four wedding party/group styles, and all of them have some kind of helper light to bring the photographs to life. Normally, I use one flash when I need to move fast and two flashes when I have a little more time. But I always find the time to improve the lighting.

WEDDING PARTY GROUP PHOTO STYLES

In Volume 1, I dedicated an entire chapter to learning how to spot the red flags that could potentially lead to a cliché photo. By recognizing these dangers, you can immediately make the necessary changes to avoid falling into that trap. In this volume, I would like to present you with numerous examples of the four types of wedding party approaches. These wedding party photos were taken either during the bride and groom getting-ready time frame or immediately after the ceremony.

What follows are the four types of wedding party photos, as first described in Volume 1. To go above and beyond what an average wedding photographer would do, you should have two goals. Your first goal is to implement all four types of wedding party group portraits at each wedding. The second goal is to refrain from clichés and to create unique, tasteful, well-posed (not perfectly posed) group portraits for each style. That is not a problem, right?

If it helps, I want you to know that this is much more feasible than you might think. The key is to keep things simple. If you begin to overdo or over-pose the scene, the group photo will begin to collapse or become a wedding party cliché. So keep it simple. Simple is elegant.

SIMPLE AND TRADITIONAL (STANDING NEXT TO OR FRAMING THE BRIDE OR GROOM)

FEELINGS: Classic, Elegant, Necessary

This first category of wedding party photos is probably the most important and the one you should invest the most time in and pay the most attention to. Without these simple and traditional group portraits, your clients will be quite upset, even if you have done a great job with the other three categories. Simple and traditional is, and always should be, your foundation. Once you have that completely covered, then begin to work on the other three styles. There is a reason why this group style is listed first: it’s top priority. In fact, the order of these four types of group portraits is in the exact order of their priority. Keep in mind that I have already written an entire chapter on how to pose group portraits (Chapter 12 of Volume 1), and I don’t want to repeat myself. I highly encourage you to read that chapter if you want to dig deeper into the mechanics of group posing. The purpose of this chapter in this volume is to show you the execution of different variations of these four types of group portraits.

In the simple and traditional style, you simply place people traditionally on either side of the bride and groom. You can either place all women on one side and men on the other, or mix and match. I prefer to mix and match genders. When I take these shots, I keep three crucial concepts in mind:

• •Posture. Make sure no one is slouching. Good posture is key to a decent start with these group photos.
• •Break the pattern. Make sure that members of the wedding party are not all doing the exact same pose like robots on an assembly line. That is not attractive, and it looks very mechanical. To remedy this, move people around a bit, change the positions of their arms and how the women are holding their bouquets, and switch the direction of their upper bodies so that they are turned in different directions.
• •Don’t worry about perfection. There is never enough time to pose every finger and hand perfectly. While attempting to create relaxed photos, it is inevitable that some fingers will be emerging from people’s shoulders or waists. If you spot them, try to fix them. But don’t spend too much time looking for perfection. It is not worth it. Patience will quickly run out, and you have yet to take a variety of group photos. So make it count.

The other type of traditional photo is when the people are framing the bride or groom. This works best if the bride or groom is sitting down. Then you position people’s heads around the bride until they form a frame around the bride’s head. You might have to search for several props to pose the people around the bride or groom comfortably.

Figures 6.1–6.18 demonstrate a wide variety of examples of these simple and traditional group style portraits you can use for inspiration. Notice they all have a fun, relaxed feel to them. Also, if you look closely, you will be able to spot posing mistakes in almost every photo. They are minor, however, and do not distract from the overall feeling of the photo. This is a great compromise.

FIGURE 6.1 Settings: ISO 400, 1/180, f/5.6 (24–70mm f/2.8L lens)

FIGURE 6.2 Settings: ISO 100, 1/250, f/4.5 (70–200mm f/2.8L lens)

FIGURE 6.3 Settings: ISO 320, 1/180, f/5.6 (24–70mm f/2.8L lens)

FIGURE 6.4 Settings: ISO 800, 1/200, f/4.5 (70–200mm f/2.8L lens)

FIGURE 6.5 Settings: ISO 100, 1/125, f/4 (24–70mm f/2.8L lens)

FIGURE 6.6 Settings: ISO 100, 1/160, f/4 (35mm f/1.4L lens)

FIGURE 6.7 Settings: ISO 200, 1/640, f/4.5 (70–200mm f/2.8L lens)

FIGURE 6.8 Settings: ISO 200, 1/125, f/3.5 (70–200mm f/2.8L lens)

FIGURE 6.9 Settings: ISO 400, 1/200, f/5.6 (70–200mm f/2.8L lens)

FIGURE 6.10 Settings: ISO 250, 1/250, f/4.5 (70–200mm f/2.8L lens)

FIGURE 6.11 Settings: ISO 1000, 1/125, f/1.8 (35mm f/1.4L lens)

FIGURE 6.12 Settings: ISO 400, 1/90, f/3.5 (24–70mm f/2.8L lens)

FIGURE 6.13 Settings: ISO 400, 1/125, f/5.6 (40–80mm f/4–5.6 lens)

FIGURE 6.14 Settings: ISO 400, 1/125, f/5.6 (40–80mm f/4–5.6 lens)

FIGURE 6.15 Settings: ISO 640, 1/350, f/3.5 (70–200mm f/2.8L lens)

FIGURE 6.16 Settings: ISO 800, 1/50, f/4.5 (40–80mm f/4–5.6 lens)

FIGURE 6.17 Settings: ISO 400, 1/250, f/5.6 (50mm f/1.2L lens)

FIGURE 6.18 Settings: ISO 200, 1/320, f/4.5 (24–70mm f/2.8L lens)

TOGETHER, REACTING TO SOMETHING OR SOMEONE

FEELINGS: Fun, Charming, Shows Personalities, Heightens Curiosity

This is the second priority style of group posing, and it’s relatively easy and quick to accomplish if you already have everyone together for the traditional photos. You can easily cause the group to genuinely laugh or react to something you or someone else has said. If most of the group is clearly reacting to something or someone, you have succeeded with this photo. See Figures 6.19–6.29.

It is very enjoyable to see a wedding book with group photos in which the individuals’ personalities show through, instead of having a photo of everyone standing ramrod straight and looking at the camera with phony smiles. I’m sure you are well aware of what I am referring to. This type of group photo shows the viewer a hint of each of their individual personalities. The photo could also make you laugh and make you wonder what all the fuss is about. This curiosity forces the viewer to study the photo longer to figure out why people are reacting the way they are.

FIGURE 6.19 Settings: ISO 320, 1/1500, f/4 (70–200mm f/2.8L lens)

To execute this style properly, the photographer cannot be shy. The group is reacting to a high-energy input, and most likely that energy comes from you. There is a direct relationship between the level of energy the photographer puts out, and the level of energy in the wedding party’s reaction.

Most people are not looking at the camera, but some are. Remember that these are wedding group examples, and weddings are supposed to be joyous occasions. With that in mind, I usually create a fun energy around this type of group photo. However, you can consider different sentiments other than laughing or reacting in a joyous manner. It’s up to you.

FIGURE 6.20 Settings: ISO 400, 1/180, f/5.6 (24–70mm f/2.8L lens)

FIGURE 6.21 Settings: ISO 100, 1/125, f/4 (70–200mm f/2.8L lens)

FIGURE 6.22 Settings: ISO 320, 1/320, f/4.5 (70–200mm f/2.8L lens)

FIGURE 6.23 Settings: ISO 800, 1/200, f/3.5 (70–200mm f/2.8L lens)

FIGURE 6.24 Settings: ISO 320, 1/180, f/5.6 (70–200mm f/2.8L lens)

FIGURE 6.25 Settings: ISO 400, 1/500, f/2.8 (70–200mm f/2.8L lens)

FIGURE 6.26 Settings: ISO 125, 1/125, f/4.5 (70–200mm f/2.8L lens)

FIGURE 6.27 Settings: ISO 800, 1/200, f/4.5 (24–70mm f/2.8 lens)

FIGURE 6.28 Settings: ISO 250, 1/180, f/5.6 (70–200mm f/2.8L lens)

FIGURE 6.29 Settings: ISO 800, 1/125, f/4 (35mm f/1.4L lens)

MUTUAL ACTIVITY OR EXCUSE TO HAVE THE GROUP TOGETHER

FEELINGS: In the Moment, Affection, Bonding, Building Memories, Camaraderie

This is perhaps my favorite type of group photo style. It has also proven to be quite effective for getting me hired. People feel a very strong emotional connection with this type of photo that the other three simply don’t provide. Having a true mutual activity brings people together for a common purpose. People relate to this type of photo, and they see themselves in them, even if it’s another person’s wedding. That’s a very powerful feeling. For this reason, I have decided to invest more time and energy into fine-tuning my skill set on this mutual activity style.

To successfully execute this style, you must have the entire group within the frame doing something similar or having a common purpose. Not all members of the wedding party must be present, and you don’t have to show everyone’s face perfectly. But there must be a theme around the photo that the viewer can detect. That is the key. When viewing this type of photo, the viewer senses camaraderie, bonding, friendship, affection, and caring among the group. As you look at Figures 6.30–6.39, try to guess the theme of each of the photos. What activity brought them all together? Look at everyone’s expressions. Also, notice how everyone is spread out throughout the frame.

FIGURE 6.30 Settings: ISO 400, 1/20, f/4 (40–80mm f/4–5.6 lens)

FIGURE 6.31 Settings: ISO 320, 1/1500, f/2.8 (70–200mm f/2.8L lens)

FIGURE 6.32 Settings: ISO 800, 1/500, f/1.8 (85mm f/1.2L lens)

FIGURE 6.33 Settings: ISO 320, 1/500, f/2.8 (70–200mm f/2.8L lens)

FIGURE 6.34 Settings: ISO 800, 1/60, f/3.5 (50mm f/1.2L lens)

FIGURE 6.35 Settings: ISO 400, 1/180, f/1.8 (35mm f/1.4L lens)

FIGURE 6.36 Settings: ISO 800, 1/200, f/2.8 (35mm f/1.4L lens)

FIGURE 6.37 Settings: ISO 640, 1/125, f/3.5 (70–200mm f/2.8L lens)

FIGURE 6.38 Settings: ISO 200, 1/50, f/4.5 (40–80mm f/4–5.6 lens)

FIGURE 6.39 Settings: ISO 635, 1/80, f/4 (24–70mm f/2.8 lens)

VANITY FAIR–STYLE PORTRAITS

FEELINGS: Regal, Timeless, Unified, Team, Powerful, Cinematic

The Vanity Fair–style portraits are fun to put together, because everyone enjoys the activity. For this type of group photo, people feel like movie stars posing for a movie poster, and they love that they don’t have to smile. It’s a win-win situation! To execute this style of photo properly, you must have plenty of available props, so that some individuals sit on different parts of a chair while others stand, sit on the floor, lean against an armrest, etc. Props are the key. See Figures 6.40–6.50.

Also, people must be positioned at varying levels throughout the composition, so that the eyes must travel up and down and left to right to notice all of them in the photo. Finally, regarding posing in the Varity Fair–style, the photographer must pose each individual as if they were completely alone. If you were to remove all but that one person from the group photo, that person should look great on his or her own. This means that every person is posed independently of the others. If you do that for every person in the photo, you will triumph. Taking these photos is great fun, so enjoy the process!

FIGURE 6.40 Settings: ISO 1600, 1/30, f/4.5 (35mm f/1.4L lens)

FIGURE 6.41 Settings: ISO 800, 1/50, f/3.5 (50mm f/1.2L lens)

FIGURE 6.42 Settings: ISO 800, 1/100, f/3.5 (50mm f/1.2L lens)

FIGURE 6.43 Settings: ISO 500, 1/50, f/3.5 (35mm f/1.4L lens)

FIGURE 6.44 Settings: ISO 320, 1/250, f/3.5 (70–200mm f/2.8L lens)

FIGURE 6.45 Settings: ISO 200, 1/200, f/11 (50mm f/1.2L lens)

FIGURE 6.46 Settings: ISO 100, 1/200, f/4 (28–70mm f/2L lens)

FIGURE 6.47 Settings: ISO 800, 1/40, f/5.6 (40–80mm f/4–5.6 lens)

FIGURE 6.48 Settings: ISO 400, 1/180, f/4.5 (50mm f/1.2L lens)

FIGURE 6.49 Settings: ISO 800, 1/80, f/4 (35mm f/1.4L lens)

FIGURE 6.50 Settings: ISO 800, 1/60, f/4.5 (45mm f/2.8 lens)

FINAL WORDS ON WEDDING PARTY GROUP PHOTOS

These four styles of wedding party group photos allow you to expand the breadth of your work. Very often, we fall into the trap of repeating ourselves continuously until we become so bored that we lose all inspiration and energy to create.

Realistically, it is not easy to photograph all four types of wedding party photos at every wedding. There are also countless creative possibilities for how you go about each of the four styles. The options and opportunities are truly infinite. You can do what speaks to you for each of these four types of group photos.

I try very hard to tailor the group portraits to the personalities of the groups. I want people to see their true selves in the photos, not themselves as if they were placed in a mold. To me, people are their own universe, and they should not be put into a mold just to make our jobs a little easier. Find inspiration in the personalities you are working with, and combine that with your own unique twist that speaks about you as an artist.