How Do You approach the Procession ?

Well it depends on:

1. the local rules

2. the length of the aisle

3. the number of people in the Procession

4. the pace (speed) : (Flower Girls and Page boys can be notoriously fleet of foot).

All being perfect, and if working alone, I like to be about 10 ft from the Vestibule / Entrance and walk backwards capturing a Full Length and Half Shot of each member.

Then being halfway down the aisle for the Dad and Bride, and being able to turn and capture the reverse shot, and the presentation to the Groom, or off to the side to capture that half profile, if I am allowed to move to a Choir Stall or similar.

WW

At a recent wedding I shot they were also videotaping and I was really self conscience about where I went because I felt like I'd be in the way a lot. I got some pretty good shots hiding down in front of the front pews though, so it turned out.

Ask the person in charge, often called the church wedding planner.

I don't move around much at all. When the clients see all of the photos they are surprised how many I got because they never saw me. So the best plan is try to be like a mouse. Stay back use long lenses for the rings, wide angles for the entire church or temple.

I'm typically up front positioned somewhere within the first three pews but church rules and the physical layout can vary. Often the video guy is directly across the ilse from me and most of the time I'm on the left side of the church (bride's side) for two reasons: I like the bride closest to me with her father on the outside for composition reasons, and: I've generally got a better relationship with the bride's family from the time I've spent at the bride's house doing the pre-ceremony shots.

Most religious institutions have their specific "rules of engagement", and each officiant often has variations on those rules. Usually, the "Sanctuary" area is off limits at all times ... including the processional.

For the procession itself, I usually stand right up front and center and try to capture not only the processional subjects, but the guest's reactions and the backdrop of the church itself ... printed @ 8"X10" for an album, that amount of stuff in the image works quite well as opposed to tiny web reductions.

Stunning image, Marc! Where did you move to after that? Obviously, the church rules allowed you to be there down front, but many won't. I often have to shoot from the back only. Or at one Anglican church where I was not allowed to shoot anything but processional and recessional.

That really is a great shot, Marc. Today, I have to cover a whole slew of wedding party members (biggest yet - 20 in total, and I don't generally do large weddings), and then the bride and groom are going to present roses to their soon-to-be mothers in law. I'll be in the middle to catch both, then off to the side for the presentation of the bride. Phew.

What William said, the most important being item 1. You can't even get a shot like Marc posted if you have to stay at the back of the church. Usually all you get there is the lovely exit sign above the entry way. If I have to stay there, I try to add an off camera flash to add some lighting drama. Sometimes you can be halfway up the aisle, but you still don't get any guests in the image. The best is if you are allowed at the top of the aisle until the ceremony starts.

I generally stand on the bride's side so I can swivel around and get the guys walking in and the groom on the opposite side of the aisle without moving around. I can also grab shots of the parents and family in the pews while I can. I generally just get each processional participant full length, maybe several of the flower girl(s) or ring bearer if they do anything cute. However, I shoot several of the bride and dad, from the time they first make an appearance in the doorway til they are at the top of the aisle for the hand off. I rim light the processional if I can, like Marc's image above. The long shot of them in the doorway I sometimes get available light.

If there is enough room, as they near the top of the aisle, I switch to half lengths and depending upon where they stop, I try to be at a 45 degree angle to them, as David described above, to photograph the hand off, which usually consists of a hand shake or hug, the Dad kissing the Bride, and the Dad placing the Bride's hand in the groom's. This spot is not behind the minister, but to one side--usually I'm in front of the bridesmaids. If there isn't enough room, I try to let the Bride and Dad past me and then step behind them, to at least get the kiss between them from behind. Usually, I've determined this beforehand, so I place myself to begin with, so that all I have to do is swivel around without refocusing. The Dad's departure from the front usually signals the time for me to disappear to the back of the church, unless there are no restrictions. I may re-create the hand off later. If there are no restrictions I just continue on, but usually as discreetly as possible.

Usually try to get the bride and father coming down the aisle, then move quickly further down the aisle once they pass to get a shot of the flowing gown. Then remain in position for the father to give the bride away with a longer lens.

Usually try to get the bride and father coming down the aisle from about the 4th row, then move quickly further down the aisle once they pass to get a shot of the flowing gown. Then remain in position for the father to give the bride away with a longer lens.

Here's two of the three hand off shots. Since they were Asian and conservative, there was no kiss. This is from my station in front of the bridesmaids.

I believe it is very important to realize that local rules AND local Geography / Architecture dictate the boundaries of the possible outcomes.

I was very careful when writing my first comment: `all being perfect` meaning: `ideally I would like to always have this situation . . . and in a large Cathedral with beautiful ambient light and rich walls . . . etc.

Such makes so many beautiful images possible, but intrinsic to the choice of venue. Unfortunately, we, as the Photographer, often never get to choose nor even influence the Choice of Venue.

One of the skills which go to define a Professional Wedding Photographer, is the ability to `create` within the local rules and local environs. (One of our Key Selling Points, perhaps)

Whilst I am not one to post on line my Wedding Work, nor am I competitive about it, I think perhaps this is an important enough editorial point and an appropriate time so to do. Primarily what follows an illustration of my first comment, and a reinforcement of the four points I made concerning the Processional, videlicet:

The local rules; The length of the aisle; The number of people in the Procession; The pace (speed)

Below is an example of A Bridal Processional Shot; Receipt of the Bride by the Groom; and Reverse Shot of the Bride. These three Processional images are an example of working within boundaries:

1. A very small Chapel, only about ten Pews long.

2. Gloss White bare Walls.

3. Bright Sun through the large clear widow, Altar end.

4. No Flash allowed.

5. No Movement allowed.

6. A Negotiated a position in a Pew, at the Aisle end, three from the front.

Choosing to position on the Bride`s side, (to avoid her Escort when getting closer than the Half Shot), even though that did not allow to get the Bride`s face once she was at the Altar, we could re-enact the Ring Exchange and The Kiss to get her face from a different camera viewpoint point.

Full Length shots were taken as each Member entered the Chapel; Half Shots after about three steps; but the `cracker shots` were quite tight, as shown below.

It was the limitations placed upon the Photographer that rendered these `unusual` set of Procession Shots. I (humbly) suggest these images also reinforce several other comments (often made in this forum): the need for accurate exposure; fast primes; good framing and composition; timing of the shot; and (importantly), Reconnoitre; Negotiation with the Officiating Clergy; and Advanced Planning of the Key Shots.

Tech Specs: All images are taken with a 20D, 50mm/f1.4, Manual exposure, 1/80s @ f2.8 @ ISO800, Hand Held. Light readings were previously taken with Incident Light Meter. Images `A` and `B` have been cropped slightly from their original Full Frame composition this was necessary because of the No Movement Rule, and the choice of a Prime Lens, (the other APS-C Body had a 35F1.4L loaded).

WW

And:

Lastly:

Steve C: I step to the right side of the aisle ... this also allows a side shot of the Bride & Dad as they pass me, or to catch the "hand off" to the Groom and the hugs ... then step behind them as I retreat to the back for the ceremony.

My sympathies to those stuck at the back ... been there done that.

Sometimes you get lucky and there's a balcony : -)

Marc,

Couldn't help it. Beautiful couple. Great setting. Beautiful dress ... then there is a plastic yellow Bic lighter, Always happens to me as well! Great vantage point though.

Marc--umm...great image, but aren't we talking about the processional? Unless the couple lit candles as part of it. Anyway, I have seen nice images of the processional and recessional from a balcony. Trouble is, unless you have a second photographer or a remote camera, the primary photographer usually can't afford to be in the balcony while the processional is going on, because the client expects the full on shots of it, particularly the bride and dad. I always wished I could shoot from a balcony during, but I work alone, so never have.

By the way, David mentioned the video guy. I work with one particular one a bit and we've worked out compatible logistics re the processional. We both stand on the bride's side (left side of the church looking at the altar from the back), with me right behind him. This is when we are both allowed up at the top of the aisle. This way, when I need my shot, I step out to the middle of the aisle and shoot, then step back behind him, and he can pan his camera all the way around (swivel around) without me being in the way. After the subject has taken his or her place, I step back into the aisle for the next one. Works great, and I've mentioned it to a couple of others and that's worked out too. But I hate when there is a second video camera and it is at the end of the aisle, so it is in every shot of the processional participants.

Sorry Nadine I forgot how literal and well policed this forum is.

I obviously couldn't shoot the processionional from the floor and immediately be in the balcony for a second processional shot ... so the sample was just to make a point of looking for a different perspective if you can't be up front, or are stuck in the back. I was just to lazy to spend an hour searching out a processional from a balcony : -) Maybe someone else has one handy?

My contribution is both jovial and impulsive, on a cold Winter`s morning from the other side of the pond.

:)

WW

Funny William , that nasty black and yellow Bic lighter is gone though!

Just to change things up: if the church is long and lovely and they allow flash I find that bridal couples enjoy the shot from the back. Off camera flash is set down on the floor of the aisle just before the bride starts down the aisle ... I take three shots then the flash is picked up and the bride and father pass by smiling. (yup, they know about it and expect it and later enjoy the results.)

I usually only do this one if I have a second photographer who can shoot from the front for the traditional shot.

(nice use of off camera flash from both sides on your shot marc)

Mostly I'm in the front but sometimes I go somewhere in the middle if the venue allows:

Nice shots, William and Ken. William--how many off camera flashes on the floor?

One vivitar at 1/2 power on the floor with a PW rubber banded to it ... doesn't take much. I've tried it with less power but I like the effect it gives at 1/2 power. I had a tiny softbox on it Nadine which slips on in seconds. The one flash is set a bit off center (to the brides side of center) to avoid the inevitable shot right into the camera lens. Hits her dress and is then bounces back up the aisle to fill the guests / parents who have turned to watch her walk forward.

I later use this set up (pocket wizard rubber banded to vivitar) to place on the head table while the bride and groom do their first dance and use it for back light effect on a few shots.

Thanks, William. I've done this kind of shot but not on the processional, since I work alone and can't be running to place or retrieve the flash. I usually rim light the processional with a flash on a stand, but the light is on the backs of the bride and Dad. I also use the flash on a stand the way you use your Vivitar during the first dance. I've read that with this kind of back light, it doesn't much matter what power the flash is on, as long as it is a lot--in other words, not weak so that nothing shows, but once you pass the threshold of what shows, it doesn't matter much. Why the small softbox?

I have not found a church that will allow us past >> pretty much the rear pews or half way down, if a larger church . I step out as they walk down and jump back ---- only allowed to approach the front > as the B&G kiss. Everything else is tripod ( asa 400) from the rear of the church. Most churches, in our locale are from the late 1800's..turn of the 1900's > So dark & woody. I think the pastor/priests are about the same age :-) rules from the dark ages....but, it their diocese. The local Episcopalian church allow no cameras --- up or down the aisle > or during any part of the ceremony...not an exposure ~~ until the B&G reach the last pew.

The little softbox is merely to control the spread of the light Nadine.

I found that a bare vivitar flash head was spreading the light farther than I wanted even though I could zoom it if wanted. The light seems about the same though so it's a good question.

I just wanted to channel the light a bit; I do like how the light bounces off the dress and illuminates those looking up the aisle at the bride so the light is softened twice in this case isn't it.

. . . I think the pastor/priests are about the same age . . .

:) + [big belly laugh]

. . . and all crossed `Not Negotiable`

WW

I remember Brooke Shields selecting her church here ---and not one photo allowed during the ceremony ---maybe thats why many high~profile couples have chosen Carmel, in the past decades.

Interesting, Jo. . .

The older (Anglican and Roman Catholic) Churches here, in the Capital Cities, are mostly responsive to Photography . . . it is the smaller Churches (i.e. smaller Congregations) . . . or Rural Locals where I have encountered the most restrictions.

I am not that Familiar with Episcopalian.

I often wonder whether it might not necessarily be the Clergy driving the harsher rules but rather the Head of the Congregation, or Council of the Lay Fraternity.

One of the most easy going Clergy I found was an old and gnarled Anglican Rector . . . Real Fire and Brimstone type of guy.

We got chatting and provided I gave him respect at the Blessing and the Communion: No Flash at those times, and a few other points of the Service, I was free to wander quietly all around the Quire Stalls, right up to the Sanctuary. (Yep the Church is that old the `Stalls` are labelled thus).

It turned out whilst he had a name for being quite tough and gruff: I found out later he was a Pastor in the Airforce, during the Second World War, and whilst he took no menace from any man, he had seen a lot of life . . . and death. He really bent over backwards to give the Bride and Groom exactly what they wanted: kinda indicative of the man he was, that he was asked by many (younger people) to marry them, well after he had retired, from his active position as Rector.

WW

The monsignor at the Carmel Mission was from Ireland --in his late 70's. If someone flashed a camera ( he warned everyone before ) anytime during the ceremony .....he would turn and single out that person ..stopping the wedding for few minutes. This man went by the 'ole book.

I shot a wedding this weekend where the bridesmaids RAN down the aisle (basically) Very frusterating as I only ended up with a few decent shots (technically, less than a few). Fortunately, the rest of the wedding was fantastic and I ended up with a great set of images, and the bride did take her time.

David--what was wrong with the shots? This is one reason I usually use flash on processional shots although it is fashionable to go flashless and shoot multiples of each person now. The flash still freezes motion (mostly) and zone or pre focus still gets the shot, even if the person is running. Often, the little ones run, even if the adults don't. If I don't get anything really usable, though, I restage the processional. I hear from photographers that these shots are not all that important, but I still think the client appreciates these shots. Restage or get nice ones during the recessional or at the announcements into the reception.

Consider using continuous rather than single focus- it's for sports...