Start with the right camera and lens setup
Wedding photography works best with a camera that can shoot in manual mode and handle low light without excessive noise. A full-frame DSLR or mirrorless camera gives you the most flexibility, but an APS-C camera (crop sensor) will work if you already own one. The sensor size matters less than your ability to control shutter speed, aperture, and ISO.
You need at least two lenses: a wide-angle lens (16–35mm) for ceremony and reception spaces, and a telephoto lens (70–200mm) for detail shots and portraits from a distance. A 50mm prime lens (fixed focal length) is useful for receptions because it performs well in dim light and produces sharp, flattering portraits. If you own only one lens, a 24–70mm zoom covers most situations, though you will sacrifice some low-light performance.
Bring a backup camera body and extra batteries. Weddings last six to ten hours. A single dead battery mid-ceremony is a failure you cannot fix.
Key Takeaways
- Shoot in aperture priority mode (f/2.8 to f/4) to keep backgrounds blurred while the camera adjusts shutter speed automatically.
- Arrive early to scout the ceremony location, find the best angles, and test your camera settings in the actual light you will shoot in.
- Capture the ceremony in sequence: bride's entrance, vows, kiss, recessional—then move to portraits before guests scatter.
- At the reception, photograph the first dance, toasts, cake cutting, and candid moments between planned events rather than posing people repeatedly.
- Shoot in RAW format so you can adjust exposure and color in post-processing without losing image quality.
Choose the right camera settings before the ceremony starts
Aperture priority mode is the standard for wedding photography because it lets you control depth of field (how blurred the background is) while the camera adjusts shutter speed to match the light. Set your aperture to f/2.8 or f/4 for portraits and ceremony shots. This range keeps the subject sharp while softening the background, which draws attention to the couple.
Set your ISO to auto with a maximum limit. Weddings move between bright outdoor ceremonies and dim reception halls. Auto ISO prevents you from missing shots because your shutter speed dropped too low. Set the maximum to 3200 or 6400 depending on your camera's noise performance—test this beforehand by shooting in low light and reviewing the images on your computer.
Use a shutter speed of at least 1/250th of a second for moving subjects (first dance, walking down the aisle) and 1/125th for stationary moments. If your camera is set to aperture priority, it will maintain these speeds automatically as long as your ISO ceiling is high enough.
Shoot in RAW format, not JPEG. RAW files contain more color and exposure information, which means you can recover blown-out skies or underexposed faces during editing. JPEG files discard this data and cannot be recovered.
Scout the ceremony location and plan your positions
Visit the ceremony site at least one day before the wedding, ideally at the same time of day the ceremony will happen. Light changes throughout the day, and you need to see where shadows fall and where the sun will be during vows. If the ceremony is outdoors, check the weather forecast and plan for bright sun or overcast skies—your camera settings will differ.
Identify two or three shooting positions: one near the altar to capture the couple's faces during vows, one to the side for profile shots, and one at the back for wide shots of the ceremony space. Talk to the officiant or wedding planner about where you are allowed to stand. Most ceremonies restrict you to the sides or back to avoid blocking guests' views.
Test your camera settings in the actual light. Take a few test shots of a friend or family member standing where the bride will stand. Check the exposure, focus, and shutter speed on your camera's screen. Adjust your ISO or aperture if the images are too dark or too bright. This ten-minute step prevents underexposed ceremony photos.
Photograph the ceremony in a logical sequence
The ceremony follows a predictable order, and you should plan your shots to match it. Start with wide shots of the guests and ceremony space as people arrive. Move to the groom and groomsmen at the altar, then shift focus to the bride's entrance—this is the moment guests are watching, so your camera should be too.
During the vows, position yourself to see both the bride's and groom's faces. This usually means standing to one side of the altar. Capture the exchange of rings, the kiss, and the recessional (the couple walking back down the aisle). Shoot continuously during the kiss and recessional because these moments happen once and last only a few seconds.
After the recessional, move quickly to the receiving line or exit point to photograph the couple with family members. This is the final note to shoot in natural light before the reception begins.
Capture portraits before the reception gets crowded
when ready after the ceremony, before guests move to the reception space, photograph the couple alone and with family members. This is the only time you will have them in good light without a crowd around them. Spend 20 to 30 minutes on portraits rather than waiting until after dinner, when light is dim and guests are scattered.
For couple portraits, position them so the light falls on their faces—avoid harsh shadows across the eyes. If you are outdoors, position them with the sun to the side or behind them (backlit), then expose for their faces. This creates a soft, flattering look. Indoors, use window light if available, or position them near the brightest part of the room.
Direct straightforward poses: have them stand close together, the bride slightly in front, and ask them to look at each other rather than the camera. Vary the shots—full body, waist-up, close-up of faces—so you have options during editing. Shoot at least 30 to 50 frames of each pose because one will always be sharper or have a better expression than the others.
Photograph the reception by capturing key moments and candid shots
The reception has scheduled moments—first dance, toasts, cake cutting—and unscheduled ones. Photograph both. For the first dance, position yourself low and to the side so you shoot upward slightly, which is more flattering than shooting down. Use a fast shutter speed (1/500th or faster) because the couple is moving. Shoot continuously so you capture the peak moment when they are closest together or smiling.
During toasts, stand to the side of the speaker so you can see both the speaker's face and the couple's reaction. Capture the moment they laugh or kiss in response. For the cake cutting, position yourself at an angle where you can see both their hands and their faces. Shoot as they cut, feed each other, and react.
Between these moments, photograph candid shots: guests dancing, children playing, details of the table decorations, the couple talking with guests. These candid images often become the couple's favorites because they show genuine emotion rather than posed moments. Keep your camera ready and shoot when you see something happening, rather than asking people to pose.
Manage focus and exposure in changing light
Weddings move between bright outdoor spaces and dim indoor reception halls. Your camera's autofocus and exposure will struggle if you do not adjust. Use single-point autofocus (focus on one specific area) rather than letting the camera choose. Point it at the couple's eyes, press the shutter halfway to lock focus, then recompose if needed. This prevents the camera from focusing on the background instead of the subject.
For the reception, increase your ISO to 1600 or 3200 so your shutter speed stays fast enough to freeze movement. If the reception is very dim, use a wider aperture (f/2.0 or f/1.8) if your lens allows it. A slower shutter speed (1/125th) is acceptable for stationary moments like toasts, but use 1/250th or faster for dancing.
Check your images every 30 minutes on the camera's screen. If they are consistently too dark or too bright, adjust your exposure compensation dial (usually marked with a +/− symbol). A small adjustment of +0.5 or −0.5 stops makes a visible difference.
Frequently Asked Questions
What should I do if the ceremony is in bright sunlight?
Bright sun creates harsh shadows on faces. Position the couple with the sun to the side or slightly behind them so their faces are in softer light. Use your camera's exposure meter to expose for their faces, which may make the background bright or washed out—that is acceptable. If shadows are unavoidable, use a reflector (a white or silver board) to bounce light into the shadowed side of their face.
How do I focus during the first dance when the couple is moving?
Use continuous autofocus (called AF-C on most cameras) and continuous shooting mode (burst mode). Hold the shutter button down and let the camera track the couple as they move. Shoot at least 50 to 100 frames during the first dance so you have multiple sharp images to choose from. Increase your shutter speed to 1/500th or faster to freeze motion.
What if I miss an important moment?
Some moments happen only once—the kiss, the first dance, the cake cutting. If you miss these, you cannot recreate them. Arrive early, scout positions, and stay focused during scheduled moments. For candid shots, keep your camera ready between events. If you do miss something, do not tell the couple—they will not know unless you mention it.
Should I use a flash at the reception?
Avoid flash if possible because it creates harsh light and washes out skin tones. Instead, increase your ISO and use a wider aperture. If the reception is too dim even at ISO 3200 and f/2.8, use an external flash with a diffuser (a white dome that softens the light) and bounce it off the ceiling rather than pointing it at people's faces. Test your flash settings before the reception begins.
How many images should I deliver to the couple?
This depends on your agreement with them, but most wedding photographers deliver 300 to 800 edited images from a full day. Deliver only your best work—sharp, well-exposed, and properly color-corrected. Remove duplicates, blurry shots, and images where people have their eyes closed. Quality matters more than quantity.