When selecting lenses for wedding photography, speed must be a primary concern. Fast lenses (f/2.8, f/2, f/1.8, f/1.4, f/1.2, etc.) afford many more available-light opportunities than slower speed lenses—a valuable asset when shooting in churches, dim reception venues, and in other low-light conditions. Marcus Bell calls his Canon 35mm f/1.4L USM lens his favorite. Working at dusk with a high ISO setting, he can shoot wide open and mix lighting sources for unparalleled results.
Prime or Zoom? Another concern is whether to use prime (fixed focallength) lenses or zoom lenses. Faster prime lenses will get lots of use, as they afford many more “available light” opportunities than slower speed lenses. Although modern zoom lenses, particularly those designed for digital SLRs, are extremely sharp, many photographers insist that a multipurpose lens cannot possibly be as sharp as a prime lens, which is optimized for use at a single focal length. Mike Colón, a talented photographer from theSan Diego area, uses prime lenses (not zooms) in his wedding coverage and shoots at wide-open apertures most of the time to minimize background distractions. He says, “The telephoto lens is my first choice, because it allows me to be far enough away to avoid drawing attention to myself but close enough to clearly capture the moment. Wide-angle lenses, however, are great for shooting from the hip. I can grab unexpected moments all around me without even looking through the lens.”
Zoom lenses are also extremely popular however, and offer unbeatable versatility, allowing you to move quickly from wide to tight views. A common choice seems to be the 80–200mm f/2.8 (Nikon) or the 70–200mm f/2.8 (Canon and Nikon). These are very fast, lightweight lenses that offer a wide variety of useful focal lengths for both the ceremony and reception. They are internal focusing, meaning that the autofocus is lightning fast and the lens does not change length as it is zoomed or focused. At the shortest range, either of these lenses is perfect for creating full- and three-quarterlength portraits. At the long end, the 200mm setting is ideal for tightly cropped, candid shots or head-and-shoulders portraits. These zoom lenses also feature fixed maximum apertures, which do not change as the lens is zoomed. This is a prerequisite for any lens to be used in fast-changing conditions. Lenses with variable maximum apertures provide a cost savings but are not as functional nor as bright in the viewfinder as the faster, fixeda perture lenses.
Wide Angles. Wide-angle lenses, both fixed focal length lenses and wide-angle zooms, are also popular. Focal lengths from 17mm to 35mm are ideal for capturing the atmosphere as well as for photographing larger groups. These lenses are fast enough for use by available light with fast ISOs.
Telephotos. Another favorite lens is the high-speed telephoto—the 400mm f/2.8 or 300mm f/4.0 (Nikon) and the 300mm and 400mm f/2.8L (Canon) lenses. These lenses are ideal for working unobserved and can isolate some wonderful moments, particularly of the ceremony. Even more than the 80–200mm lens, the 300mm or 400mm lenses throw backgrounds beautifully out of focus and, when used wide open, provide a sumptuously thin band of focus, which is ideal for isolating image details.
Another popular choice is the 85mm (f/1.2 for Canon; f/1.4 or f/1.8 for Nikon), which is a short telephoto with exceptional sharpness. This lens gets used frequently at receptions because of its speed and ability to throw backgrounds out of focus, depending on the subject-to-camera distance. It is one of Marcus Bell’s preferred lenses for his wedding-day coverage.
The Normal Lens. One should not, however, forget about the “normal” 50mm f/1.2 or f/1.4 lens for digital photography. With a 1.4x focal length factor, for example, that lens becomes a 70mm f/1.2 or f/1.4 lens that is ideal for portraits or groups, especially in low light. And the close focusing distance of this lens makes it an extremely versatile wedding lens.
Perspective and Distortion. When selecting a lens, the perspective it provides should always be considered. Wide-angle lenses will distort the subject’s appearance, particularly if they are close to the camera or near the edge of the frame. In group portraits, the subjects in the front row will appear larger than those in the back of the group, especially if you get too close. Even “normal” lenses (50mm in 35mm format, 75–90mm in the medium formats) tend to exaggerate subject features at closer working distances. Noses appear elongated, chins jut out, and the backs of heads may appear smaller than normal. This phenomenon is known as foreshortening. At longer working distances (such as when creating three-quarter-length portraits or group portraits), however, normal lenses are a good choice and will provide normal perspective.
Prime or Zoom? Another concern is whether to use prime (fixed focallength) lenses or zoom lenses. Faster prime lenses will get lots of use, as they afford many more “available light” opportunities than slower speed lenses. Although modern zoom lenses, particularly those designed for digital SLRs, are extremely sharp, many photographers insist that a multipurpose lens cannot possibly be as sharp as a prime lens, which is optimized for use at a single focal length. Mike Colón, a talented photographer from theSan Diego area, uses prime lenses (not zooms) in his wedding coverage and shoots at wide-open apertures most of the time to minimize background distractions. He says, “The telephoto lens is my first choice, because it allows me to be far enough away to avoid drawing attention to myself but close enough to clearly capture the moment. Wide-angle lenses, however, are great for shooting from the hip. I can grab unexpected moments all around me without even looking through the lens.”
Zoom lenses are also extremely popular however, and offer unbeatable versatility, allowing you to move quickly from wide to tight views. A common choice seems to be the 80–200mm f/2.8 (Nikon) or the 70–200mm f/2.8 (Canon and Nikon). These are very fast, lightweight lenses that offer a wide variety of useful focal lengths for both the ceremony and reception. They are internal focusing, meaning that the autofocus is lightning fast and the lens does not change length as it is zoomed or focused. At the shortest range, either of these lenses is perfect for creating full- and three-quarterlength portraits. At the long end, the 200mm setting is ideal for tightly cropped, candid shots or head-and-shoulders portraits. These zoom lenses also feature fixed maximum apertures, which do not change as the lens is zoomed. This is a prerequisite for any lens to be used in fast-changing conditions. Lenses with variable maximum apertures provide a cost savings but are not as functional nor as bright in the viewfinder as the faster, fixeda perture lenses.
Wide Angles. Wide-angle lenses, both fixed focal length lenses and wide-angle zooms, are also popular. Focal lengths from 17mm to 35mm are ideal for capturing the atmosphere as well as for photographing larger groups. These lenses are fast enough for use by available light with fast ISOs.
Telephotos. Another favorite lens is the high-speed telephoto—the 400mm f/2.8 or 300mm f/4.0 (Nikon) and the 300mm and 400mm f/2.8L (Canon) lenses. These lenses are ideal for working unobserved and can isolate some wonderful moments, particularly of the ceremony. Even more than the 80–200mm lens, the 300mm or 400mm lenses throw backgrounds beautifully out of focus and, when used wide open, provide a sumptuously thin band of focus, which is ideal for isolating image details.
Another popular choice is the 85mm (f/1.2 for Canon; f/1.4 or f/1.8 for Nikon), which is a short telephoto with exceptional sharpness. This lens gets used frequently at receptions because of its speed and ability to throw backgrounds out of focus, depending on the subject-to-camera distance. It is one of Marcus Bell’s preferred lenses for his wedding-day coverage.
The Normal Lens. One should not, however, forget about the “normal” 50mm f/1.2 or f/1.4 lens for digital photography. With a 1.4x focal length factor, for example, that lens becomes a 70mm f/1.2 or f/1.4 lens that is ideal for portraits or groups, especially in low light. And the close focusing distance of this lens makes it an extremely versatile wedding lens.
Perspective and Distortion. When selecting a lens, the perspective it provides should always be considered. Wide-angle lenses will distort the subject’s appearance, particularly if they are close to the camera or near the edge of the frame. In group portraits, the subjects in the front row will appear larger than those in the back of the group, especially if you get too close. Even “normal” lenses (50mm in 35mm format, 75–90mm in the medium formats) tend to exaggerate subject features at closer working distances. Noses appear elongated, chins jut out, and the backs of heads may appear smaller than normal. This phenomenon is known as foreshortening. At longer working distances (such as when creating three-quarter-length portraits or group portraits), however, normal lenses are a good choice and will provide normal perspective.
For close shots of individual subjects and couples, short to medium telephotos are a good choice. You can even use a much longer lens if you have the working room. A 200mm lens, for instance, is a beautiful portrait lens for the 35mm format because it provides very shallow depth of field and throws the background completely out of focus (when used at maximum aperture), providing a backdrop that won’t distract viewers from the subject. Keep in mind, though, that very long lenses (300mm and longer for 35mm) can sometimes distort perspective unless used at awkwardly long camera-to-subject distances. If the working distance is too short, the subject’s features appear compressed; the nose may appear pasted onto the subject’s face, and the ears may appear parallel to the eyes. These very long lenses are, however, ideal for working unobserved—you can make headand-shoulders images from a long distance away.
