Group portraits are an important element in all photographic coverage of weddings of any size. Everyone takes them with their cell phones, but what should you look for in a photographer’s samples to be sure you’ll be getting adequate if not outstanding ones?
1. Everyone’s eyes should be open, facing the camera, and they should have a pleasant look on their faces. This may sound obvious, but when groups get larger than 4 people, it’s not always easy to have everyone’s eyes open in every shot. Often photographers will check their screen to be sure all eyes were open, or simply fire off 2 or 3 exposures to increase the chances. Sometimes it’s necessary to import an open pair of eyes from another exposure onto one where everyone else’s eyes are open—or import an entire face if the expression is better. A skillful user of Photoshop should be able to do this seamlessly—you’ll never notice.
2. Lighting on the faces should be fairly even. If the photo is taken outside, dappled shadows under a tree should be avoided at all costs. Even shade is preferable, and in fact, it’s better than direct sunlight. If taken indoors, there should not be noticeable fall-off of light at the sides. If there was in the original exposure, this can be adjusted in Photoshop.
3. No hands or feet should be cut off. A good rule of thumb is that if only part of the body is in the photo, the cut should be above the joints—above the elbows for closer portraits, above the knees for farther away portraits. Otherwise, it looks like limbs are chopped off.
4. Heads should be at different levels for a more pleasing composition. Nothing is more boring than a row of heads all at the same height. Ideally, though, all the heads in a medium size row should be within about one head-height of each other. If anyone is markedly shorter, they should be put in front. In group portraits of groomsmen or bridesmaids the subjects may be arranged according to height, which looks great for people dressed alike. I have a set of hard foam square blocks of different thicknesses that I bring along for people to stand on to facilitate height variation.
5. To maximize the use of space, the subjects should be turned to the side. They should face inward (towards the bride and groom, if they're in the photo), with one shoulder out, and their heads turned toward the camera. This not only takes up less space than facing front but is a more dynamic pose.
Here the subjects are turned toward the bride and groom, and I had them touch each other—after asking if they were comfortable with it.
6. In larger groups, multiple rows should be used. This is a matter of judgment, but when there are more than around nine people, using two rows can keep the faces significantly larger than they would have been in a single row. If four out of nine people can be persuaded to crouch down, the photographer can get in closer and the faces will be larger in the final photo. However, many adults do not feel comfortable crouching down. If the group photo must include a large number, and no one crouches, one solution is to put shorter people in the front, and take the photograph from an elevated place, such as a stairway or a ladder (I always bring my 5-foot ladder to weddings).
7. Group gestures. In the family formals everyone is pretty much just standing there. In the portraits of the bridesmaids and groomsmen, however, they can be coached to make certain group gestures that will bring the photo together. For example, everyone can point or “present” in the direction of the bride or groom. The bridesmaids have the additional prop of their bouquets. They may hold them or place them in front of themselves. They may adopt particular expressions, do something dramatic or wacky. The photographer may pose them together in any number of configurations, standing, crouching and sitting. If the people in the photograph are comfortable with it, they might be directed to hold the upper arms or elbows of the person next to them. This touching will add to the sense of love and closeness among the subjects. It will also prevent hands from being cut off if the bottom of the photo cuts above the knees (see #5, above).
8. Group actions. This is how photography can be part of the fun of a wedding. The photographer can set up simple actions such as a collective jump or a casual, conversational walk, to put some action and some humor into the group photo.
Professional photographers come with different approaches, different levels of experience, different styles of relating to the people they photograph. These are some of the things to look for when you’re reviewing the samples of a photographer you’re considering, in addition to considering how you get along with the person himself or herself.
1. Everyone’s eyes should be open, facing the camera, and they should have a pleasant look on their faces. This may sound obvious, but when groups get larger than 4 people, it’s not always easy to have everyone’s eyes open in every shot. Often photographers will check their screen to be sure all eyes were open, or simply fire off 2 or 3 exposures to increase the chances. Sometimes it’s necessary to import an open pair of eyes from another exposure onto one where everyone else’s eyes are open—or import an entire face if the expression is better. A skillful user of Photoshop should be able to do this seamlessly—you’ll never notice.
2. Lighting on the faces should be fairly even. If the photo is taken outside, dappled shadows under a tree should be avoided at all costs. Even shade is preferable, and in fact, it’s better than direct sunlight. If taken indoors, there should not be noticeable fall-off of light at the sides. If there was in the original exposure, this can be adjusted in Photoshop.
3. No hands or feet should be cut off. A good rule of thumb is that if only part of the body is in the photo, the cut should be above the joints—above the elbows for closer portraits, above the knees for farther away portraits. Otherwise, it looks like limbs are chopped off.
4. Heads should be at different levels for a more pleasing composition. Nothing is more boring than a row of heads all at the same height. Ideally, though, all the heads in a medium size row should be within about one head-height of each other. If anyone is markedly shorter, they should be put in front. In group portraits of groomsmen or bridesmaids the subjects may be arranged according to height, which looks great for people dressed alike. I have a set of hard foam square blocks of different thicknesses that I bring along for people to stand on to facilitate height variation.
5. To maximize the use of space, the subjects should be turned to the side. They should face inward (towards the bride and groom, if they're in the photo), with one shoulder out, and their heads turned toward the camera. This not only takes up less space than facing front but is a more dynamic pose.
6. In larger groups, multiple rows should be used. This is a matter of judgment, but when there are more than around nine people, using two rows can keep the faces significantly larger than they would have been in a single row. If four out of nine people can be persuaded to crouch down, the photographer can get in closer and the faces will be larger in the final photo. However, many adults do not feel comfortable crouching down. If the group photo must include a large number, and no one crouches, one solution is to put shorter people in the front, and take the photograph from an elevated place, such as a stairway or a ladder (I always bring my 5-foot ladder to weddings).
Two rows enable faces to be larger.
Sometimes the setting will provide the means to create multiple rows.
7. Group gestures. In the family formals everyone is pretty much just standing there. In the portraits of the bridesmaids and groomsmen, however, they can be coached to make certain group gestures that will bring the photo together. For example, everyone can point or “present” in the direction of the bride or groom. The bridesmaids have the additional prop of their bouquets. They may hold them or place them in front of themselves. They may adopt particular expressions, do something dramatic or wacky. The photographer may pose them together in any number of configurations, standing, crouching and sitting. If the people in the photograph are comfortable with it, they might be directed to hold the upper arms or elbows of the person next to them. This touching will add to the sense of love and closeness among the subjects. It will also prevent hands from being cut off if the bottom of the photo cuts above the knees (see #5, above).
Gestures add drama and interest to group photos.
8. Group actions. This is how photography can be part of the fun of a wedding. The photographer can set up simple actions such as a collective jump or a casual, conversational walk, to put some action and some humor into the group photo.
This group came up with this gesture on their own. I was happy to go along!
My must enthusiastic jump to date!
Professional photographers come with different approaches, different levels of experience, different styles of relating to the people they photograph. These are some of the things to look for when you’re reviewing the samples of a photographer you’re considering, in addition to considering how you get along with the person himself or herself.
