| # | Shot | Director Notes | Lens | Type |
|---|---|---|---|---|
R1 |
Details Flat Lay
Rings, shoes, flowers, invitation on a clean surface
|
Find the best window light in the room, place items near it — no flash
50mm or 85mm, straight down or at 45 degrees — shoot both
Rings together, stacked or side by side. Shoot tight (fill the frame)
Clean background first — remove clutter, hotel logos, random bags
Say: "Can I borrow the rings for 5 minutes? I'll have them right back."
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50mm 85mm
|
MUST GET Detail
|
R2 |
Dress / Back Detail
Bride being buttoned or laced — back, close detail
|
Position by window. Bride faces away, hands doing up buttons face camera
85mm from 8–10 feet — compresses the back beautifully
Shot 1: full back framing (head to hem). Shot 2: tight on buttons only
If there's a veil, clip it in before this shot so it trails in frame
Say: "Just keep doing what you're doing — I'm in the background, pretend I'm not here."
|
85mm
|
MUST GET
|
R3 |
Groom Getting Ready
Cufflinks, tie, jacket on — candid or posed
|
Cufflinks being fastened — tight detail shot. Hands fill the frame
Tie knot detail. Then pull back for half-body in suit with jacket
If groomsmen present, one candid of them all straightening ties together
Window light, 85mm. Keep it quick — grooms tolerate this for about 4 minutes
Say: "Just put the cufflink on like you normally would — slow it down by about half."
|
85mm 50mm
|
MUST GET Detail
|
R4 |
Bride in Mirror
Full reflection — bride seeing herself for the first time
|
Get the bride in frame AND her reflection — stand to the side, not behind
35mm or 50mm so the room reads. Let the moment happen naturally
Shoot the faces of bridesmaids watching — their reactions are gold
This is a quiet moment — don't direct, just be ready
Say (to others): "Give her a second — I'll get you all together after."
|
35mm 50mm
|
MUST GET Candid
|
| # | Shot | Director Notes | Lens | Type |
|---|---|---|---|---|
C1 |
First Look
Groom waits, eyes closed — bride taps his shoulder
|
Position groom with back to bride's approach path. Bride walks up slowly
You need TWO positions — one on each side — shoot the groom's face turning, then bride's reaction
35–50mm to get both faces in one wide frame, or 85mm alternating between them
Don't rush — let them have 30 seconds before you tell them to hug
Say to groom: "Close your eyes. Don't turn around until she taps you." / To bride: "Walk up, touch his shoulder — then just be present with him."
|
50mm 85mm
|
MUST GET Emotional
|
C2 |
Processional
Bride walking down the aisle — wide and tight versions
|
Stand at the altar end of the aisle — shoot toward bride coming at you (200mm, compressed)
Wide shot first as she enters. Then tighten to faces as she approaches
Capture groom's face as he sees her — this is often the best moment of the day
Don't use flash — ambient only, bump ISO to keep shutter at 1/200+
Note: No directing here. Position yourself, then be a fly on the wall.
|
200mm 85mm
|
MUST GET Candid
|
C3 |
Ring Exchange
Tight on the hands and ring sliding on
|
Move to the side aisle before this moment — you need a side angle, not head-on
85mm from 6 feet, or 135mm from 12 feet if no side aisle access
Focus on the hands/ring in sharp — let faces go slightly soft OR get both in focus with f/2.8
Shoot the moment of sliding AND the moment they look up at each other after
Note: Be in position 2 minutes before — this happens fast. No directing possible.
|
85mm 135mm
|
MUST GET
|
C4 |
First Kiss
The moment. Wide, mid, and tight versions.
|
Pre-position 30 seconds before the officiant says "you may kiss" — never scramble
85mm from the altar position. Shoot the announcement, shoot the lean-in, shoot the kiss
Shoot wide first (guests with hands up, cheering) then tight on faces
Shoot the moment AFTER — them laughing, relief, joy — often better than the kiss itself
Note: No second chances. Be in position, be ready. Do not miss this.
|
85mm 35mm wide
|
MUST GET
|
C5 |
Recessional
Just married — walking toward camera through cheering guests
|
Get to the far end of the aisle BEFORE they start walking — don't chase them
35mm so guests frame them on both sides. Shoot wide, include the energy of the crowd
Also shoot back toward the altar as they exit — see the guests cheering behind them
This is pure joy — let it happen. Just stay out of the way and keep shooting
Note: Your energy matters here — smile, they'll mirror you. Shoot the whole walk, not just one frame.
|
35mm 50mm
|
MUST GET Candid
|
| # | Pose + Sketch | How to set it up + what to say | Lens | Type |
|---|---|---|---|---|
P1 |
Classic Embrace
Face to face, holding each other
|
Groom: hands on her waist or small of her back. Bride: hands on his chest or up to his jaw
Both look at each other — tell them to look at each other's LEFT eye specifically. (This breaks the awkward "where do I look" freeze)
85mm. Move back until you have a little breathing room around them. Don't crop tight on their heads
Variations: (a) both looking at camera, (b) both looking at each other, (c) her head on his chest
Say: "Look at each other's left eye. Now, without looking away, tell her one thing you love about her — in your head is fine." (Wait for the smile. Shoot it.)
|
85mm
|
MUST GET Start here
|
P2 |
Forehead Touch
Eyes closed, foreheads together, quiet moment
|
Both lean in from the waist — heads touch, eyes closed, noses almost touching
Hands: either clasped together between them, or both placed on face/jaw
Shoot from the same height as their faces — not from above. Get the connection
This is a quiet pose — give them 5 seconds of silence before you fire the shutter
Say: "Touch foreheads, close your eyes, take a slow breath together. I want to see your shoulders drop." (Shoot on the exhale.)
|
85mm
|
MUST GET Romantic
|
P3 |
Walk Away
Hand in hand, walking away from camera together
|
Give them a destination — "walk to that tree / bench / archway." Give them somewhere to go
85mm to 135mm, let them get 20–30 feet away. The distance is the point
Tell them to lean into each other as they walk — heads tilt toward each other
Best with an interesting background (venue, nature) — the couple is small in the frame
Say: "Walk toward that [spot] together, hold hands, don't look back. Lean your heads toward each other. Forget I'm here — just walk."
|
85mm 135mm
|
MUST GET
|
P4 |
The Dip
Groom dips bride back — dramatic and fun
|
Groom: strong arm behind her back (not the waist — mid-back). Support her weight
Bride: let go. Back leg can kick up. Free arm extends or goes to her hair — dramatic
Shoot from the side so you see the arch of her back and the dip geometry
Do a practice dip first. On the real one, shoot burst mode — they'll laugh going in/coming out
Say to groom: "On my count — one, two, three — dip her back and kiss her. Hold it for 3 seconds."
To bride: "Trust him. Let your back arm go completely loose — it should just hang." |
85mm
|
MUST GET Client favorite
|
P5 |
The Spin / Twirl
Groom spins bride — dress flies, she laughs
|
Groom holds her right hand up high. Bride spins in full circle under his arm
50mm or wider so you capture the dress movement — shoot burst mode during spin
The dress needs to be full skirt to get the flare — ask if hers will spin before committing to this one
The LAUGH as she comes out of the spin is the real shot — keep shooting after
Say: "Spin her — as slow and smooth as you can. [Bride], let the spin happen, don't fight it." Then: "Do it again, faster this time."
|
50mm 35mm
|
MUST GET Fun / Energy
|
P6 |
Laugh Trigger
Genuine laugh — groom whispers something, bride reacts
|
This produces the most natural, real images of the entire session
Set up the embrace, then give the direction. Don't warn her what's coming
Keep shooting through the laugh, the recovery, the shy look away after
If it doesn't land — tell HIM to make a ridiculous face at her while she looks away
Say to groom (quietly): "Lean to her ear and tell her the most embarrassing thing that happened to you this week. Don't warn her." — OR simply: "Tell her she has something on her face and watch what happens."
|
85mm
|
MUST GET Best candid
|
P7 |
Looking Out
Both face the view — groom behind, arms around her
|
Find something worth looking at — sunset, landscape, the venue. Point them at it
Groom stands behind, arms wrapped around her waist. She leans back into him
You shoot from the side — you see their profiles plus the view in the background
Or shoot from behind and low — their silhouettes looking into the scene. Both work
Say: "Stand here and look at that. Don't look at me — just look at the view together. Groom, wrap your arms around her from behind. She leans back into you."
|
85mm 35mm env.
|
MUST GET
|
P8 |
Walk Toward Camera
Hand in hand, walking directly at the lens
|
Back up and let them walk at you — 85mm works, 135mm gives more compression and drama
Give them a start position 40+ feet away. They walk toward you at a normal pace
They can look at each other, look at camera, or look ahead past camera — all work differently
Shoot the whole walk — early frames have venue context, late frames are more intimate
Say: "Walk toward me like you own the place. Normal pace — don't rush. Look at each other if you want, or just straight ahead." (Let them pick, then adjust.)
|
85mm 135mm
|
MUST GET
|
P9 |
Silhouette Kiss
Backlit by sunset — dark couple, bright sky behind
|
Needs golden hour light — plan 45–60 min before sunset. Check your timing at booking
Expose for the sky (bright background) — the couple goes to pure silhouette
They kiss or touch foreheads. Veil blowing = bonus. Shoot burst for veil movement
Shoot from slightly below eye level — sky fills the frame behind them, no horizon clutter
Say: "Face each other and kiss — I'm going to be shooting into the sunset, you'll look amazing. Hold the kiss for 5 seconds."
|
85mm 35mm wide ver.
|
MUST GET Golden hr.
|
P10 |
Veil Detail / Behind
From behind, backlit — veil catching the light
|
Position bride between you and a light source (window, sun). You shoot into the light
Have someone hold the veil out or let wind catch it — shoot burst as it lifts
Tight version: just the veil + dress train filling the frame (no body needed)
This is a cover-image-quality shot — give it a full 2 minutes with different veil positions
Say: "Stand right here, face away from me. [Assistant/bridesmaid] — grab the veil and hold it out to the side... now let it go slowly." (Shoot the release.)
|
85mm
|
MUST GET Detail / Art
|
P11 |
Back to Back
Editorial — both look outward, cool confidence
|
Both stand with backs touching. Arms can cross casually or rest at sides
Each looks to their own side — or one looks at camera, other looks away
This is the most editorial pose — it breaks the romantic run and gives variety
Works great with interesting architecture, doorways, or tree lines behind them
Say: "Stand back to back, lean into each other a little. Arms crossed if you want — whatever feels natural. Look whichever way feels right." (Don't over-direct this one.)
|
85mm 50mm
|
Bonus Editorial
|
| # | Shot | Notes | Lens | Type |
|---|---|---|---|---|
G1 |
Full Wedding Party
Everyone in one frame — formal and candid version
|
Couple center, elevated if possible (step, low wall). Party flanked on both sides
35mm to get everyone in. Move back rather than switching to wide angle — less distortion
Shoot formal first (looking at camera). Then say "everyone look at each other and laugh" — candid second
Check that no one is hiding behind someone else — stagger slightly if needed
Say: "Everyone squeeze in. Face me. Bridesmaids — shoulders toward the bride. Groomsmen — shoulders toward the groom. Now everyone look at me — big smiles." Take 3 frames. Then: "Now everyone look at the couple."
|
35mm 50mm
|
MUST GET Group
|
G2 |
Bridesmaids Only
Bride with her people — formal + candid
|
Formal: bride center, bridesmaids flanked in order of height or by preference
Candid: "everybody tell the bride your best marriage advice — at the same time." Chaos. Shoot it.
One tight shot — bride and maid of honor only, looking at each other
Say: "Hold your flowers at hip height — not up at your waist — and lean slightly toward the bride." (Flowers at waist cover dresses. Keep them low.)
|
35mm
|
MUST GET Group
|
G3 |
Groomsmen Only
Groom with his crew — keep it fun
|
Formal first: classic handshake row. Then fun: arms around, jumping shot if they're willing
Walking shot — all walking toward camera, groom center. Slow-mo walk energy
Use natural environment — steps, a wall, split-level works great for groups of 4–6
Say: "Groom in the middle. Everyone else — wrap an arm around the guy next to you and look like you own this place."
|
35mm 50mm
|
MUST GET Group
|
G4 |
Immediate Family
Couple + both sets of parents
|
Couple center. Her parents on bride's side, his parents on groom's side
Do: both sides together (all 6), then each side separately (3 shots total)
If divorced parents — confirm seating/grouping with couple the week before. Do not improvise this.
Say: "Parents — this is the one your kids will frame. You've earned it. Big smiles."
|
50mm
|
MUST GET Group
|
| # | Shot | Notes | Lens | Type |
|---|---|---|---|---|
Rx1 |
Reception Details
Tables, centerpieces, place settings before guests sit
|
Shoot the venue before people arrive — you will not get this chance again
Wide establishing shot. Then tight on florals, name cards, cake table, favors
Cake: multiple angles — straight front, side profile, tight on topper/decoration
50mm at f/2 for the moody detail shots. Flash for venue-wide establishing
|
50mm 35mm
|
MUST GET Detail
|
Rx2 |
First Dance
Full dance — wide, mid, and detail versions
|
Wide: include the whole dance floor, guests watching (emotion in the crowd)
Mid 85mm: faces — look for the moments they forget they're being watched
Detail: their joined hands, her head on his chest (shoot from behind her looking up)
Circle around them slowly — don't stay in one position the whole dance
Note: Find out the song in advance. Know the tempo — slow songs have long pauses that make great frames.
|
35mm 85mm
|
MUST GET Candid
|
Rx3 |
Toasts / Speeches
Speaker AND couple's reactions — always both
|
Never shoot just the speaker — the couple's reaction is the real shot
Split your time: 1/3 on speaker, 2/3 on couple's faces as they react
85mm on the couple from an angle. 35mm for the wider room context
Watch for tears — position yourself close before the sentimental part (ask the speaker which part will land)
|
85mm 35mm
|
MUST GET Emotional
|
Rx4 |
Cake Cutting
The cut, the feed, and the laugh after
|
Be in position BEFORE they call for this — it happens fast and without warning
Get close (50mm) — shoot the knife going in, hands together on the handle
The moment after: smashing cake on each other's faces or trying not to — shoot it
One frame of the couple holding their plates with the cake — quiet and sweet
|
50mm
|
MUST GET
|
Rx5 |
Sendoff / Exit
Sparklers, bubbles, or rose petals — the grand exit
|
Confirm the exit type with the couple: sparklers, bubbles, ribbon wands, petal toss
For sparklers: 1/60 shutter, f/2.8, ISO 800 — test before the real exit
Get at the end of the exit tunnel, shoot the couple running at you with the chaos behind
Do TWO passes — they almost always do a practice run, get the real one plus the practice
Say: "I'm going to be at the far end of the line. Run past me — don't stop, don't look at me, just run and laugh."
|
35mm 50mm
|
MUST GET Final shot
|