Wedding photography isn’t just about taking beautiful pictures; it’s about capturing memories that will be cherished for generations. Each wedding is unique, with its own moments of laughter, tears, and joy, and it’s my job to document these in the most authentic way possible. Over the years, I’ve discovered that wedding photography combines technical skill with the ability to adapt and read emotions, and every wedding presents a fresh challenge. The way I see wedding photography has changed a lot over the years. I look back to some of the workshops I taught 10+ years ago and realise that so much of what I believed back then has since changed and it’s important to constantly evaluate why you do what you do and what the market is looking for now. The one thing that hasn’t changed however is the deep-rooted belief that at the core, wedding photography is about honouring people and their interactions with each other.
Prepare Your Gear
Choosing the right gear is essential for wedding photography. I rely on my Sony Alpha series cameras for their reliability and image quality. When packing for a wedding shoot, I make sure I have everything ready: extra batteries, multiple memory cards, and, of course, a range of lenses. The day before a wedding, I check that all my batteries are charged, that any files on my memory cards are backed up, and that my cameras are set to how I'd want to start my day.
Pro Tip:
Set your camera times! I make sure that every camera that I use is set to the exact same second. This makes things a heck of a lot easier when you’re sorting through your images later as you can simply sort by the time the photos were taken and it keeps everything in perfect order when working with multiple cameras. Both myself (and any assistants or 2nd photographers) set their time to be the same as it says on the Time.is website.
Choosing the Right Sony Camera for Wedding Photography
A Guide to Sony Cameras
Sony offers excellent cameras for wedding photography, each with unique strengths for different needs. Here’s a quick overview of which models work best for specific wedding scenarios.
Low-Light Performance
Alpha 7 III: Known for its great low-light capability, this model is a solid mid-range option.
Alpha 7S III: Built specifically for low-light with a 12.1MP sensor, ideal for very dark venues.
Auto-focus Speed
Alpha 9 III: Extremely fast autofocus, perfect for capturing dynamic, candid moments. With a global shutter for no distortion, ultra-fast 120 fps shooting, and AI-enhanced autofocus for unmatched accuracy in fast-paced wedding scenes.
Alpha 1: Advanced AF tracking for subjects, ensuring sharp focus in every frame. 50MP resolution.
High Resolution
Alpha 7R IV: Offers a high 61MP resolution, great for capturing fine details and flexible cropping in post-production.
Compact and Portable
Alpha 7C Series: Compact, full-frame cameras that are easy to carry, reducing fatigue during long shoots.
Video Capabilities
Alpha 7 IV & Alpha 7S III: Both offer high-quality 4K video, with the Alpha 7S III delivering superb video colour and frame-rate options.
Alpha 9 III: The newest addition, with a global shutter for no distortion, ultra-fast 120 fps shooting, and AI-enhanced autofocus for unmatched accuracy in fast-paced wedding scenes.
My Camera Preferences for Wedding Photography
I currently photograph with the Alpha 1 and Alpha 9 III. For me, this is the perfect combination as both have excellent auto-focus, which is crucial for capturing fast-paced moments. I previously shot with 2x Alpha 1’s and I must admit that I do love working with two of the same camera. However, when the Alpha 9 III came out, I was intrigued by the ability to be able to photograph with flash at sync speeds of up to 1/80 000th/s and what creative opportunities that could open up on a wedding day.
On a wedding day I prepare two cameras, an Alpha 9 III with a 50mm F1.4 G Master as well as an Alpha 1 with a 24mm F1.4 G Master. In a sling bag I have 4 spare batteries, multiple CF Type A memory cards, a spare lens or two and my Sony 60 RM II flash. I choose to work with prime lenses as I don’t want to have too many choices when I go to take a photo. I either want to be wide, or close. I know exactly what 24mm or 50mm will look like when I lift my viewfinder to my eye and need only choose the moment to shoot, not the exact focal length. I typically shoot with two cameras, with lenses that complement each other so that I can easily have two options for the kinds of moments I’d like to capture. I’ve found that having two lenses that roughly double/half the focal length of each other works well for me. For example, 24mm/50mm or 35mm/85mm can often be great starting points. This set up allows me to get a close up and wide angle of certain key moments, like the first kiss.
I have another roller bag with a few more lenses, more flashes, more batteries, a light stand and other bits and bobs that have made their way into the bag over the years. Throughout the day I’ll assess what I expect I’ll need quick and easy access to and move gear in and out of the over the shoulder bag from the larger roller bag.
Having backup gear on hand also helps, as you never know when you might need it.
The full list of what I have available to me at a wedding is as follows:
Cameras:
2x Alpha 1
1x Alpha 9 III
Lenses:
Sony FE 70-200mm f/2.8 GM OSS II Lens
Flashes:
Sony HVL-F60RM2 Wireless Radio Flash
2x Profoto A2 100Ws Monolights as well as 2 pro triggers.
Location Scouting
It’s not always possible for me to visit the venue before a wedding however, it’s helpful if I can do as much research as possible before I get there. The first thing I do is speak to the couple and ask them if they’re able to visit the venue again before the big day. Most of the time they are, and I suggest considering visiting 1 year out from their wedding day if it’s possible. I ask them to take as many photos as possible, to stand in the areas that they envisage using and to take selfies and see how the light looks on their faces. One of the biggest challenges is photographing wedding ceremonies in full sun, so I communicate as clearly as possible with my couple what challenges we may face and how to overcome them. I will also look through blog posts from other photographers who have photographed at those locations as well as look at Google Maps to see what direction things are facing in relation to the sun. A helpful app is Sunseeker, which I encourage all my clients to download. It can help you plan where the sun will be at different times of the day and on different days of the year as it overlays the sun’s path over your phone’s camera display. I find this helpful to see if a ceremony location will be in shade or full sun.
Sun isn’t the only thing that we sometimes need to plan for, it’s also inclement weather like rain. While rain can produce some beautiful opportunities, it’s also helpful to work out what your wet weather options are and if you may need to start thinking through the kinds of images you could take indoors at the venue. You may need to pack additional gear to help make this happen, for example, soft boxes, light stands and sandbags to keep those stands from toppling over.
Master Lighting Techniques
Lighting can make or break a photo. I love using natural light, especially for outdoor ceremonies, as it provides a softness that’s perfect for romantic moments. However, I’m always ready to use off-camera flash when necessary, especially during the reception where lighting can be tricky. Balancing ambient and artificial light is key to creating a consistent look. When working with off camera flash, I find it helpful to take a base image and set my exposure that matches the amount of ambient light I’d like to capture, then add flash with my camera settings already dialled in.
When deciding on placement for the flashes, I'll often look where the ambient light is coming from and seek to enhance that, rather than working against it and creating multiple shadows from different directions.
Pro Tip: Watch for Overhead Lighting Challenges
A common challenge to overcome at weddings is overhead lighting. You’ll find there will be downlights casting shadows on people’s faces during prep as well as later in the evening during speeches. When I first walk into a room I look to see if it will be possible to turn those lights off (for example during prep with a bride or groom) or if the location where speeches will take place might benefit from being moved away from an overhead light. This is my preferred option over adding flash, however, if it’s essential I will overpower the overhead lights with flash, but the downside is that it’s then next to impossible to show the ambience in the room in your images, so that’s not generally my preferred option.
Sometimes I’ll use flash for creative effect. For example, lighting a background to create a silhouette, or back lighting a couple to create an epic portrait of them. Typically, when lighting something from behind the subject, I don’t use any modifiers, but when I’m lighting the face of a subject that’s when I’m looking to see how I can further shape the light by using grids, barn doors or soft boxes.
Capture Candid Moments
Candid shots are where true emotions shine. I try to blend into the background, capturing the laughter, the tears, and those fleeting glances between the couple. Sometimes a telephoto lens may help me stay unobtrusive, allowing me to photograph from a distance and capture those raw, intimate moments without interrupting them. However, my goal is to be as close as possible without breaking the moment. Weddings are intimate events and I want to create images that reflect that intimacy, sometimes being closer to the subject will help the couple connect with that image more than a photo that looks like it was taken by paparazzi with a more telephoto lens. Some of my favourite candid moments have been captured with a 24mm F1.4 G Master. The trick here is to make your subject comfortable so that they aren’t phased by your proximity to them. The best way to do that is to simply be around, be a positive influence and for them to get used to you being present during moments. I find the best time to establish this is before the wedding itself. For this reason, I only photograph weddings where I’m hired to capture the “getting ready” images of the couple also. There are some situations however when having a 135mm F1.8 G Master or a 70-200mm F2.8 G Master II is your best option, when you’re unable to be close to where the moments are happening.
Additional Tips:
- During a ceremony or reception, I find that kneeling down helps me stay out of the other guests view but also helps me not feel like a threatening presence.
- Distracting people from being photographed is another way to encourage candid moments to happen. If I was photographing a couple and I was looking for a candid moment from them, I’ll ask them a question rather than tell them what to do. Their response is what I’m there to capture. An example question might be “Could you tell your partner what you were thinking as you saw them walking down the aisle?” or if I was photographing a bride or a groom with their parents, I may ask the parents what they remember about their child when they were a kid. Asking questions that may help elicit an emotional response, or a funny one will often lead to beautiful candid moments. It’s the unpredictability of their response though that makes it fun to witness.
Creating a shot list
After photographing weddings for over 20 years, I find that these days I don’t work with a shot list per se, but I always sit down with the couple before the wedding to put together a list of family photos that they’d like captured. I will often photograph weddings where there are cultural, religious, or sentimental aspects that are different to what I’ve previously encountered so it’s important that I ask lots of questions and find out what’s important to the couple. I don’t want to get bogged down with endless shot lists, but I do want to be ready for specific moments. Managing and exceeding the expectations of your couples are important and the only way to do that is if they have something to measure that goal against, so gathering as much information as possible before the day and showing the couple you’ve taken an interest and actively sought to capture those important moments for them is essential as a wedding photographer.
I think the other thing to keep in mind is that the couple aren’t the only people that you need to keep happy. Parents, close family members and close friends are also very invested in the day, and I make an active effort to let them know that I’m there for them also and to feel free to request me to take any images that they’d like if they can see that I’m not busy at that time. If the couple request a large group photo, I make the same offer to their guests where I let them know that the couple would love lots of photos of them, so don’t be shy if there are any particular photos they’d like!
It’s important to flesh out what your clients’ expectations are and make a plan to accommodate them. On a wedding day, timings often run behind, so you may find that you don’t have the time you expected to be able to capture every combination or fulfill every request at the usual time. At a recent wedding, we planned to do family photos straight after the ceremony, but as the ceremony finished, heavy rain set in, and we decided to do the family photos later in the day. When it came time to do these photos, I walked over to the couple at their reception, and we quickly went through the list of photos they’d previously requested and I had them prioritise the groups that they want wanted to capture first as we were unsure we would have the time to get through all of them in the time we had.
Post-Processing and Delivery
Once the wedding is over, my job moves to post-processing. I organise and back up all the photos before diving into editing. Using software like Adobe Lightroom, I focus on enhancing colours and fine-tuning details while keeping the images natural. I also create a slideshow or album preview for the couple, so they get a sense of the final collection.
Backing up images
I want to back up my images as quickly as possible after the wedding, so I choose to use the Sony CF Type A cards which transfer to my laptop or hard drive much quicker than even the fastest of SD cards. I want to know that the files are backed up in multiple places before I head to bed that night, so faster cards help me do that - helping me get to bed a little sooner!
Batch editing
I use AI as an assistant for my initial edits. I personally use Aftershoot which helps me get the entire collection of images to a point where I’m 90% happy with the result. I’ve found I don’t actually spend less time editing, but this program allows me to spend less time adjusting white balance and exposure and more time making adjustments that help me bring my vision to life.
I’m often looking for ways to simplify the end result. Perhaps there are distractions that need to be removed or sometimes a different crop could create a stronger image.
Presenting images to the couple
Once the images are edited, it’s time to share them with the couple! I’ll often pick out a small handful of images to send within a few days of the wedding to get the couple excited, followed by a slideshow set to music that allows me to create an experience for the couple. I’ll encourage the couple to watch this together on the biggest screen they have available, with their favourite drink in hand. Once they’ve enjoyed the slideshow it’s time to jump into the full gallery which I deliver in a way that gives the couple access to a full set of colour images and the same images also presented as black and white images. I want my couples to have full control over their images long-term so I find giving them both options allows them to do that without them needing to come back to me years later.
How many images should you deliver?
I think the important thing here is to simply do what you say you’ll do and for the couple to know exactly what to expect. For example, if the couple are expecting every single image to be edited and you only delivered a selection of images then you’re likely to run into some hassles, so I let my clients know that I get rid of blinks and double ups… but on top of that, there are some moments that simply don’t turn out as I’d hoped and to deliver them would just serve as a distraction. I’m very fortunate to have an incredible wife, Catherine, who goes through all my images before I deliver them to let me know if she sees anything that I didn’t see. I’ve found she will often notice things that are distracting, or images that need further attention and it gives me a chance to rectify that before sending them to the client. If I didn’t have Cath to go through the images, I’d consider teaming up with another photographer and doing this for each other. It’s a great way to learn and grow and to get feedback from someone who wasn’t at the wedding and can give you an unbiased view of what they see.
Delivery schedule
I choose to deliver the images within 3 weeks. I give the clients an exact date that their wedding photos will be ready by and aim to beat that by 1 or 2 days. During our initial meeting I’ll have them open their calendars and pop something in that says that they’ll have seen their wedding photos by that particular date. I find that giving the couple confidence in your delivery process is a great way to build trust and to keep it when you do exactly what you said you’d do. My wife Catherine works as an occupational therapist and is a great problem solver. Shortly after bringing her into the business, she noticed that I’d get emails within a day or two of the wedding from the couple asking when their photos would be ready and she noticed that I wasn’t setting clear expectations on when the photos would be ready, so my clients can thank her for that clarity! Cath also sends an email out the morning after the wedding to remind them of what the process is and how long they should expect to wait.
Wedding photography is more than a job; it’s a privilege. Every ceremony, every moment, and every client reminds me why I love this work. From the careful planning of gear and location scouting to the thrill of capturing candid moments and crafting the final images, each step is a chance to create memories that will last a lifetime. My approach has been honed over years of experience, but every wedding brings its own surprises, challenges, and unique beauty. I hope these insights inspire fellow photographers to approach weddings with both technical skill and a genuine love for the moments that make each day unforgettable.
James Day
My name is James Day and I’m a wedding photographer passionate about photographing the connections between two people in love. I’m based just south of Sydney and I travel across Australia to photograph weddings for couple who aren’t afraid to climb a fence or tree and who’s main priority is to have fun.
I've been photographing weddings for over 20 years but I'll be the first to admit that wedding photography is something that is very difficult to truly master. Encountering different situations and personalities each weekend means that no day at work is ever the same.
