My First Wedding Photographed with the a7s and a7II
By:
Marc Weisberg
My First Wedding Photographed with the a7s and a7II
Dana Point Wedding Photographer
Photographing Weddings Exclusively with the #Sony Alpha α7s and α7II: Just to be clear this wasn’t my first wedding I’ve ever photographed. I’m numbering more in the 600 range (weddings) photographed in the past 15 years. That being said, 2 weeks ago I had an opportunity to photograph a wedding solely with the #SonyAlpha a7s and a7II. I was faced with a myriad of lighting conditions that all wedding photographers come up against: open shade, direct harsh sunlight, twilight, night time available light photography and off camera flash photography with the Profoto AcuteB600R and Pocket Wizard Plus III’s and the Neewer TT850 manual speedlights. What follows is My First Wedding Photographed with the α7s and α7II. How Did the α7s and α7II Preform? In a word….Brilliantly. I was super impressed with how my a7s anda7II handled all the scenarios. Dynamic range is impressive as I was able to capture the entire range of shadow and highlights in glaring sun with ocean views. Color renditions are amazing. I saw no CA {chromatic aberrations} in any images, even with extreme back lighting. Focusing during the day was never an issue, with one caveat. Night time, available light only in near darkness was an issue. As the camera would hunt and seek. But in my 15 years experience photographing weddings this is true of any DSLR without a flash attached to bounce of some kind of IR signal/pattern from the subject. That being said, when focus locked on, the images are dramatic, powerful and sharply focused. In hindsight what I should have done was use DMF {Dynamic Manual Focus}. Which would get me close to focus and then dial in the focus the rest of the way by manually fine tuning the image and using focus peaking and magnification. Tech Notes: What follows are singular images processed in Adobe LR5 with adjustments to exposure, color, sharpness, clarity, tone curve, shadow and any other adjustment that is available in the LR5 modules. No Adobe Photoshop is used on any images unless specified. I’m amazed and impressed by how sharp the images straight out of camera when shooting wide open and when stoping down. I used all the Sony glass that I own: FE 16-35 f/4 Z OSS, FE 24-70mm f/5 Z OSS, , FE 70-200 f/4 G OSS,Sonnar T* FE 55 f/1.8 ZA, plus the, E 30mm F3.5 Macro E-mount Macro Lens {on loan from Sony}, for the ring shots. For pixel peepers, you should know that I’ve output all images at 20″x20″ @300 dpi. Even the 30mm Macro images. There is no degradation, or pixelization noticeable on any images. A few other technical notes: Skin tones are rendered faithfully, black and white conversion within Adobe LR5 from the RAW files is easily accomplished with a broad tonality range from deep blacks to gray tones and clean whites, I’m partial to punchy colors, easily bumped up with a +10 on the Vibrancy slider and +6 on the Saturation slider in LR5. Left: Sonnar T* FE 55 f/1.8 ZA Right: E 30mm F3.5 Macro E-mount Macro Lens on my α7s. Sony lenses can handle harsh light with no noticeable CA. Great natural skin tones. Left: Notice how the dynamic range holds well showing the subtle high lights to the dark grey shadows in the bridal gown and window shutters. Right: Low light photography is never a problem for the Sony a7s, and beautiful bokeh with the FE 70-200 f/4 G OSS. Great color, dynamic range and sharpness from the a7s, FE 24-70mm f/5 Z OSS, f/10, ISO 100. Great color, dynamic range and sharpness from the a7s, FE 24-70mm f/4 Z OSS, f/13, ISO 200. Hand held. Left: a7s, FE 70-200 f/4 G OSS, f/4, ISO 640. Right: FE 70-200 f/4 G OSS, ISO 125. a7s, FE 70-200 f/4 G OSS, f/4, ISO 100. a7s, FE 70-200 f/4 G OSS, f/4, ISO 100. a7s, FE 24-70mm f/4 Z OSS, f/4, ISO 100. a7s, FE 24-70 f/4 Z OSS, f/5.6, ISO 100. Holding onto the dynamic range beautifully. This daylight lighting scenario is typical of what wedding photographers face at most out door weddings. Left and Right: a7s, FE 70-200 f/4 G OSS, f/4, ISO 100. a7s, FE 70-200 f/4 G OSS, f/4, ISO 2500. Left and Right: a7s, FE 70-200 f/4 G OSS, f/4, ISO 100. a7s, FE 70-200 f/4 G OSS, f/4, ISO 100.
a7s, FE 70-200 f/4 G OSS, f/4, ISO 400. a7II, FE 24-70 f/4 Z OSS, f/4, ISO 400. The bride’s face was dodged in CS5.
Recessional: a7II, FE 24-70 f/4 Z OSS, f/4, ISO 100. Family portraits. I always use some type of lighting. Profoto AcuteB600R with a 40″ silver bounce umbrella, Pocket Wizard Plus III. Induro CT314 tripod, RRS BH-55 ball head, and for the higher resolution I use my a7II, FE 24-70 f/4 Z OSS, f/7.1, ISO 640.
This is where things start getting interesting for me. When I was a Canon shooter I could never get the color right at sunset. Skin tones were ALWAYS too orange. Shot with the a7s, FE 70-200 f/4 G OSS, f/4, ISO 800. Skin tones are natural with a slight orange glow from the sunset. Bokeh rendition separates the bride and groom form the background. At at f4.0 They are tack sharp. Black and whites render beautifully from the RAW files in Adobe LR5. I’ve included the same file here twice to show a B&W and color file processed by LR5. Keep in mind that NO RETOUCHING has been applied to these images. If you shoot in the right light and expose properly you won’t need to use Photoshop and if you do it will be minimal.
Available light image. Illuminated by the glow of the tungsten lanterns with Dana Point Harbor in the background. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 2000, wide open on the 55 @ f1/8 Hand held. a7s, 24-70mm f/4.0 Z OSS, ISO 40,000.
a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 2000, wide open on the 55 @ f1/8
Left: a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 2000, wide open on the 55 @ f1/8, Right: Available light, a7s, FE 70-200 f/4 G OSS, f/4.0, ISO 20,000, Available light. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 8000, wide open on the 55 @ f1/8, 1/1000th sec. Available light. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 32,000, wide open on the 55 @ f1/8, 1/1000th sec.
Available light. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 8000, wide open on the 55 @ f1/8, 1/1000th sec. For this series of images I set up a 40″ umbrella with the Profoto AcuteB600R. Metered the strobe with a Sekonic L358. a7s, FE 24-70mm f/4 Z OSS, ISO 200, f/6.3, 1/200th sec. For this series of images I set up a 40″ umbrella with the Profoto AcuteB600R. Metered the strobe with a Sekonic L358. a7s, FE 24-70mm f/4 Z OSS, ISO 200, f/6.3, 1/200th sec. I’m loving the movement here of the bride and her friend dancing. A happy accident. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 500, f11.8, 1/60th sec. Using back lighting for the DJ. a7s, Sonnar T* FE 55 f/1.8 ZA, ISO 500, 1/60th sec. a7s, FE 70-200 f/4 G OSS f/4, ISO 51,200, 1/80th sec. To capture this image I set up a single Neewer TT850 speedlight in a 40″ silver bounce umbrella. The first step is to establish a base exposure for the sunset. I usually underexpose the ambient by about a stop. Then add the off camera lighting to taste. Make sure the camera is in Manual mode. You’ll want to lock in the exposure. Using the Neewer® TT850 speedlight, a manual flash, I dialed in 1/2 power and then added a bit more light while chimping to make sure the exposure was dead on. a7s, FE 24-70mm f/4 Z OSS, ISO 200, f/6.3, 1/200th sec. It is coincidental the exposure it similar to the image above. Photoshop was used for skin smoothing.
