◼ Subjects and events ↑

“Photographs are millimetres documented on the path of life,” wrote the poet Hermann Lahm (born 1948).

There are many occasions and many subjects that offer special opportunities to take extraordinary photos. This fact does not override the normal laws of photography, nor does it diminish the continuing need for flair in finding the unique moment ... but it does allow for one or the other piece of advice on how to better document each individual millimetre of life.

◼ Subject: the church building ↑

Church buildings do not move. They stand firm, they do not blink, and they do not run away from me. They are also wonderfully suited for unhurried, quiet photography, and ... they allow me to try out one or the other new approach in peace and quiet.

Tips for taking photos of church buildings:

• do not photograph the church building exclusively from the front; you can always take a walk around the building and find some new perspectives
• do not exclusively photograph the church building from the outside
• do not exclusively position the church building in the middle of the photo; include the surroundings (neighbourhood, sky, etc.) into the overall motif; apply the Golden Ratio or the Rule of Thirds
• use different focal lengths
• the church building does not need to be seen in its entirety on every photo; detail photos can also be very interesting in the case of church buildings
• in order to avoid falling lines (buildings seem to fall backward in the photo):
  • stand at eye level with the subject and keep the camera perfectly level (many cameras provide digital levels in the display; if necessary, use a tripod)
  • enlarge the camera’s viewpoint of the church building and if necessary, photograph with a higher focal distance, or
  • correct falling lines and distortions during subsequent image processing
• lens recommendation: ideal: tilt-shift lens (perspective distortions can be completely avoided using this option); good: ultra-wide angle lenses and wide angle lenses (under 50 mm) for detail photos, for detail shots also telephoto lenses (100 mm and greater); interesting/variety: fisheye lens

◼ Subject: the officiant ↑

Photos of the officiant are among the standard subjects of photography in divine services.

Due to the proportion of time it is accorded in the sequence of the divine service, the sermon (and thus also the minister at the altar) must be given special weight. For example, a photo reportage of a divine service that only includes two photos of the sermon or the officiant and ten photos of musical contributions creates a false impression of the divine service.

Photos of the officiant often seem static, boring ... because the officiant is usually photographed at the beginning of the divine service under a certain state of strain/reflection. Since musical pieces are often also performed at the same time the photo is taken, the minister will stand at the altar quite motionlessly and inactively, without any kind of gesticulation. And that is exactly how he is usually photographed—and it is rather unflattering, as many photos prove.

Tips for photographing the officiant:

• depending on the place and prior consultation, I can also photograph the minister during the sermon. The photos then seem more lively and diverse than the standard motif of the “officiant looking into his hymnal during the opening hymn”. Naturally this does not mean I must never photograph the latter motif either.
• a seat with an unobstructed view of the altar is ideal for taking photographs during the sermon. I should then take these photos from a seated position and without using a flash, in order to avoid disturbing others in the divine service.
• I take photos of ministers at the altar from various perspectives during musical performances; then later on, during the image selection phase, I choose the ones that show the “best side”
• blinking is normal for healthy people. It is precisely for this reason that it will be impossible for every portrait of a person to show the subject with open eyes. In order to avoid having to choose only between photos showing the subject “with left eye closed” and others “with right eye closed”, it is recommendable to take several photos (in continuous shooting mode).
• incidentally, it is easier to capture a more relaxed image of the officiant by taking several photos immediately after the closing benediction. At this point in time, the minister is visibly more relaxed and bears a friendlier expression. Important: as a photographer, I am already standing in the right spot before the closing benediction is spoken.

◼ Subject: people ↑

“The real character of a man is found out by his amusements,” said the English portraitist Sir Joshua Reynolds (1723–1792). — I am certain that it is quite the same for women.

What defines people? Is it the way they look? The way they walk? The way they move? Is it their way of laughing? What is typical of their behaviour? Whatever the subject’s most typical feature, a photo is a success if the people closest to him can recognise him in his very own personal way of being.

Tips for photographing people:

• eyes are the “window of the soul”. In a portrait, the eyes—not the tip of the nose, not the ears, not the knot in the tie—must be absolutely sharp.
• photograph individuals exactly as they are. For this purpose it is helpful to observe them in order to discover their essential traits and characteristics: a typical wrinkling of the nose, a unique laugh, a specific movement of the hand ...
• lens recommendation: ideal: 70–150mm focal length, largest possible aperture (f-number of 4.0, 2.8, or even more open), so that the subject appears in sharp focus and the foreground/background appear out of focus; do not take portraits with wide angle lenses, as this will lead to deformed/distorted faces
• exposure time shorter than 1/160, to avoid motion blur
• do not exclusively position subjects in the centre of the photo, but instead apply the Golden Ratio or Rule of Thirds
• change perspectives: photographer changes positions and achieves a variety of perspectives (in the process he may even find the “best side”)
• double chins can be avoided if the photographer assumes a slightly higher position
• children are best photographed at eye level—in other words, crouch down or even lie on your stomach (this is a general tip and may not be suited for application during a divine service)

◼ Event: baptism and sealing ↑

“I believe that the Holy Baptism with water is the first step to a renewal of a human being in the Holy Spirit, and that the person baptised is adopted into the fellowship of those who believe in Jesus Christ and profess Him as their Lord,” declares the Sixth Article of Faith of the New Apostolic Church.

Sacramental acts are significant events in the life of people and their families. The large number of photos taken on such days is an indication that this is how most people see it. And here it does not seem to matter so much at first if the pictures are of high quality ... even snapshots from a cell phone camera are significant and valuable.

The enduring memory of the baptism is most certainly an intended consequence of the baptism itself. Photos help preserve this memory.

Tips for taking photographs during Holy Baptism with water and Holy Sealing:

• find out about the most likely programme of events before and after the act. I can only take photographs from the right position at the right time if I know about the musical performances, addresses, etc.
• be at the altar already before the person being baptised (and the parents)
• stand at the proper side of the altar where you can have an unobstructed view—and take photos—of the person being baptised. I ask the parents ahead of time whether it will be mother or father who plans on carrying the child to be baptised, and whether they will carry the child on their left or right arm. Only then will I know on which side I should stand, and will know in what direction the child being baptised will be looking during the act of baptism
• document the baptismal act both as a congregational event (overview, as a whole, with the congregation) and as a personal event (detail shots and close-ups)
• take photos of the act itself only shortly before it ends (just before the Amen), without flash, with the camera set up ahead of time; take two to three shots in quick succession
• take close-ups with the aid of a high focal length. It is not appropriate to sneak up on the persons involved to a distance of 32 centimetres in order to snap a picture of the laying on of hands. A safe distance of about two metres should be observed (without measuring the distance on site precisely with a folding rule during the act!)

◼ Event: weddings, wedding anniversaries ↑

The pageantry and unique character of the day make it a special challenge to take photographs at a wedding ceremony. Although the photographer has some design options available to him during the classic shoot, he has nothing to say about—but is firmly involved in—the ongoing bustling activity of the wedding service. — He must always be at the right place. No second chances.

Tips for photographing weddings and wedding anniversary blessings in the divine service:

• inform yourself about the most likely programme before, during, and after the act (musical performances, addresses, etc.)
• set up a list of subjects together with the wedding couple ahead of time
• get up close. Right up close! Don’t stand in the third or fourth row and get annoyed with the people in the way!
• change positions. Run, run, run!
• be at the altar already before the wedding couple
• document the wedding as a congregational event (overview, as a whole, with the congregation) and as a personal event (detail shots and close-ups)
• only take photos of the act itself when it is about to end (just before the Amen), without a flash, with the camera set up ahead of time; take two to three shots in quick succession

◼ Event: weddings (list of subjects) ↑

• the wedding car/wedding coach; detail shots: floral decorations on the wedding car
• the bridegroom helping the bride out of the car
• outside shots at the church
• guests entering the church
• arrival in front of the church
• guests seated in the benches, taken from the altar
• the bridal couple entering the church
• the groom waiting for his bride
• the bride and the father of the bride entering the church
• the organist playing the “Wedding March”
• the church sanctuary, taken from behind or from the gallery
• a group photo of the choir/the soloists
• close-up of the bride and groom as they make their vows
• dispensation of the wedding blessing/bridal couple/witnesses/officiant
• the exchange of the rings
• close-up of the hands
• the wedding kiss
• the bridesmaids/flower girl in the centre aisle of the church
• photo of the guests waiting outside to receive the bride and groom
• the bridal couple leaving the church
• activities of friends (cutting the cake, throwing the bouquet, etc.)
• champagne reception, receiving line
• guests throwing confetti/rose petals/rice
• bride and bridegroom embracing the guests, receiving best wishes
• bride and bridegroom entering the car, on the back seat of the car
• the bride alone, with witnesses
• the groom alone, with witnesses
• the bride or groom with parents
• the bride and groom together
• the bride and groom with parents, family, witnesses, all guests
• the bride and groom with bridesmaids and flower girl

◼ Event: congratulatory occasions ↑

Congratulatory occasions are moments filled with many emotions and often go by very quickly. Especially when it comes to family celebrations and festivities, images of congratulation are an integral component of compulsory photographic remembrance. After all, who wouldn’t want to see Aunt Lillian again ten years from now ...

Tips for photographing congratulations:

• take continuous shots in burst mode. The greater the selection, the greater the likelihood of finding the picture in the end.
• the (fully) automatic mode of the camera usually yields very slow shutter speeds in unfavourable lighting conditions (1/60 and less); owing to the quick movements and activities, this may create a great deal of motion blur! Tip: Set the time preselect in the TV (Canon) or S (Nikon, Sony, Panasonic) program, and set the shutter speed to at least 1/160 or shorter.
• get close. Right up close! Don’t stand in the third or fourth row and get annoyed with the people in the way!
• change positions. Don’t only photograph those who are offering the congratulations! Be sure to take some photos of the people being congratulated too!
• lens recommendation: the ideal would be a medium range of focal length (50–100mm).

◼ Event: group photos ↑

Group photos are boring somehow. They are too contrived, often convey little or no emotion ... and yet they remain a staple element of every photo gallery. So what can be done to ensure that even group shots are interesting, worth looking at, and successful?

Tips for taking group photos. Before clicking, ensure the following:

• are all jackets done up/open?
• are all pant legs hanging down wrinkle free?
• are all necklaces and other pieces of jewellery hanging straight?
• are all cuffs looking out evenly from shirt sleeves?
• are all ties knotted neatly at the shirt collar?
• are all the clothes free of wrinkles?
• are all the participants standing up straight? Tummy in, chest out, head slightly inclined (to avoid double chins)?
• is no one standing and squinting in the (sun) light?
• have all church pews and other mobile obstacles been moved aside/out of the way?
• change positions. Do not photograph exclusively from the front, but also take advantage of side perspective
• lens recommendation: the ideal is a normal wide-angle lens with focal length range (30-50 mm). Ultra-wide angle lens (under 30 mm focal length) distort the margins of the image in particular; not very attractive, especially when it comes to (important) people.

The larger the group, the more difficult it is to take pictures where everyone has their eyes open and fixed on the camera. There is a little trick that works in most cases: ask the group to close their eyes on command and then open them again on the count of three! Perhaps 98-year-old Aunt Lillian will not be able to participate on account of her circulatory problems, but the vast majority of the group will gladly participate in this neat little test. — “One. Two. Three!” As they count, the group will (eventually) open their eyes again, such that a burst shot starting at three will likely capture many (if not all) of them with their eyes open and looking into the camera. The smiles on their faces will come as a bonus all by themselves.

◼ Event: ordination, retirement ↑

Ordination marks the start of a minister’s active term of office. The holiness of this act of blessing and the serving character of the ministry is revealed by the fact that the ministry is received while kneeling. Standing before the Apostle, the person being ordained vows faithfulness to God as well as obedience of faith, and promises to follow Christ.

Tips for photographing ordinations and retirements:

• Inform yourself about the most likely programme before, during, and after the act (musical performances, addresses, etc.).
• Be at the altar already before the minister being ordained/retired. Ordinations and retirements usually take place behind the altar. Especially in large church sanctuaries and halls, it is the right position that will determine success or failure. It is important to find a position that offers a view of the area behind the altar as well as an unobstructed view past the altar on the side, and one that is at the same height.
• Only take photos of the act itself when it is about to end (just before the Amen), without a flash, with the camera set up ahead of time; take two to three shots in quick succession.
• Get close. Right up close! Don’t stand in the third or fourth row and get annoyed with the people in the way!

◼ Event: funeral ↑

“The death of a loved one causes pain and grief for the bereaved. In this situation, they feel the consolation expressed in the loving care of those around them. The funeral service, a divine service with its own specific character, serves to provide comfort and strength for the bereaved. However, the word proclaimed is also directed at the immortal soul of the deceased, which is now commended to the grace of God. The mourners assembled for the funeral service surround the bereaved to demonstrate their sympathy and impart a feeling of security. Furthermore, last respects are paid to the deceased,” states the Catechism of the New Apostolic Church (chapter 12.3).

Taking photographs at a funeral service or during the interment requires a high degree of sensitivity and respect.

Tips for taking photos at funerals:

• no close-ups of the bereaved; do not make a spectacle of grief, tears, or suffering
• take photos of the whole/overview shots
• taking photos from the back to the front in the church sanctuary avoids depiction of the bereaved.
• take many photos of a symbolic character (candles, decorations, book of condolences, picture of the deceased, floral decorations, open Bible/Bible passage, notes, etc.)

◼ Event: concerts ↑

Choral and orchestral concerts not only provide the church photographer with a wide variety of subjects, but also require considerable respect, owing to the special atmosphere of the occasion. Concerts usually take place in churches or halls, and at times entail special lighting situations (spotlights, chasers, darkened spaces, etc.). And if the event is also being video-recorded simultaneously, there is also the risk of collision with your colleague in charge of moving pictures.

Tips for taking photos at concerts:

• Take photos without a flash, thereby recording the lighting situation as it is without destroying it.
• If necessary, increase the light sensitivity (ISO) or lean the camera against a wall or railing in order to avoid camera shake during longer exposure times. The use of a tripod makes me personally inflexible. I will not be able to sneak through orchestra members very well, no matter whether I use a tripod or a monopod. A tripod would only be helpful in taking an overview shot when the available light is not sufficient for short shutter speeds.
• Know what musical pieces will be performed and know when which soloists will perform at what position on the stage. Even if all previous requests for an event overview have been denied, attending the dress rehearsal or—as a last resort, a quick look into the general itinerary of your audio-video colleagues—may be helpful. Experience has shown that they are familiar with all cues to ensure the best possible microphone and light control.
• A balanced mix of portraits and general photos makes any photo gallery more viewerfriendly.
• Avoid obtrusive and uninterrupted walking around. Choose two or three camera positions from which you can photograph a wide variety of subjects (perhaps even all?!).
• Don’t forget to also focus on special details: applause, the baton, notes, musical instruments, etc.