Décor is chosen by how a room feels standing in it, but photographed at reception distance and lit by whatever the venue provides, some popular choices read very differently through a lens than in person. Here's what consistently photographs well.
Warm-toned uplighting beats colour-changing LED walls
Amber and gold uplighting flatters skin tones in every photograph taken that evening; a colour-cycling LED wall behind the stage looks striking to the eye but shifts hue mid-exposure and produces inconsistent colour casts across a single gallery.
Floral installations at eye level outperform ceiling-hung ones
Overhead floral canopies look spectacular from below in person but rarely register in a standard reception photograph, which is shot roughly at eye level. Floral walls and eye-level installations behind the couple's table give a far better return on the decorator's budget, frame for frame.
Matte finishes photograph more consistently than high-gloss ones
Glossy stage backdrops and metallic table settings catch and bounce venue lighting unpredictably depending on camera angle, which shows up as odd hotspots across a gallery. Matte and textured finishes hold their colour consistently regardless of where the photographer is standing.
Name and date signage should be legible from photography distance, not just up close
A beautifully calligraphed welcome sign that's illegible in a wide shot from twenty feet away won't do its job in the album. We ask decorators for signage with strong size and contrast, not just elegant script.
Décor has two audiences — the guests in the room that night, and everyone who sees the album afterwards. The best choices work for both.
We coordinate directly with your decorator on lighting placement wherever possible — ask us to loop them in once you've booked.
