Making the best of the worst

Hi, I'll be shooting a wedding in less than a month and I'll be visiting the site next week. From the bride's description, I'm envisioning a cross between a bingo hall/lodge and a bomb shelter. Brick/cinder block walls, florescent lighting in a 10' high grid ceiling, no windows for natural light whatsoever, and wierd decorations on the walls that make for an awkward background at a wedding. Hopefully it won't be as bad as the description.

On my visit, I plan on figuring out what type of blue tinted gel filter to put over the flash to cancel out the cast of the florescent lights. I also was planning on sticking with the flash diffuser as compared to trying to use bounce the flash the entire time. (I'm not proficient at it and I don't feel like this is the appropriate time to learn. )

I'm picking up a CB Junior bracket for my 550ex and 40D and crossing my fingers. I was hoping that some of you might be so kind as to post some pictures from similar situations or send some advice my way.

Thanks in advance,
Kenn

I moved this to TALK as you have no image to share, but I can give you some advice. A bracket is really a good idea. I know when I've had terrible lighting and the room doesn't help, the less you get of the room and more of the subjects is key. At the wedding meet a few years ago we learned about off camera lighting at such rooms with a tall stand and 1 or 2 off camera flashes. That works well to spotlight the middle of the room, not taking in so much of the room itself. Consider that if you have time. Your plan is a good one.

thanks suzy for moving it for me and the advice

SuzyView wrote in post #8468900
I moved this to TALK as you have no image to share, but I can give you some advice. A bracket is really a good idea. I know when I've had terrible lighting and the room doesn't help, the less you get of the room and more of the subjects is key. At the wedding meet a few years ago we learned about off camera lighting at such rooms with a tall stand and 1 or 2 off camera flashes. That works well to spotlight the middle of the room, not taking in so much of the room itself. Consider that if you have time. You plan is a good one.

This is essentially my approach, too. Two 580's in a main/fill setup, one on camera, the main held by my assistant, and we just over power the other room lighting. That and interesting angles, being close and shooting up or holding the camera over the crowd and shooting down. Throw a lot of good light on your subject and marginalize the background.

I'm doing this mostly as a favor and I've already spent my budget on the bracket, cord, etc. Unfortunately, I don't have the funds for extra flashes and stands this time.

I'll keep in mind the interesting angles and staying close. Thanks.

A blue gel will not help with fluorescents. A yellowish-greenish one would be better.

I've shot in plenty of venues like this (usually small town community halls where it's the only place to hold a reception). What's wrong with bouncing flash? 10ft ceilings would work well with bouncing. You could easily overpower the fluorescents without a gel.

I would agree with the bounced flash....practice when you visit the venue and practice at home...of all the lighting techniques this is one of the easiest to master with very good results.
If the background is distracting...try to keep your subjects close or crop what you can in PP. You cannot help what surroundings you are given to shoot in, just make the best of it.
good luck cheers Val

i would try to not use flash at all if I could get away with it, depending on what camera/lens you're using. I'd prefer to spot meter off their faces and overexpose a touch. I'd also plan to make most B&W and you wouldn't have to worry about strange color casts at all.