Among the many recommended lenses that every photographer should have available for every situation, there is certainly the 35mm.
A moderately wide-angle lens that manages to frame decisive moments and tell the best day of the couple with a natural point of view, being in fact very close to the 50mm length.
It allows to contextualize the scene even in a very narrow environment, such as an entire room inside which the bride or groom are getting ready, rather than for group photos or details to enhance.
In more complex situations such as, for example, the entrance of the bride, it turns out to be a faithful companion who shoots the whole scene where the bride with her father, awaits the start of the wedding march to go to the altar to meet her beloved one. Once the situation has calmed down, the 35mm can become a set portrait lens, approaching us to frame subjects and their expressions, contextualized in the surrounding environment, rather than narrative details such as the arch of the church, the exchange of faiths and so on.
After the ceremony and during the spouses’ exit from the church, with the 35mm it is possible to frame the couple from behind showing the audience ready to flood them with rice or in front of them, from below, with long exposure times to visually lengthen the trajectory of the grain, with the couple covering their heads and faces so as not to be centered by the guests and their rice war.
Although I rely on my faithful 85mm for the realization of the wedding guests portraits during the congratulations outside the church, the 35mm turns out to be often more suitable for showing an entire scene, less narrow on the single subject, structuring the shot on more often playful and funny layers.
I find the 35mm to be the lens that best suits my way of photographing and, especially since I use high-performance lenses (such as the Sony FE 35mm f1.4 GMaster), every shot seems like a painting, a work of art, for the great delight of my clients.