Category Archive: Documentary wedding photographer
Wasing Park ceremony barn | Wedding 365#51
WEDDING 365 PROJECT – 365 days, 365 images. My ethos behind the way I shoot.
SHOOTING DATA: 5DMk2, 85mm, F2.5, 1/100, ISO 800
VENUE: Wasing Park
ETHOS: I lament the passing of my 85mm F1.2 lens. Perhaps the slowest focusing lens known to man. I missed so may shots waiting for it to wander aimlessly into focus. BUT. It was a beautiful piece of glass, had a fabulous bokeh, and was the perfect focal length lens for documentary work. Oh why did I sell it? This one remains a true Wasing Park wedding photograph favourite. It’s flattering on a personal level as there is a real level of acceptance from those being photographed. It’s equally fabulous for it’s story telling. The groom’s mother and father are in their own moments. The best man seems oblivious to the outpouring emotion.
Wasing Park wedding photographer | Mike and Sally
I was asked on Monday to submit my thoughts for a magazine article being compiled about photographing weddings in trickier climatic conditions. My thoughts on this were immediately blogged this week here. I find myself ironically able to update those words as today’s Wasing Park wedding between Mike and Sally featured a drop or three along the way. If our latitude and longitude were say 36° 10′ 30″ N / 115° 8′ 11″ W, then wet weather would be less of a problem. In that we’re 51° 26′ 0″ N / 1° 0′ 0″ W, then rain is most certainly a consideration. I often get asked by prospective clients; “But what if it rains?” My answer is based on how many portraits within the landscape of their venue a client requires or desires if such conditions occur, but more often than not my answer simply reflects a reality that we’ll just photograph inside a little more. Talking of reality, being outside is actually a small portion of the day. Generally speaking, you get ready in a room, married in another kind of room, enjoy a wedding breakfast in a room with tables and dance, well, in a room. The wet stuff certainly doesn’t wreak quite as much havoc as couples may fear. Let’s add a third reality; it doesn’t generally rain forever. If I were somewhat more of a formal photographer or one for capturing rather more contrived big production portraits, of course this would perhaps be trickier. Iin documentary terms, a break in the weather provides time to capture some outdoor shots easily. It does of course help if your venue is a good one for ‘weather,’ meaning the plethora of varieties we can receive in one day. Wasing is certainly that, boasting a ‘glass walled’ ceremony and drinks reception room and separate barn for the wedding breakfast itself. A church is but a mere minute or two’s walk from the front door, so this all amounts neatly to present a solution to unkind clouds. There is a mistaken belief that rain will somehow put paid to the festival of enjoyment that is, a wedding. Wrong. Wrong and wrong. We had a fair amount of rain to contend with today, but I hope you’ll agree the images within this post show the story of a day that was magical despite.
Wedding photojournalist | Wedding 365#47
WEDDING 365 PROJECT – Daily choice of a wedding photograph selected from my catalogue, collated from time spent documenting these unique events.
SHOOTING DATA: 5D, 58mm from a 24-105mm lens, F4, 1/800, ISO 640
ETHOS: I maintain that every photographed wedding will yield at least one signature moment, and this is the one for me from this particular wedding. It’s a simple shot featuring three key cast members from the day; groom, bride, bride’s father. They’ve just emerged from the service, friends are firing off their own frames directly in front of them. Bride turns to father and the connection is just magical. Often I photograph how fathers observe their daughters. It’s rewarding that when I return images from a wedding a response I often get is; “I had no idea dad was looking at me that way, I’m really touched.” This is role reversal. I hope this photograph is on her father’s mantelpiece because it says so much about her feelings for ‘dad.’
Dumbleton Hall wedding photography | Jamie and Jennie
Look, from the outset, I’m a softy. My eldest little boy this week told me that I was; “The best daddy in the World,” for the first time. I cried. The Green Mile, Schindler’s List, Meet Joe Black; three films that you shouldn’t watch with me if the sight of a grown man shedding a tear embarrasses you. Unashamedly, I’m soft centered. For me, an observational emotional connect with my clients is important in documentary wedding photography terms. If you follow this blog and indeed the stories within my 365 project or main gallery images, it’s clear that I work stylistically cheek by jowl. I photograph primarily using short focal length lenses, that requires a closeness to the story unfolding before me. I hope the images in this blog piece demonstrate how in wedding story telling, it’s an approach and philosophy that can work well. You’ll be the judge and as ever I’d welcome your comments, either on the blog or by mail. Before you look further though, a further dimension to this story is that the couple concerned I count as friends, our bride Jennie having been a former work colleague when I frequented the radio airwaves. Jennie, I’m so incredibly proud of you for your accomplishments personally and of course latterly professionally, and look forward to hearing your reports as you jet the globe covering F1 2012. (I’m also a little bit envious, but shhhh, don’t tell anyone.) What an emotional day too. You underline why documenting these days has become a vocational life choice. And Jamie, thanks for letting Jen talk you in to allowing her softy friend to be present as photographer on your special day. Lots of love and I hope you enjoy this sneak preview.
Wedding photographer Oxon | Wedding 365#43
WEDDING 365 PROJECT – Daily choice of a documentary wedding photograph selected from my catalogue, collated from time spent documenting these unique events. This one from Lains Barn.
SHOOTING DATA: 5DMk2, 24mm, F1.4, 1/40, ISO 1600, under by two thirds.
ETHOS: Prior to working with the amazing 1.4 L series 24mm lens, this kind of close proximity documentary work would not have been such a comfortable experience in conditions where light is at a real premium. Believe me, there is little light in available terms within this location of the barn. I’ve chosen this picture today because it’s a support image within the wedding and I want to share more of my work than simply proud signature shots. I like the nature of this image. I like the depth, the richness of tones. There’s not a complex story to this, though I like the female guest’s expression, seemingly sympathising with the conversation on going. I like the texture of the building. I even like the male guest, fingers illuminated by his iPhone, sending a text or something, perhaps a tweet; “Why is the man to the right taking my photograph #iambeingphotographed.”
Wasing Park wedding photographer | Wedding 365#40
WEDDING 365 PROJECT – Today’s image taken from my wedding photography catalogue with creative and technical musings.
SHOOTING DATA: 5DMk2, 50mm lens, F1.2, 1/250, ISO 500
VENUE: Wasing Park, Berkshire
ETHOS: This remains one of my favourite documentary wedding images from Wasing Park and almost didn’t get captured as only a second after this was taken, someone instructed the boy to; “Smile for the man!?!” Photographers will recognise that ‘order’ to be the most destructive counter creative directive possible when trying to calmly go about one’s reportage task, appreciating at the same time of course that people are genuinely only trying to help. This says wedding without screaming dipped or leaping brides. The cross of the church, guest preparations behind the subject, a lad displaying what I’m sure my own son would be thinking; “Do we really need to go through this to get to the jelly and ice cream.” A real moment.
Documentary wedding photographer | Wedding 365#39
WEDDING 365 PROJECT – Daily choice of a documentary wedding image selected from my catalogue, collated from time spent documenting these unique events.
SHOOTING DATA: 5DMk2, 24mm lens, F1.6, 1/1600, ISO 250, underexposed by two thirds.
ETHOS: “Do you come here often?” Some images merit a simple title. I think this is a pretty decent example of working close to your subject with a short focal length lens. Do they feel challenged by my presence? No. Is it even obvious that they sense my camera at all? I’d say no again. There is a creative assumption, and I started out this way, to think that the only way to achieve candid wedding photography is to stand 20 feet off with the longest zoom you can carry, popping shots like there was no end to the red top cheque book you are servicing. I find the opposite. We’re going in to the wedding breakfast and this is the receiving line. When I looked at the final collection, it was pretty obvious that I’d been accepted as part of the wedding. There are only a handful in the complete set as I elect to watch in the main, raising a camera only when I see something worth capturing. That way subjects don’t feel like they are being machine gunned by a tog with itchy shutter finger. Love the interaction between bride and groom, but there’s more to the story. One mother delights at seeing the scene, the other is pensive, thoughtful, reflective. As for father of the bride, I don’t know, maybe he’s thinking; “Please hurry up and file through, I’m hungry!”
Low light wedding photography | Wedding 365#37
WEDDING 365 PROJECT – a documentary wedding photography image per day to demonstrate shooting style, creatively and technically.
SHOOTING DATA: 5DMk2, 24mm, F1.4, 1/100, ISO 3200, underexposed by a third during capture.
VENUE: Lains Barn
ETHOS: I’m an available light shooter, inspired by historic documentary photographers who have shot this way either by necessity or style. The three dimension afforded me by embracing light this way requires a particular approach come the evening. I’ll often shoot wider at these times as I can squeeze far more light and information out of a capture when I adopt this approach. Often you can do less with detail and you may well find that shadows under eyes (panda eyes) becomes an unattractive problem. I also slow down in photographic count terms come the evening. I don’t want my record of the evening’s events to simply be ‘man drinking beer.’ So, give me a balcony and a scene, and I’m a happy photographer.
Wedding portraits | WEDDING 365#33
WEDDING 365 PROJECT – Daily choice of a wedding photojournalist image selected from my catalogue, collated from time spent documenting these unique events. Ethos provided for prospective brides and grooms, shooting data for the togs intrigued by that kind of information. Please comment, it makes a World of difference.
SHOOTING DATA: 5DMk2, 24mm lens, F1.2, 1/1600, ISO 800 underexposed by a third
ETHOS: Guests with cameras, you gotta love ‘em. I’ve never quite understood why some togs lay claim to ‘their couples.’ As the resident pro on the day, you want to return images that other photographers won’t have, and you do that through making creative and technical decisions that, if you’re doing your job correctly, should be more refined. That could be a depth of field. It could be communication. Whatever it is, it’s going to be different. The family portraits are a perfect example of this. Often I’ll set up a group, then share it with those around me. The way a group will interact with a friend, or in this case the siblings’ mother is facially different on so many levels. This photograph is not my formal version of the one on their list, and the couple in question here are still at this date to choose their album photographs. But, I hope this gets considered, because for me the relationship between them and the camera held by their mother to my left, is beautifully natural. I also like the way the eyes are led into the composition.
Wedding photographer Hants | WEDDING 365#31
WEDDING 365 PROJECT – Daily choice of a documentary wedding image selected from my catalogue, collated from time spent documenting these unique events.
SHOOTING DATA: 5DMk2, 24mm lens, F1.4, 1/80, ISO 640
ETHOS: Just a simple monochrome tonight. Sooner or later, it doesn’t matter how unobtrusive you are, if you’re working in a close fashion with primes that require a form of intimacy, you’re going to be spotted taking a picture. I actually quite enjoy being spotted though and I believe these images provide light humour that cements the final collection together. All the World’s a stage for some people. Bravo.
Berkshire wedding photographer | WEDDING 365#30
WEDDING 365 PROJECT – 365 days, 365 wedding photographs.
SHOOTING DATA: 5DMk2, 24mm, F1.4, 1/400, ISO 4000
ETHOS: “See the World from a child’s height.” I can’t remember which photographer told me that, but it was advice from a portrait tog early in my career which I have tried to heed. This means that at eye-line, if something like this happens, the connection is that much stronger. In imaging terms, there are several things happening too, which creates so much more interest within the picture; I see video, several layers of family in generation terms and of course the bridesmaids interacting in differing intensity with the wedding and each other.
Botleys Mansion wedding photographer | WEDDING 365#25
WEDDING 365 PROJECT – A documentary wedding image selected each day from ‘the bank.’ Ethos provided for prospective brides and grooms, shooting data for the togs intrigued by that kind of thing.
SHOOTING DATA: 5DMk2, 24mm, F6.3, 1/1250, ISO 400, underexposed by a third
VENUE: Botleys Mansion, Nr Chertsey
ETHOS: I ask the question (and I welcome comment); when is a portrait not a portrait? Is it the moment the subject looks or goes to walk off camera thus ending the contrived nature of posing? As I collate these 365 images and consider some ethos notation, I’m finding myself looking at submitted portraits that feature subjects as they are stepping out of the ‘framed moment.’ This Botleys one is most certainly an appropriate example, and is all the more refreshing for it. The wind picks up, (note the tree) a gust grabs itself handfuls of hair and instantly, everyone relaxes. Click. Portrait.
Rivervale Barn wedding | WEDDING 365#21
WEDDING 365 PROJECT – Daily choice of a wedding photojournalist image selected from my catalogue, collated from time spent documenting these unique events. Ethos provided for prospective brides and grooms, shooting data for the togs intrigued by that kind of information. Please comment, it makes a World of difference.
SHOOTING DATA: 5DMk2, 24mm lens, F2.5, 1/50, ISO 640
VENUE: Rivervale Barn
ETHOS: In technical terms, I almost missed the moment here. I’d been photographing something immediately behind what you see, bathed in an entirely different wash of available light. So upon hearing the laughter, I turned on my heels and was met by a scene where the guest in foreground has just experienced a food disaster moment. I took various captures, though the one that works best for me is without doubt this one, her friends being the focal point. At 1/50 with movement I’m delighted it worked. It does prove how using short fixed focal length prime lenses gives you a chance to be in the ‘thick of the action,’ and embrace all around, particularly important for impromptu humour moments.
Documentary wedding photographer | Update to Alex and Kerry
I’ve received a handful of mails with regard Alex and Kerry’s wedding slide show and one of the final slides featuring fireworks. Click below to read more and you’ll see the image in question, plus a handful of selected black and whites that describe the day pictorially.
Alex and Kerry | The ‘one’ that wouldn’t get away
Let me tell you a brief-ish story before you press the play button on the Vimeo above and make sure you definitely engage sound for this one. As a wedding photographer, impending nuptials are of stout importance to me. I certainly don’t spend my life trawling through the Sunday supps and middle shelf glossies looking for showbiz types wot’ may be getting wed, but one approaching wedding in 2011 was of particular interest to me. It was a wedding I wanted to shoot, nobody could shoot it in fact, but me. And in a year where one William and Kate were getting wed, you may be forgiven for thinking it could be them. But no.
Our office, 2.15ish Tuesday 15th February.
Picture editor Nat: Lester’s getting married.
Me: Piggott?
Nat: No?
Me: Clue please.
Nat: You know him.
I turn the clock back to the early ‘90s. I was a fledgling producer and presenter in radio. I was attending a five day BBC radio training course up in ‘the smoke.’ On the Tuesday, we were promised a big name national broadcaster would pop in on Wednesday morning for an hour or so, to proffer advice and wisdom. So it was with great excitement that a dozen radio newbies from various stations across the isle sat in a London pub that night, musing about the celeb we were to meet the next day; would it be Wogan, Bates, Wrighty, Brookes? Maybe even Saville?
Wednesday arrived.
We sat huddled in training room 1. The atmosphere was tense. Our trainer rambled on about splice split avoidance and tape machine maintenance. We were unsettled; the crowd baying for our big name broadcaster.
11 o clock, the door opened, we took a collective intake of breath a workshop of M.O.T. mechanics would be proud of.
In walked…
Now I’d be lying if I didn’t admit that initially a dozen autograph books were surreptitiously tucked back into our reporter bags. But I remember that moment as if it were yesterday. Maybe it was the odd colourful circus clown type trousers he wore, the likes of which I hadn’t thought possible to purchase. I suspect it was because for the next hour, Alex had twelve impressionable radio presenters hanging by his every syllable. Two years later, by some odd route, I managed to acquire ‘jock status,’ for five minutes in Egton House, the home of Radio 1. I was asked at my BBC board by the controller, who I admired in radio? Wogan, Bates, Wrighty, Brookes, were all names I could have thrown into the ring. Perhaps even Saville.
Lester. I said. Alex Lester. Radio 2. Alex Lester. I was sure.
And so it came to be this year that Alex Lester married the incredibly beautiful Kerry. And I was there to photograph it, ably assisted on second camera by my picture editor Natalie. I regularly feel when I’ve met with a couple, that there is no-one on earth that should be there photographing their day but me, such is the connect, and my emotion. But this one. I just had to shoot this wedding. I’m so proud to have done so, and so pleased to have recorded your words too Kerry, Alex. If ever there were a couple who just ‘should be.’ It’s the two of you. x
