Category Archive: 365 wedding project

Traditional wedding albums | Wedding 365#98

I enjoyed a wedding photography meeting tonight with prospective clients for a civil partnership wedding later on this year. I use the word ‘enjoyed’ with purpose. Toward the end of the meeting and after showing the various style options available for printed product, I was asked; “But what about traditional albums with real prints?” Two thoughts struck. Firstly; “Why hadn’t I presumed to show my trad wedding album range?” Secondly; “Hallelujah, someone who appreciates that images on paper record something so special that a secreted disc, lost at the back of a cupboard, cannot match.” Digital thinking has drawn many photographers away from the joy of print. Thoughts on digital supply differ greatly in my industry, but I’m sure, at least I hope, one constant remains; the desire to present our work as photographic prints, be it wall or album presentation. In our kitchen on the entrance wall, we show two framed prints, and they’re above. I see these every day and although I know the photographs very well, I still stop and look at them in a little more detail every now and then. Our wedding was in 2006. I look at these images and feel the immediacy of the day. These could have been taken yesterday and yet they’re the home side of an approaching decade of marriage. Print is as important today as it was yesterday. It is an heirloom. It says; ‘I existed, this was me, I was here, this happened.’ I’m fortunate that the lion share of my clients appreciate why I opt not to prefer digital only services. The power of people in print is just too emotive and important. When my prospective clients left this evening, I cleared a space on my presentation table and removed all the traditional wedding albums from their protective boxes – arranging them on table. And whilst I appreciate Facebook Likes are a contemporary currency, I pray that the printed form remains the real gold reserve.

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Opportunity | Wedding 365#97

Often the camera position offered me in church as a wedding photographer, is not precisely what I may choose given a series of options. So, you make do. You make do with light. You make do with height, distance and pillars. And then, invariably, you see something. Through a grid of obscurities, comes an opportunity. If I’m asked why professional wedding capture is preferable to ‘Uncle Bob in the eighth row,’ this is the kind of image I show.

SHOOTING DATA: Canon 5D Mk2, 135mm lens, F2, 1/1000, ISO 1600, over exposed by a stop and a third.

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Wasing Park wedding venue | James and Sarah

This will be a two part post eventually, as James and Sarah opted for my sound recording service, where the vows, speeches and atmos of the day is captured, to be shaped into a stills film later; difficult to describe, far easier to witness first hand, so keep an eye out within the sound and pictures link under the galleries tab for that. Around three or four years ago a Sky installer came to visit, and this weekend at Wasing Park, I watched him marry Sarah. It’s a small World, and it’s been a pleasure watching his personal story unfold as a wedding. A couple of images to look out for when you click the ‘more’ link below. The actual register signing is an image that I so wish more clergy and registrars would note and allow. Often, not always, this style of image is refused, due to a plethora of reasons; you may nudge the signer, your presence could force them to make a mistake, you could be photographing private data. If photographed subtly and with presence of mind when it comes to legal documentation, this moment is a real golden photographic opportunity. The grip and grin picture of couples signing a register is indeed a keeper for the mantelpiece, but compared to the release of emotions and expression the real moment can bring, it comes in second place in reportage terms. It’s so much more potent as a documentary image, than a staged creation. The photograph of ‘Grandma’ laughing with such gusto; she’s just realised that the magician has swiped the watch from her wrist in a slight of hand moment.

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Bucks wedding photographer | Wedding 365#96

So here’s a documentary wedding image featuring a little frivolity, and I’m unfortunately the butt of the joke. See, this, is seconds after I smashed a glass and silenced the room. It’s taken from today, so it’s right up to date and is the first to be featured from a wedding shot exclusively on the 5DMk3. I was trying to capture a grab shot of these guests taking each others portraits, but as I squeezed around a table close by, my jacket took a glass with it, fortunately empty. The photograph I think you’re witnessing, is guests looking at the back of a camera featuring a picture of me scurrying around clearing broken glass away. As a documentary wedding photographer I talk at length about unobtrusive wedding coverage. Smash a glass though, and your cover is blown, with bells on. However, I’ve become the story, just for these few seconds. What to do? Cover it. Start shooting.

BUCKS WEDDING VENUE: Notley Abbey

SHOOTING DATA: Canon 5D Mk3, 24mm lens, F1.4, 1/400, ISO 1600, over exposed by a third.

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Wedding photojournalist | Wedding 365#95

Now our boys Jack and Thomas spend their lives crawling across the floor at home chasing Lego that’s nipped underneath furniture, so this one as a reportage wedding photograph appeals to me. I read an interesting article recently by a renowned wedding photojournalist in the UK who was discussing what a wedding photograph actually is. See, this wouldn’t win any awards; there’s no bride, no groom, no wedding cake, yet it is from a wedding, and forms part of the fabric of the documentary that day. It’s one of those ‘what’s Henry doing’ photos. In that my books are designed to unfurl a narrative to the day, this works on that level alone and that’s why it’s been included as a 365. It won’t win an award, but it may provide a clue as to why the hotel’s Hoover is suddenly clogged up with Lego.

BERKSHIRE WEDDING VENUE: The Olde Bell

SHOOTING DATA: Canon 5D Mk2, 24mm lens, F1.4, 1/200, ISO 1250, under exposed by a third.

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Windsor wedding photographer | Wedding 365#94

It’s a scene often played out in Windsor when it comes to weddings. Brides and grooms getting wed in this town will usually suggest there’s a special place in their heart for Windsor’s Long Walk, a stretch of land with the Great Park owned by the Crown in the shadow of the famous castle itself. Parking being at best a challenge within the town, add Saturday to the equation and the best way to reach the park, is by foot. That clearly brings documentary wedding photography benefits as there aren’t many people who can pass a bride and groom in the street without throwing back glances and wistful smiles.

BERKSHIRE WEDDING VENUE: Windsor’s Long Walk

SHOOTING DATA: Canon 5D Mk2, 24-105mm lens at 24mm, F4, 1/1000, ISO 640, over exposed by a third.

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Notley Abbey wedding | Wedding 365#93

Laugh and the World laughs with you. It’s from a Notley Abbey wedding, near Thame, on the Oxfordshire and Buckinghamshire border. I’ve popped this in to the wedding 365 collection because it’s unashamedly just a silly moment, and for all the rolling tears and high emotional vistas I showcase, there’s nout wrong with a little daftness once in a while. These are the images they don’t necessarily make the cut for inclusion with the wedding galleries, but they’re precious none the less in the overall capture of a day. These lighter portraits often occur because I step back and invite guests to collect their own grab shots. Far from claiming bridal parties as my own, I’m more than happy for guests to tag along for the portrait session, since what they bring is a relaxed sense of normality. You’ll find the bridal party play to their friends and this is one such moment. I can’t remember what was being said and how we arrived at this daft exchange between four very good friends, but I do remember the laughter and four different stories with each expression. Bravo for a bit of silliness on a weddding day.

BUCKS WEDDING VENUE: Notley Abbey

SHOOTING DATA: Canon 5D Mk2, 70-200mm lens at 78mm, F4.5, 1/250, ISO 200

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Dumbleton Hall wedding | Wedding 365#92

What a difference a registrar can make. I’m treading slightly on eggshells as I venture forth to embrace this subject, but there are moments, just a few mind, when I think the officiant at a wedding is rather more officious, than warm and embracing. I get to witness this first usually, since ‘my kind’ are often read some kind of riot act before we even manage to profer a welcome. There is even one county close to home where photography is not even permitted during the ceremony at all! May my lens freeze on wastelands if I even raise the camera body to clean the glass. Where in the rule books except their own this appears I do not know, but I have watched from the wings as guests snap away on their own DSLRs and iPhones, whilst my compositions are denied. Still, “rules is rules” as they say downtown, and it’s not my place to argue with those in charge of this part of the day. But this registrar you see before you, well, he, is simply gold. He even asked me, how I would like to photograph the ceremony!!! I had to pinch myself. And to be fair, I was even more aware of the need to be subtle due to the mutual respect we had found. This photograph for me sums this registrar up to a tee. Not only was he humourous at the appropriate moments, solemn when required and utterly professional in his duties, he was downright celebratory and inviting. I have not seen a room of adults warm to a registrar in quite the same fashion. Magical, simply magical. I probably don’t need to talk ethos of image, because having read the above, I am sure you can piece together the story for yourself.

COTSWOLDS WEDDING VENUE: Dumbleton Hall Hotel

SHOOTING DATA: Canon 5D Mk2, 24mm lens, F1.4, 1/1250, ISO 2500, overexposed by two stops (to counter the harsh back-light).

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Wasing Park wedding | Wedding 365#91

Decisive moment. It’s a phrase coined by the French ‘father of modern photojournalism,’ Henri Cartier Bresson. According to Bresson, there is a creative fraction of a second when you are taking a photograph. If you miss it, it’s gone forever. Wedding photography is alive with such decisive moments and I’ll retain a plentiful serving spoonful of humility when I reference one of my documentary photographs alongside a mention of one of the, if not the greatest photographer and communicator in photographic history. But this image in it’s own way does underline how important it is to judge a situation and take a decision at the right moment to depress the shutter. In essence it’s merely a ‘groom thanks groomsman’ moment, but photographically it’s captured a little more than a simple benign handshake. Mum to the groom’s right enjoys a little light banter, though from her expression I am lead to believe the banter’s a little sharp. The groomsman leaning in echos her expression with his own humour. The movement in this image is underlined by the geometry of the composition. If I were to critique this, I would mark myself down on the fact the bride is obscured by the handshake; oh that I could have thought to have dropped down to my knees to capture this scene. Still, Bresson lived to be 96. I am less than half his grand age reached. I’ll keep heeding his valuable words.

BERKSHIRE WEDDING VENUE: Wasing Park, near Reading

SHOOTING DATA: Canon 5D Mk2, 50mm lens, F1.2, 1/250, ISO 2500, overexposed by a third.

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Reportage wedding photography | Wedding 365#90

Quiet thoughtful moments at weddings intrigue me. For sure when I’m documenting an event I often listen out for tones of laughter and expression, nooks where photographic magic is just waiting to be captured because the most animated guests have collated to produce their own joke-a-thon, but equally the circumspect far corners of a wedding attract their own important inclusion within the photographic document of a day. This is the bride’s daughter taking a break from the occasion, glancing back into the wedding reception. It’s a winter wedding, the light is cast solely from the large lamp you see in the top left third. Photographs of key family members are an important addition to the final story and simple gentle moments like this are received extremely favourably.

SUSSEX WEDDING VENUE: The Mermaid

SHOOTING DATA: Canon 5D Mk2, 24mm lens, F1.4, 1/640, ISO 4000, underexposed by a third.

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Berkshire wedding photographer | Wedding 365#89

So I chose this one for it’s simplicity as record images from the day are equally as important as the complex light solving signature wedding photographs. ‘Parent sees daughter’ moments are often the first open emotional contacts, but they don’t have to be joyfully tearful. This relaxed family photograph brings three key members of the day together in one frame. Daughter, father, mother.

SHOOTING DATA: Canon 5DMk2, 24mm lens, F1.4, 1/200, ISO 1600, underexposed by a third.

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Reportage wedding context | Wedding 365#88

As my wedding photography took a ‘turn for the documentary’ I was given a very simple piece of advice; your photographs should not simply be frames of things, but frames of reference, give the images context. I’m not so far away from the decade mark shooting weddings and I notice one major difference between early wedding photographs I captured and the documentary wedding photographs I now return to clients; they’re wider scenes, usually landscape orientation (as that’s the way I see things naturally) and where possible, I try to include something that tells the viewer we’re at a wedding. I may go tight on the piano here for a detail shot, but seeing the bride talking with friends in the corner ties the musician and bride into the same event. Reportage is described as the portrayal of a story through the medium of images, and I think this delivers on various levels. It’s a gentle wedding reception, friends mingle and talk casually, the room is filled with the sound of a mini grand. When the bride and groom see their pictures, that’s one memory I’d like them to recall.

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Highclere Castle wedding photographer | Wedding 365#87

There’s something quintessentially English about this wedding photograph captured on the lawns of Berkshire’s Highclere Castle. Guests and their attire interest me and many scene setter images I capture hone in on this aspect of the wedding. Highclere was bathed in sunshine on this occasion and you can see by the depth and length of the shadows that close-up work minus fill flash could present its own set of lighting issues. Working wide in conditions like this prevents panda eyes; where the shadows directly beneath the eyes leave a subject with little or no defined eye sockets, or equally where the eyes themselves just look like buttons. There’s a reasonable amount of light being bounced back from the Castle itself and so fortunately I’m able to go about my work without great bursts of strobe announcing my presence. I tend also to steer away from reflectors, another obtrusive tool when working in a reportage wedding photographer style.

BERKSHIRE WEDDING VENUE: Highclere Castle near Newbury

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Wedding kiss | Wedding 365#86

I was waiting to shoot the first dance when this photographic opportunity presented itself. It’s a lesson to keep an eye out for what’s happening over your shoulder, because I firmly remember these kissing couples sitting on the staging area that looked on to where the first dance was about to take place. The public display of affection photograph is a perfect record shot and isn’t a domain reserved exclusively for bride and groom as you can see. I’ve showcased a handful of documentary wedding grab shots of late, and I’m particularly pleased to have captured this. I shot minus flash as I took two or three frames of the same scene. With flash I may have disturbed the moment, been spotted and short circuited any further opportunity. Photographic awareness has increased sharply since digital cameras have found a quality and price to put them in the hands of practically every wedding guest and I often hear the comment; “I’m doing what you’re doing mate, I’m just taking pictures of everyone on the day.” Per sae of course that’s fine, but my responsibility, my professional role as a wedding photographer, is to seek out the ‘beyond bloke drinking beer’ shot. Not many guests would feel comfortable, or indeed be technically brisk enough to capture a a shot in near dark minus flash that builds a coherent story of the day. It’s these kinds of emotionally charged photographs that glue my wedding documentary books together. I’m sure I will have muttered; “Yes,” under my breath.

BERKSHIRE WEDDING VENUE: Harte and Garter in Windsor.

SHOOTING DATA: Canon 5D Mk2, 35mm lens, F1.4, 1/80, ISO 1600.

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Documentary weddings | Wedding 365#85

Documentary wedding photography isn’t a genre simply reserved for images of wedding guests captured laughing raucously or tear flowing post ceremony embraces, it’s equally a scene setting tool. Here’s an image designed to fulfill the latter requirement. It’s captured from one of 2011′s late summer weddings; a Berkshire countryside garden wedding with teepees for a reception venue. I always find teepee and garden marquee weddings create their own balanced calm and for me, this photograph describes that very well. It’s an uncrowded, uncluttered wedding picture that sets the pace of the day.

BERKSHIRE WEDDING VENUE: Just outside Bucklebury, near Newbury

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