WEDDING 365 PROJECT – Latest image, front end of February – one taken from today’s Wokefield Park wedding.

SHOOTING DATA: 5DMk2, 24mm, F1.6, 1/100, ISO 2500, underexposed by a third.

VENUE: Wokefield Park

ETHOS: It makes sense on days where I’m shooting a wedding, to upload a photograph from the current catch. I’m keen to promote that wedding photography should not follow a spreadsheet of capture. I have in the past been offered tick lists diligently cut from various wedding journals suggesting photographic must haves. Anybody who has ever written a list like that in a magazine, has surely never shot a wedding, well, certainly not from a documentary stance. I used to politely accept these lists. I now politely decline. I’m not at heart a detail recordist. Yes I will photograph the dress, yes the shoes – if they’re there, yes the flowers and so on, but I don’t spend hours fulfilling the requirements of a check list. Do that and you stop watching the day as it unfolds. I spend many hours studying work online of other wedding togs, genuinely intrigued by their blogs and portfolios, and I’m surprised how some seem to be mainly collections of wedding accessories delicately posed and arranged. They are of course trinkets of the day and important ones at that, but whilst all this arranging is happening, what real action is being missed? What’s happening to the people that make this whole story sing? For me that’s the magic. Morning preparations are one important facet, it’s my ‘finding feet’ part of the day and I enter the arena, open minded. I don’t want to muddy the waters of creativity by simply seeking a mirror shot, or setting up garter images etc. I’m hoping to capture fresh angles in what can often be similar and familiar scenes. This one above is not necessarily ground breaking, but it does show my desire to seek an unusual composition among banked standards. I love the way ‘Mum’ is delicately shaping the rim of her hat whilst make up is applied; instantly two stories in one image. Then there’s the draw of the netting texture, shooting through the round of the material, framing her head with the hat. I think it’ll make a good decent addition to the preparation chapter in the documentary book I prepare for the couple. A hat that’s ‘doing something,’ not just posed upon a box by a window.

WEDDING 365 PROJECT – Daily choice of a documentary wedding photograph selected from my catalogue, collated from time spent documenting these unique events.

SHOOTING DATA: 5DMk2, 32mm from a 24-105mm lens, F5, 1/8000, ISO 640

ETHOS: What’s important from the outset with this image is detail. It had been a request from my clients that I record the shirt motifs, unique tailoring being a feature of their day. So this is a set up shot. Unashamedly. The celebrations were held in the ‘shadow’ of one of London’s most iconic modern landmarks and that provided a further opportunity. For fear of ‘penning’ a pretentious gallery style image bio written by a fine art curator, we’ve ended the day with something that carries a handful of messages. Detail is one, and that, as suggested, is what the shot is about. I love symmetry, so hands in the round simply works. There’s a strength to the engineering of the London Eye that I am in awe of every time I come face to face with it. There’s a majesty about the whole project that is simply incredible. The hand squeeze right in the middle, if you like, suggestive of the wheel core, for me symbolises strength, in the engineering yes, in their relationship, definately. And actually it just makes for a bloody good album cover.

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 365 PROJECT – A year long journey through my wedding photographic catalogue.

SHOOTING DATA: 5DMk2, 24mm, F2, 1/125, ISO 1000 underexposed by a stop

ETHOS: This is captured using my favourite piece of glass. Without doubt, it’s the most versatile story telling lens I have; the 24mm F1.4. And whilst it’s not all about the gear, this lens, along with the 5DMk2′s great low light latitude certainly offers photographic documentary opportunities that were otherwise tougher on the operating limitations of gear I began my career with. I call this kind of shot, my Gilden-esque approach, inspired by the work of American street photographer Bruce Gilden. This New Yorker’s approach is at times exceptionally close, I wouldn’t say intrusive, just observationally tight. My good friend and photographic associate Giles Penfound introduced me to his work a few years back and there are times during a wedding that for pure storytelling, the Gilden-esque approach delivers the kind of raw angle that feels as if it’s come from the eyes of a guest living the event.

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.

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.

WEDDING 365 PROJECT – Daily choice of a doc’ wedding 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, F1.4, 1/200, ISO 800 plus third of a stop.

ETHOS: End of the week. I’m signing off the last seven days with another from yesterday’s Olde Bell wedding. Some special reserve to hand; a tot of single malt from Glenfiddich, it’s a romantic artisan nightcap moment following a cracking week at ‘Breathe Towers.’ This is a photograph captured within the first dozen or so frames from yesterday. When I first arrive at a wedding, I usually record a set of ‘snaps,’ just to hear the shutter depressed, just to find my feet, sense my location. I say snaps, because they’re a kind of introduction to those around me of a camera’s presence or sound in the room. Sooner I can do that, then the sooner everyone forgets about it and me. Click. Click. Click. Click. Click. Then I stop for five minutes or so. And just look. This was probably the first of the ‘looking’ images. In a perfect World, I would like that the pictures I present say something about the actions or story of the day, then equally something about composition; perhaps light humour, where you do a double take every now and then because it may just be, in some small way, a break from the old routine. I hope this is one such picture. I was drawn to it, because I liked the way that even though a wall divided the parties, it was almost like a reflection. It’s quite a gentle shot. Are they looking in mirrors, or at each other?

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, F1.4, 1/800, ISO 3200 + a stop and two thirds

VENUE: The Olde Bell, Hurley

ETHOS: From today’s wedding. There is life without flash. You may need to ride your settings a little more, even in aperture priority mode which is how this one is collated, but complete with harsh back lighting from the window clearly visable, there’s still no requirement for supplementary illumination. I’m at a reasonably high ISO which at a shutter speed of 1/800 may be considered slightly unnecessary, but since every new position can make the difference of several stops of light, I’m going high to anticipate what may happen next. Besides the 5DMk2 can take it! The ceremony barn where this is taken is quite a low light opportunity. I purposely chose the low camera position, because I wanted to embrace the candle feature, a strong theme of the ceremony. Initially the registrar kept purposely moving out of shot, thinking he was doing me a photographic favour. What he couldn’t see was that he was framing the composition, and that he, the bride and groom plus bridesmaids could be featured together. Fortunately he needed to concentrate on his ‘script,’ so after a short while moved back to position and forgot all about me.

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, 1/1000, ISO 1000

ETHOS: First up, from a technical standpoint I wouldn’t make a habit at shooting family groups with such a shallow depth of field. This would certainly support the composition. It’s obvious when you see the top of a head (bottom of frame) that this was captured with family connection as a consideration, more than the thought of family portraiture. For me though it’s become the perfect portrait and with a slight crop, presto, it will be. It’s about the boy. I have two young sons, and I know how my boys would feel on such a busy and important day. There’s so much going on, such a lot of attention being showered on him by all and sundry, that the comforting reassurance of parents and one big sis leapt out at me as a ‘must capture moment.’ And so often these become the day’s portraits. How much more refreshing to encapsulate real spirit in a photograph than a ‘smile for the man’ alternative.

WEDDING 365 PROJECT – Daily choice of a documentary wedding photograph 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 if you feel the inclination of course!

SHOOTING DATA: 5DMk2, 24mm lens, F1.4, 1/5000, ISO 125

ETHOS: Suggestion through imagery is a key element of what I look for at weddings. Suggestive subtlety doesn’t always present itself in abundance, you just have to keep your eyes wide open.

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.

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, F1.4, 1/100, ISO 1000

ETHOS: Togetherness. Simply, togetherness. If reportage wedding photography, wedding photojournalism, or documentary wedding photography (whatever is the current vogue term expressed by the industry journals) is about anything, it is togetherness. It’s the glue that binds my task together. It comes in all forms and is certainly not constrained to the leading cast members of the day. This for me is a very simple image and from the lower right hand third leads you into the scenery of the story unfolding.

Good to receive notification through this morning that Kris and Helen had made The Times register feature. Nice to see one of my own favourites from the wedding in print. So often picture editors choose what I’d term ‘the huddle.’ To see documentary capture within a newspaper for wedding work is a thrill indeed. You can see more from this wedding by following this link. Congratulations to you both again and Kris, what a ole softy you are Sir, a proposition at the World’s most romantic Grand Prix venue. Top marks.

WEDDING 365 PROJECT – 365 days (strictly speaking of course 366 this year) 365 reportage wedding photographs.

SHOOTING DATA: 5DMk2, 24mm, F1.6, 1/600, ISO 125, underexposed by two thirds

VENUE: Highclere Castle, Newbury

ETHOS: Despite being reasonably close to me, I’ve only photographed at Highclere Castle a handful of times. Of course now this historic building has further televisual resonance, in that it is AKA Downton Abbey. I did record a number of ‘straight’ facade shots for the bride and groom, but this photograph complete with guests completes the storytelling landscape. Bride and groom have departed and guests are making their way to the car park. I shoot quite wide open and the sun is up and at me, but apart from having to ride the shutter speed slightly, it’s returned minus any requirement for supplementary lighting.

WEDDING 365 PROJECT – A documentary wedding image selected daily from weddings shot. Ethos provided for prospective brides and grooms, shooting data for the togs intrigued by that kind of thing.

SHOOTING DATA: 5DMk2, 24mm, F1.4, 1/160, ISO 1600, underexposed by a third

ETHOS: It’s the light touches that make a difference to a final collection presented to a client. I’ve talked about how looking for several on-going things to be happening within an image can improve the story telling power of a single capture, but that patently isn’t always possible. Again, the power of a 24mm lens. This is a very tight and cosy wedding. It’s cold outside, all the guests are huddled in the bar area. It may not look it, but echos of; “Excuse me excuse me,” are the mantras you would hear if sound accompanied this photograph. I’m in essence propping up the bar, surveying the 180 scene, when some primping starts to occur right next to me. Chaps starts to fuss, I start to shoot, bridesmaid looks up, light illuminates her face and brings out the eyes. Bingo Houston, we have a moment.