Wedding photography techniques | Splitting the frame

It’s not in purity a split composition, but it is a frame that hopefully invites the viewer to investigate the scene a little more closely, drawn in by the purposeful inclusion of a separating detail; the large sun umbrella’s fit-up. I often ask prospective clients during our meetings at the studio why they are considering a professional photographer. In some respects I’m not so much testing, but rather sampling the water to see if this is a ‘tick off the list’ supplier visit, or if there is genuine photographic interest. I, like all photographers at this stage of the relationship I’m sure, am always thrilled when someone shows an appreciation for the role of a photographer, or for the genre of wedding photography.

I’ve always maintained that you may as well ask a wedding guest to take care of nuptial photography, if the wedding photographer you hire doesn’t investigate unique or challenging visual angles from which to shoot. It’s reasonable to expect that some captures are bound to have a simpler record feel; that comes with the territory of returning hundreds of shots per commission, but mixed with that, I’m constantly seeking a fresh perspective of a scene. I remember whilst framing the picture below thinking; “Please, could a guest park themselves on the left hand side of the photograph looking out, and then I’ll practically have a mirror scene.”

No such luck, but then the resulting frame is pleasing enough. It’s a group shot in some respects, as you can see may of the guests in the same frame. It’s certainly social comment. There’s a somewhat busy nature to the piece too; the five guests in the immediate foreground all acting out differing stories. There’s touch, animation, perhaps even some indifference as you scan across the scene.

Barn at Bury Court

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