Bringing all the elements together

Looking back, the thing that often frustrated me after a job was seeing what an editor or designer had done with my selection of shots. Time without number I’d be amazed at what HADN’T been used, not what had. Pictures I thought were strong were left out, images which looked like they could easily lead a feature were used small – I could get annoyed about it all now! Today I’m commissioned to shoot in a way I like and feel comfortable, in a style that’s clearly displayed in my portfolio. People know what they are buying into and just let me get on with it. Of course, there is a brief to follow – especially with a brand or agency – but I still have a voice as to what might be best in certain cases, which is a massive bonus and only comes with time served in any profession. So I thought it might be useful in this post to run through a typical wedding project, from initial chats to a finished book, outlining briefly how it all works. People often ask me what’s involved apart from the wedding day photography itself, so here’s my chance to explain…

The vital difference when working directly for a couple (as opposed to a company) is right from the start you develop a mini relationship. They are trusting a massive moment in their lives to me, which I never take lightly. The majority of the events in that day will never happen again and it’s easy sometimes to overlook the responsibility with which the photographer is entrusted. Some photographers find that kind of pressure hinders them, but I feel it should motivate and bring out the very best in your work. I’ve always tackled it on the basis that the harder the task, the greater the satisfaction when you come through with a result… no pain, no gain!

Upon meeting a couple for the first time they already have a feel for my work, and know that how I shoot is pretty much the content style they require. The first chat is very important because there’s a huge personal element to the job, they have to feel comfortable and able to relax. If they don’t, then it won’t work. We discuss some recent selections while browsing through photographs on a big screen, flick through some finished books, and my theory is that pretty soon both sides know how it’s going. Generally couples decide quickly in their minds and if I’m fortunate enough to be asked to work with them we keep in touch, later visit the venue(s) together, have a relaxed drink, etc… generally start to tap into each other’s ideas. Come the wedding day itself I spend most of time keeping out of the way, quietly recording what’s happening, then drift away mid-evening.

Within a week of the wedding I edit down to what’s called a ‘master set’. This is a final selection of typically 150-200 images which basically represents the pick of the day’s material. The content will include the key moments large and small, fine detail and plenty of people related atmosphere. This set is then uploaded to a web server and the link made available to the couple for onward distribution to whomever they choose. The content of that selection is then delivered to them in high resolution jpeg (or TIFF) format via disk for them to keep. Some photographers choose to withhold the high res shots and charge extra for them, but I’ve always felt that it’s right and fair to include transfer of copyright within the agreement with wedding clients, it’s just my approach.

Assuming a book is required (it’s a totally optional element) then I like to play around the layout as fast as possible so the atmosphere and feel of the day is fresh in my mind. It’s also really important on my commissions that the final word on layout and design goes to the couple. I present a draft design in PDF format, then leave the layout open to changes. After all, it’s not my book of my wedding – I’m there to do the fetching and carrying of the content. Upon confirmation that they feel it’s all ship-shape, the layout is sent to the USA for printing and about 6 weeks later I have the finished article to pass on.

When first seeing a sample book most people are very surprised just how much is possible in terms of quality. The spec of the final book rivals any coffee table publication you’ll see in book shops, and the idea of having something of that calibre from their own wedding usually prompts commitment right there and then. From my point of view I always think the book is the reason for the photography in the first place, as it’s only when you flick through the pages that the day comes alive once again. Seeing the selection on-line is all well and good, but a computer screen can only convey a small percentage of the quality and detail of a final ‘master set’, the book somehow makes it a real memory, locked-in forever.

Winter weddings

There are two ways to approach working at winter weddings. On one hand you become paranoid with weather forecasts and pray for dry weather in order to use the very small window of light which exists during December afternoons – then treat sunshine as a huge bonus! But on the other hand, don’t stress over it, just take whatever comes your way and try to capture the atmosphere of a unique part of our year in the UK. A wedding during the run up to Christmas has an atmosphere all of it’s own. People are generally in a party mood, open fires are lit at venues and the family element is strong with everybody coming together for a huge day.

 

 

 

 

 

 

 

 

 

 

Over the last month I’ve shot four weddings at locations all over England. The month started with lovely (and freezing cold) days in Towcester, and then Aylesbury. A fortnight or so ago I was in awe of a service in Norwich Cathedral. My working month finally ended with a great wedding at the Institute of Contemporary Arts in The Mall in central London. All very different in their own way, but at the same time sharing this emotional time of year and turning them into very special and atmospheric days I’m sure the couples will never forget. I’ve included a few shots from the above mentioned commissions which attempt to capture the crisp, frosty days, the fading afternoon light and the special ambience of a British mid-winter…