Summer is the season for weddings. They start in May and for every weekend through the end of September, caterers, photographers, florists, musicians, DJs, and planners are booked solid. Two weekends ago, I attended, for instance, to my cousin’s daughter’s wedding and two weekends before that I went to the wedding of the daughter of a close friend.
As a the daughter of a professional photographer, I spent countless weekends at weddings assisting my Dad behind the camera. (This was a big help when it came to planning my own wedding years later because by that time, I had been to and seen so many weddings that I knew exactly what I wanted to do for our own.) The routine was a bit different then. We could shoot three weddings in one day–morning, afternoon and evening– with either myself or one of my brothers finishing up at one wedding while my Dad went to start the next.
That era ended with photographer Dennis Reggie in 1980, who Ethel Kennedy had hired to ‘cover’ her daughter’s wedding. Reggie, a photojournalist, took the assignment and then hit the professional photography speaking circuit to show and tell professional photographers all over the country how he did it. I attended one of these sessions and knew then that the art of wedding photography, as I had learned it from my Dad, was changing.
When digital cameras were introduced, it changed yet again because photographers could capture literally thousands of images at the ceremony. They soon discovered that this wasn’t such a great idea because clients were overwhelmed by that many images. Too much of a good thing, you might say.
Wedding photographers have since trimmed it back to a more reasonable delivery but some still present as many as 1,500 images. Think of the editing process entailed in cropping, adjusting color, retouching, adding special effects and eliminating all those images. The post-production often takes longer than the 12 hours wedding photographers now typically spend photographing the event. I’m not sure even National Geographic magazine photographers turn in that many images to their editors.
While I rarely accept wedding assignments these days as a professional photographer (except for special clients and smaller ceremonies), I almost always take one of my cameras with me whenever I go to a wedding because I, like you, enjoy having a visual memory of that day, particularly when family is involved. Usually I take my pocket point and shoot, or my bigger but compact trusty Canon (yes, I do own one Canon), instead of one of my professional Nikons. I seldom use my mobile phone to take the pictures even though some phones images are terrific. But when it comes to preserving those images in the form of prints (which I still make and encourage you to do) or printed albums or books, cameras produce the higher quality high-resolution images you need.
For me, the images I capture on that day are personal and often are not the same as those the ‘official’ photographer is shooting. That’s because while the hired gun is busily photographing every moment of the bride and groom and the wedding party, I’m focusing on my family and friends who are there, and the moments that capture my eye from my point of view as a guest. It’s something you can do too but you must be mindful to respect the working pro so as not to get their way as they attempt to capture the ‘perfect’ photo of ceremonial kiss, the cake cutting, send off or formal portrait of the bride and groom.
There are ways to get those same images, from your own vantage point. I like to find a seat on the end of a row where, if I want to stand during the ceremony to grab a quick shot, I won’t block anyone’s view. And while the official photographer is off shooting the bride and groom immediately after the ceremony, you can zero in on the family, the cake table, the altar decorations, whatever it is that attracts your eye and you want to remember.
Sometimes, it turns out that the images I’ve captured are ones that my family or friends also want because unless the bride and her mother (or whoever plans and directs that day) specifically point out the family member who’s never around, the best friend who traveled across country, the arrangement or setting that has special significance, the official photographer will never know to include it in their shooting list.
As a guest and/or family member, I have a history and relationship with the people gathered for this memory-making day so I know things others won’t and that is reflected in my photographs.
I love today’s style of photojour-nalistic wedding photography. I also love being artistically creative with the images I take at these ceremonies. But what I really love is the memories they bring to mind of the people, places and times that are unique and meaningful to me and my family. And that’s essentially what wedding photography, whether from a hired pro or personal photographer such as myself, should be.