20 YEARS, 20 DAYS, 20 POSTS
DAY 1: BEING A WEDDING PHOTOGRAPHER
The 28th May was a special date, and I meant to post on that day, but by-the-by, as my Mum used to say. It was a special date because it marked my 20th anniversary as a wedding photographer. 28th May 2004, the wedding of two very good friends, Sue and Billy. They were the first. And now, 20 years later, with 1,000 weddings under my belt, I have an announcement to make. (Don't all the Instagrammers do this sort of thing?...)
Yes, it's an announcement.
I.
Am...
Carrying on.
After all, why not?
I've been to some incredible places and met some equally incredible people, actually some very brave people, in all kinds of circumstances, in all kinds of places. I don't think I'd be where I am with my photography today and on this photographic adventure had I not photographed these life events.
Now, I don't have a picture of Sue and Billy to hand... they have been long archived on a hard drive that is right now behind what I refer to as the spider box. Pertinent, as Sue and Billy now live in Australia, land of the arachnid.
But I do have this. I thought, if I can't instantly show you a picture from the first wedding, I'll show you one from the most recent I've photographed - and I'll fill in the gaps in the weeks to come.
Meet Justin and Stephanie, photographed in a church just west of London. He's a photographer from New York @turnaroundcancel and Stephanie, is an actor and writer @stephanierona. They're both mesmerisingly talented. Did I tell you I meet some incredible people?
I've also posted this particular one, because during my journey I've found that being a wedding photographer has had me navigate photographic labels. Out of the traps, I describe myself as a documentary wedding photographer, mainly because that's what I like doing the best; uninterrupted non-obtrusive record-making pictures of this one special day. But I'm also a maker of family pictures; proudly, which includes making the odd portrait or three, because I believe, that is as much a part of the documentary of life. It tells a story. It simply says, we were here, on this day, at this time.
DAY 2: OH I DO LIKE TO BE BESIDE THE SEASIDE
I love Southwold.
And this is Southwold Pier, in Suffolk - a gentle walk back from visiting the modest amusement arcade along the mid-section of this piece of quaint English seaside history.
My late father has a plaque on this pier, and I spent many happy hours as a child visiting it during our blustery East Coast holidays.
It catches the breeze/wind off the North Sea, sometimes quite climatically. I remember watching an exciting RNLI rescue from the shore one day as the rough seas threatened to turn over a small sailing dinghy that was in the wrong place on the wrong sea at the wrong time. Fortunately, all ended well.
The pier has had a rollercoaster history worthy of a seaside soap opera. Initially a Victorian landing place for steamship passengers, it endured storms, WWII dismantling (to thwart alleged pier obsession/invasion), and near collapse by the 20th century.
Lucky for us, it was rescued by an entrepreneur named Chris Iredale, and by 2001, it was restored to its full quirky glory. It features Tim Hunkin's whimsical penny slots, 'Under the Pier Show,' where you can 'Whack a Banker,' walk a wooden dog on a treadmill, and train for your future on a Zimmer frame simulator. And they're not even the strangest of attractions, trust me.
Certainly, a place with a difference when it comes to spending a penny, so to speak, with your friends during part of your wedding reception.
As a photograph, I think it has a pleasing mix of portrait meets reportage.
DAY 3: THE FREEDOM TO MARRY
I think this is one of the most important pictures in the 20 years of photographing weddings I have made.
Day 3, and I pontificated over this one because, on the face of it (well, not that you can see any clearly), I wondered whether this might tip the scale of politics in an otherwise peaceful stream of love and marriage. Cue the song.
It's not my finest choice of backdrop, seeing that the London Eye across the River Thames is overexposed to the extent I am wincing through semi-closed fingers.
But then, none of that really matters when you consider this.
In some countries, I could not have made this 'on the spur of a moment' portrait, because the simple act of capturing a photograph of a gay couple being publicly free to express their choice of partner remains fraught with peril due to archaic laws and/or societal prejudices.
This wedding happened, because it happened here, in London, where tolerance and acceptance is, I feel, embraced.
Sure, we have our societal problems here, I know, but nowhere near the extent that the people featured in this photograph had to marry in silence and secret in a country outside their own because, in their world, it could well affect friendships, family acceptance, even job and personal security.
This picture that I made at the time, that I shared then and share again now, demonstrates how important and precious it is to protect the laws that allow freedom of expression.
When they return home, they'll remove their wedding bands, because some people are blind to the simple premise of kindness, humanity and the profound beauty of love in all its forms. They won’t be able to show this picture with faces unblurred. It’s a picture that, for the moment, will remain in a cupboard, broadly hidden.
DAY 4: VIVE LA SIMPLICITY
Tonally and emotionally, this next one just speaks of warmth, to me. It was made at Rivervale Barn and it's a simple moment between Sarah and her page boy. As 2017 tipped into 2018, I remember the wedding well, and I'm drawn to the simplicity of this particular pre-ceremony moment. It directs focus to the main subject, creating a more intimate connection.
DAY 5: MOVE LIKE MESSI
I'm going to try and get a football legend, blood pressure and conflict photographers into my description of this particular photograph, a favourite from the years I've been making wedding photographs.
I mention reasonably often, and there's a great likelihood I'll say it again at least once before the conclusion of this series, that weddings bring a definite calm to my photographic soul.
And if that sounds unnecessarily flouncy, I make no apologies.
On 'The Photowalk,' (shameless plug for my podcast) I often talk with photographers from all genres, including hard-hitting news photojournalists who muse they couldn't photograph weddings; "It's too pressurised." And that from one particular PJ who regularly finds herself in the Middle East.
Of course, she could have been humouring me, but there is a sense that photographing weddings is likely to bring about such elevated BP, that you'd need prescription meds just to make to the first dance.
I've personally found weddings to be the opposite of this. While yes, there are moments that carry 'never to be repeated' pressure in a sense, much of the time is actually spent quietly documenting, observing, and contemplating.
Weddings can be, I have found, a contemplative form of photography, particularly moments such as this - where in the quiet of vows being exchanged, you observe small seemingly unimportant gestures and reactions.
The Argentinian footballing legend Lionel Messi was once asked by a journalist why he seemed to walk the pitch during large portions of a football match, to which he replied, that if he ran everywhere he'd miss seeing what may happen. The strength was that he was considered, pace only coming in the few moments he needed it.
Perhaps a good analogy for wedding photography. Move slowly, take time to observe.
I love the inquisitive nature of this bridesmaid, and it's indeed a quiet moment that would have gone unnoticed with everything else happening.
DAY 6: IT’S ALL TOO MUCH
It's just all too much, and the day hasn't even started yet! Everyone needs a nap, especially when there's a full day of partying ahead.
This is a photograph made at Farnham Castle as hair, make-up and final dress fitting was still on-going.
These cheeky moments are an absolute joy to find. They're never, nor do they need to be necessarily 'clever' compositions, though by layering the picture with our bride foreground, it makes the photograph seem far more 'fly-on-the-wall'. A straight-on picture wouldn't have the same feeling of 'gotcha' albeit in a kind and charitable way.
As a relatable aside, my friend and international street photographer Valerie Jardin talks of how she avoids making pictures that are cruel, or mocking, preferring gentle, positive and light-hearted moments and I believe this is one of those.
DAY 7: THE GOLDILOCKS PICTURE
For just a short while, this was front and centre on my website's homepage before it changed to the current design, but it wasn't wildly popular amongst my peers when asked if it was a good choice.
"The moment's strong, but..."
"It's a bit too grainy," they said.
"It's a bit too soft," (focally) they said.
"He's a bit too obscured," they said.
Isn't the story supposed to have a third comment saying that, "This one is just right?"
Anyway, by-the-by, it's a photo that I adore for the, well, adoration within the picture too. First dance pictures often yield togetherness, of course, but this one seems to take that a step further.
Perhaps it's because I was there? I felt this moment, the second I pressed the shutter button.
Yes it is grainy, yes it is focally soft, but for me, it's just right.
DAY 8: PASS THE SOFT-CENTRES PLEASE
I'm a soft-centred wotsit really, and so I'm drawn to this kind of moment.
At yesterday's wedding (those are yet to be sorted fully, so he's one I made earlier, to quote Blue Peter) I was talking to a guest who commented that she'd heard the groom's voice crack as he was exchanging vows.
"Yes," I said, "I heard that too. And it was my privilege to see it as well."
You're not invisible as a wedding photographer, particularly when you're standing not too far from the main event, as it were. But there's an acceptance of your presence that's really quite the privilege if you think about it.
DAY 9: A GAME OF TWO HALVES
I couldn't post 20 pictures in 20 days to celebrate these two decades without including this precious one from the archive.
It's one of my favourite split compositions; one side of the door, looking through to the ceremony room, finds excited chatter in the corridor, and the other side, a quiet, expectant room of guests, with a groom waiting patiently, nervously perhaps, hands behind back.
If I could name the picture, I think it would certainly be called 'The Waiting'. It feels like a story of two halves.
DAY 10: THAT TINY WINK
Blink and you'll miss, or perhaps wink. It's such a teeny tiny window on Insta, unless you look closely you may miss the feature of this one.
I can't tell you how many times across 20 years I've tried to grab a cheeky wink from a bridesmaid or a.n.other in the processional, flashed to someone in the congregation or better still the groom.
That kind of, "Keep it together, they're on their way," find of gesture.
Most of the time, I end up with facial expressions that most certainly meet the delete bin. And the other times, well, there's always something happening within the frame to put paid to the best-laid plans. I've got plenty of expressionful shots of course, but this I think, this, is the one wink from 20 years I really think comes together in shot.
DAY 11: EMOTIONAL VOLUME
It's not necessarily going to always be the prettiest picture, I mean there's a sliding scale to how well as humans we cry, but oh my, how they're the most potent.
This is, without a doubt, one of the moments I'm hoping will reward me with some emotional gold.
It's one of those 'get as close as you can without being too obtrusive' times, although frankly, I'm the last one you'd want to be glancing at when, as in this case, a father is seeing his daughter in a wedding gown for the first time.
I'll not direct this moment, although a gentle reminder outside the door with whoever is about to cross the threshold for the 'first-look' that I'm there to document not orchestrate, is worth, if possible, a passing mention.
I might, I might... just crank up the emotional volume too. "She looks amazing, how are you feeling, have you seen the dress at all," and a myriad of further suggestive stirs. Unfair Neale, unfair.
DAY 12: CHEWING THE PEW
One from St. Nics Church within the grounds of Wasing Park.
I walked in to do my 'rounds' as guests were being sat, about 20/25 mins prior to the ceremony and this lad just followed me with his eyes as I went from right to left.
His head didn't move, just his eyes, an action repeated as I 'reversed' and passed by him again, this time left to right.
He was intrigued by my presence, this page boy, waiting to execute his duties. I felt, or at least it looked like he was chewing the pew, practising his own brand of patience as the adults around him excitedly gathered and chatted.
I built my own speech bubble for this photo, which goes something along the lines of, "Do we really need to go through all this to get to the jelly and ice-cream?"
Wasing Park as a venue is blessed with having a historic church within the grounds, which means I get plenty of opportunity to calmly arrive at church and start gathering documentary moments such as this, and still have an opportunity to return to where bridal preparations are taking place. This is a to and fro that's not possible when the church is a car journey away.
I visit this church reasonably often to photograph since it's, if you will, my home venue in terms of proximity to home. I've mused that I reckon you might still find his tooth impression in the pew to this day.
DAY 13: MAN IN THE MIRROR
I know I know, it's not particularly big or clever to make reflection pictures, they've been done 1001 times prior, but it's the connection that's made me include this within my selection of 20 posts in 20 days to celebrate those 20 years.
I was photographing our bride applying last-minute lippy, a regular sport for anyone who photographs weddings, when Dad appeared at the doorway.
A very quick change of focus within the frame and voila, a record photograph that takes on an elevated point of reference and interest.
Plus, I love a picture with tattoos. As someone who doesn't even write notes on the back of my hand with a Bic biro, I can't imagine the pain threshold required to ink most of your arm, but it sure looks good for a photo.
DAY 14: HERE COMES THE RAIN, AGAIN
Let's go for a portrait.
It rains in the UK. Oh yes, it rains, so perhaps I can call this an environmental portrait? The heavens had opened during the church service, leaving raindrops on the car's rear screen.
The couple had just climbed into the limo, and were looking back at their friends, when I stepped into view and made this simple, but I think effective picture. There's the weather, there are smiles, there's a little detail in terms of the bouquet. I don't remember where I read this, but I'd gleaned some advice on working in compositional threes very early in my photography career; tell micro-stories with three or more pictorial details.
DAY 15: YES!
One from last Wednesday's wedding between Louis and Melissa in Crathorne near Yarm.
I knew I wanted to feature this picture the moment I made it. This just shouts, practically screams, "Yes!"
I wasn't expecting the couple's reaction to the celebrant's proclamation to be quite so expressive and when it happened I was a tad too tight as the groom's arm and bride's finger shoot straight out of frame. I backed off immediately to grab at a second and third frame, and though this time all limbs remained within the wider composition, the expression was not quite so excitable - so this is the one, for me.
DAY 16: THE LIGHT SPEAKS
Most certainly not a traditional style of wedding photograph. It was made during the wedding breakfast as guests enjoyed their dishes pre-speeches. The sun burst through a large window to the left of my camera position, revealing an opportunity to make pictures that naturally spotlit guests around the dining room.
DAY 17: GO WHERE YOUR FEET TAKE YOU
I remember this wedding as if it was yesterday. The absolute energy of Ayo and Funmi's wedding is reflected by this photograph.
I remember asking the Pastor where I should stand during the ceremony, as I've been, in a sense, trained to do so by clergy.
His reply; "You go my son, where your feet take you," are words I remember fondly from that day.
And so, with his approval, I did exactly that, respecting that others behind me wished to witness the day. I ducked, I quite literally dived, and I made pictures that were potent by proximity.
It's interesting to me that clergy will often suggest that a photographer's presence will somehow hinder the experience, when in reality nobody notices me, as long as I respect the space around me. This is the moment of proclamation, and I adore the laughter, and absolute release.
DAY 18: A MOTHER’S LOVE
Looking back over 20 years, there is no way I could possibly omit this picture as one of my most precious photographic memoirs.
It was made at Rivervale Barn @rivervalebarnweddings - made immediately following the ceremony, where Sara's (the bride's) Mother congratulated her daughter. It happened in spoken Italian, so I wasn't able to comprehend linguistically what was being said, but I'm really not sure I needed to, as Sara's hand cradling her mother's left cheek, and, if you zoom into the picture, her Mamma's teary eyes, speaks volumes.
This was a quiet, though intense moment. I was on my tiptoes and slightly off-balance, hence the Dutch tilt within the composition. As a photograph from the day, I think this is the most wonderfully intense story of a mother's love for her daughter.
DAY 19: FIVE GOOD FRIENDS
At first glance, and being a reasonably inactive picture too, the moment doesn't shout. But it does speak of weddings. Hats, Bucks Fizz, handbags and smiles. Five good friends, five interactions, five outfits.
DAY 20: IT MAY RAIN!
Here's the final one from this series, and this is from the first decade of my time covering these wonderful life events. One I return to often when talking about weather.
I have a mantra when talking to couples about the weather; "We don't live in Florida, we're in the UK, it does sometimes rain, when you least expect it."
Having just returned from Florida a couple of weeks ago, where it rained every single day (if only for five minutes) - I think I may need to rethink my analogous mantra.
This is an outdoor ceremony at Notley Abbey in Buckinghamshire where an otherwise sunny day is suddenly met with a fast-moving roll cloud of rain. The guests ran first, the couple hid in an alcove, then made a run for it themselves minutes later, briskly followed by the carpet supplier, desperately trying to save the material (complete with carpet slippers as it goes).
I will say this though, if you could somehow capture laughter, like they do in Monster's Inc, you could light up a small city with the sound of joy that day.
Weather doesn't make a wedding. Guests do.