Tender moments from behind the scenes. The nerves, the excitement and the beautiful dresses!
Some thoughts on colour photography
Shooting reportage photography in England often means grey skies. This softens strong colours and skin complexion. For portraits and groups, I’ll generally seek out shade on a sunny day. This means your guests won’t have squint into direct sun or cast strong shadows on their neighbours.
Once I’m a free agent after the photoshoot part of the day, I roam around trying to find colour and interesting light to work with. Because I don’t have to consider multiple faces, I can zone in on one focal point and make a creative image with sun, shadows and bold colours. Because most couples opt for neutral wedding dresses and suits, it’s important to make sure they stand out and stay separate from their colourful guests. You don’t want a red dress in the background if the focus is on the Bride’s ivory gown!
Some lighting scenarios can be particularly challenging when uplighting throw strong colour casts over skin. Modern energy saving bulbs can be introduce dramatic flicker! Because I avoid the artificiality camera flash where possible, I’ll try to minimise this with my state of the art camera equipment and in the editing process.
Some thoughts on colour processing
Having grown up developing and printing from film, the passing trends of digital colour manipulation never really appealed to me. Preset filters can add something to an uninspired image. If you start with a good source it’s unnecessary embellishment.
I aim to reproduce classic, lifelike colour which won’t date your wedding images. My general rule of thumb is, if it’s an effect I could achieve in the darkroom using a photochemistry process, then it’ll stand the test of time. When you share wedding photos with your descendants, I hope they’ll be commenting on the familiar faces and dated clothes. Not the photographic gimmicks!