12/14/10

What Is The Point Of Wedding Photography? – Part 2: The State We’re In

Photographers have attached themselves almost indelibly to weddings.

This raises two questions that I’d like to explore here.

1) How did this happen?

2) Is there a negative consequence?

The answer to the first question is fairly simple: habit.

Once couples decided they wanted to have a record of their wedding day, they needed to hire a professional: someone who had the equipment and knew how to use it. It stayed that way for a long time. For decades, exposing film correctly and producing a quality print were skilled jobs. If you wanted photographs, you had to hire a professional.

Once we had our foot in the door, we never left. Over the past century, we have made ourselves so much part of the wedding landscape that couples now automatically factor in hiring a photographer for their day.

Which leads me on to the second question about a negative consequence. I’m concerned that there is one – one that might be being overlooked to the commercial detriment of professional wedding photographers.

I worry that our privileged position has caused the wedding photography industry to start placing itself above the occasion.

You can see signs of this in entries for the reportage wedding photography category at professional competition judgings, where staged moments are quite often put forward ahead of real ones. It’s almost as if the wedding photographer has contrived the moment because the real version could never be as good. It’s hardly surprising when you consider that I can recall one judge, himself a successful wedding photographer, claiming: “The best reportage shots are posed”.

You can also hear it in the words of photographers who tell stories of how they “manage” the couple on their day so that they get the shots that they (the photographers) want.

You can see it in those photographers who show up at weddings dressed in trendy black combat fatigues. Clothing is a form of communication. Combat gear, or jeans, or cargo pants say one thing at a wedding: “I do not need to conform to this event” – unless, of course, everyone else is dressed in outdoor gear.

You can hear it in the stories told by couples about the photographers at friends’ weddings. Incidentally, you should read what videographers have to say about us. Just have a nose through the comments posted with the first installment of this series of articles.

It saddens me.

I realize that I’ve opened myself up for all manner of criticism and comment from my colleagues by writing these words. But I really do believe we are allowing this disturbing trend to gain traction in wedding photography.

I also think it has a consequence we might not have fully appreciated.

This lack of respect may be one of the important causes of the commercial problems many professional wedding photographers are experiencing at the moment. We like to blame everything on other photographers undercutting our rates, usually part-timers. Or on the fact that modern cameras mean that anyone can take a picture. Or that anyone can call themselves a photographer. Or that brides don’t appreciate what we do. Yet we never stop to consider that if as a profession we are gradually losing respect for the occasion of marriage, bridal couples might lose their respect for us as professionals in return.

In the final part of this series of posts, I’ll look at what we might do about it.

12/12/10

What Is The Point Of Wedding Photography? – Part 1: Crossing The Line

Something happened at two recent weddings that upset me greatly. Both involved videographers, which I’ll deal with in part 3 of this series of posts. For the time being, it’s the individual instances that concern me here, as they are indicative of a rot that is setting in among videographers and wedding photographers alike.

Instance 1:

Imagine this: you are the father of the bride. You will only get one opportunity to see your daughter in her wedding dress for the first time – that moment on her wedding day that she appears in front of you, utterly magnificent, before you set off for the ceremony.

Imagine what must go through your head. Your little girl, whom you most likely cradled in your arms straight after she entered the world. You have seen her grow and flourish. Now, you are on the cusp of giving her away. Here she is, an adult and more beautiful and confident and vulnerable and amazing than ever. This is what she will look like as you walk her up the aisle. And you are seeing it for the first time.

This is a very special moment.

Recently, I saw that moment ruined before it had even happened. The father was waiting at the bottom of the stairs and the videographer jumped in the instant the bride’s foot appeared at the top. I can still hear his voice: “Come down to him now. Step towards your daughter. Give her a kiss. Tell her she looks beautiful. Look at the camera.”

I think that is very disturbing.

A moment of that significance obliterated so that he could record a fake, staged, utterly meaningless version. Worse still, he deprived the father and his daughter of the genuine experience of the moment.

Instance 2:

The most important part of a wedding day is the marriage rite. It is the fulcrum of the entire occasion. It is the couple’s single most significant act.

It deserves the utmost respect.

I don’t think that recording the rite a foot away from the bride and groom is respectful:

Videographer blocking the view

The wedding videographer. (c) Roger Overall 2010

I’d like to be blunt and tell you what I think about the particular videographer in the photo above, but upon reading what I’d written, my legal department (ie. my wife) informed me that I should delete the text and burn the computer the words were written on.

Instead, I’ll merely say I think it is disappointing that the videographer decided to film the marriage rite from the viewpoint he did. By doing so, he encroached upon the congregation’s view of ceremony, hiding it from many of them. Certainly, the groom’s parents’ view was blocked – their memory of the instant of their son and daughter-in-law’s marriage is the videographer’s rear end. Some of the guests will have traveled great distances to see his behind.

Sadly, both of these instances are also indicative of how some wedding photographers approach their task. You can see it in the photographs they take.

They too choose to be right up with the couple on the altar, climbing all over the scene like an altar monkey, either blocking (part of) the congregation’s view or forming a considerable distraction.

Or they’re producing photographs of meaningless moments that they stage-manage to the detriment of real moments: the groomsmen dragging the groom into the church, the lads all looking at their watches as if the bride is late, the Reservoir Dogs walk up to the church (sunglasses and all), the list is endless.

I think these photographers have lost the run of themselves. I think too many wedding photographers place their photography above the occasion and the genuine memories.

My own opinion is that this is awful and that the altar monkeys should all [REMOVED AT THE BEHEST OF OUR LEGAL REPRESENTATIVE]. We hear a lot about how the business of wedding photography is in crisis and I think a lot of it is due to the behaviour of wedding photographers themselves.

I’ll explain why in part 2 of this series of posts.

***NOTE*** So, why didn’t I move from my position at the back of the church (my favoured spot for the marriage rite)? Firstly, I initially thought the videographer was just going to pop in for a quick shot and then back off again. By the time I realized he intended to stay put, I didn’t have time to go round the side and up to the front to join the pack on the altar. Even if I had, I would have been a major distraction. Lastly, while I would have had a better view of the rite, I would also have been on top of the couple.

07/23/10

Focus on Friday – Steve Huff

Steve Huff is going to cost me a lot of money. Tens of thousands of euros most likely.

A couple of days ago, I accidentally posted an item that I had in preparation. It wasn’t quite ready to go. The title doesn’t quite match the content, though I knew where I wanted to got with it. Anyway, I  left the post up as someone had already taken the trouble to comment on it before I even saw it was there.

In the post, I admit to being seduced by Leica.

I blame Steve Huff.

Steve writes a very engaging and honest blog, much of it given over to Leica cameras and lenses.

If… who am I kidding… when I buy a Leica outfit, the company should give Steve a hefty commission. Sure, other blogs write about Leica, but nobody does it better than Steve – and that includes Leica itself.

Having convinced me to sell my soul to Leica isn’t why Steve is featured here today, though. I just thought you’d like some background.

He’s here on his merits as a photographer.

Steve spent most of last week in Europe with Seal, a friend of Steve’s who is currently touring in mainland Europe. Yes. That Seal. (As an aside, go back far enough into Steve’s recent blog posts and you’ll see just how much of a friend Seal is – there is real character there). While with the tour, Steve took some photographs that I think are among the best concert photographs I have ever seen.

The reason is simple.

They were shot on a Leica.

Kidding!

Kidding.

No, the reason is that they give a sense of context and environment.

This is the kind of concert photography I’m used to seeing:

Steve Huff photograph of Seal performing at a concert in Europe 2010

(c) Steve Huff 2010

Now, this photograph isn’t rubbish, by any means. In fact, I think it’s pretty fantastic. But there isn’t a whole lot of story here other than Seal’s emotion and effort. Thing is, from this single frame in isolation, you don’t know where he is. He could in fact be singing at home in his bathroom.

Compare it to this:

Steve Huff photograph of Seal performing in Europe 2010

(c) Steve Huff 2010

This gives context and I think that it is stunning. There is no doubt that this is a concert image. The movement reminds me of water washing around Seal’s legs. There is huge audience-singer connection here.

Same with this photograph. And I feel as if I’m there:

Steve Huff photograph of Seal performing in Europe 2010

(c) Steve Huff 2010

And this is just beyond words:

Steve Huff picture of Seal singing live

(c) Steve Huff 2010

OK, I recognize that this too could have been taken in Seal’s bathroom as his house probably is that big. What I just swoon over is the puff of smoke. It’s like a spirit watching him. It almost feels like a mirror image of Seal, yet it is the opposite. He is animate, it isn’t. He is solid, it isn’t. Fabulous.

Like I said, Steve’s blog is well worth a visit for his photography, his insights and to get your Leica gear fix.

07/20/10

Honoured

A quick post today as I’ll be tied up for most of it recording the third episode of The Circle of Confusion together with Peter Cox.

Last Friday was a significant day for me. An interview with me was published. My first.

I’m very honoured (and thrilled) that somebody would go to the trouble.

So Shannon Gillespie, I’m indebted to you forever.

You can read the interview on Shannon’s blog here: Some Pretty Things.

04/12/10

I Know Nothing (But Peter Does)

Here’s a confession for you.

Never ask me anything about the physics of photography. You’ll get a blank look. And do not, whatever you do, tap me up for information about Schleimpflug. It’s to do with bendy lenses and allows you to get things in focus when they are in different time zones, or something.

From a technical point of view, I know just about enough to do what I want to do. I photograph with my instincts rather than my head – often by the seat of my pants.

My good friend Peter Cox on the other hand knows his stuff. Apart from being one of Ireland’s finest landscape photographers, he is also one of the country’s best photographic educators.

Last weekend I sat in on one of his workshops for a couple of hours. I was impressed.

Within ten minutes, I’d learned a bunch of stuff that I didn’t know. For instance, each lens has a focus point beyond which everything is in focus. That bit I knew. What I didn’t know that it is very easy to work out what that distance is. It’s simply the focal length in feet. For instance, for a 50mm lens the distance beyond which everything is in focus is 50ft. So if you focus on something 50ft away, everything behind it will be equally in focus. For a 24mm lens this distance is 24ft. For a 10mm lens, it’s the end of my nose – but then I have a big nose.

There was loads more where this came from.

Peter mixes classroom sessions with outdoor practicals during his two-day workshops. I was also able to see what he’s like in the field with students. I am legendarily impatient. “Because I say so,” is pretty much the level of my tutoring ability. Peter is a gentleman. Patient and engaging, easily repeating tuition to students as they quiz him while composing photographs. He is warm and laughs heartily.

Here’s a typical interaction:

Peter Cox Workshop

Peter Cox with a student during one of his two-day workshops. (c) Roger Overall 2010

Shouldn’t all teachers be like that?

If you want to learn about photography, and landscape photography in particular, you couldn’t do much better than spend some time in Peter’s company. Check out his current workshops here: Peter’s Workshops.

04/9/10

Fit

Photography is a physically demanding profession.

In the course of a shoot, I can walk miles. I’ll also bend, twist, turn, kneel and – occasionally – lie down.

It takes it out of you.

Moreover, documentary photography requires huge levels of concentration. I often end a shoot with a headache, such is the intensity with which I’ve been working.

When I was younger this wasn’t such a problem. Having passed 40, my body is less forgiving. It needs more care if it is to perform at its best – especially towards the end of a day.

That means a better diet and, more crucially for someone who used to be quite fit, a return to exercise.

A fitter me means better photographs at the end of a long assignment.

Here in Cork, I’m not the only 40+ photographer who’s been thinking about this. A group of us have taken up hill walking together – partly to get fitter, partly for the good company and bonhomie:

Donagh Glavin (left) and John Daly out on a walk in Co. Kerry a few weeks ago. Donagh is testing a new pair of invisible skis. (c) Roger Overall 2010

Donagh and John at the summit of our first climb. Just outside of shot are the 400 bearers we hired to bring John's rock collection to the top. (c) Roger Overall 2010

Brian Terry and John Daly try to overcome the embarrassment of wearing the same outfit. Incidentally, Brian would like to point out that he is nowhere near being 40. (c) Roger Overall

01/8/10

Recommended Reading

Humbled.

That pretty much covers how I felt yesterday.

Humbled for two reasons.

Firstly, Paul O’Mahony (Omaniblog) recommended this blog as one to follow during 2010. He did so in the comments to a post by Jade Craven on ProBlogger. A nomination like that from a man of such substance is the kind of thing that makes your day. It also brings with it some pressure. I mean, I’d better perform now, hadn’t I? I’d better keep you entertained and enlightened for the next 12 months.

The second thing that happened was a brief email exchange with one of the photographers I admire most: Doug Menuez.

In my eyes, Doug Menuez is a giant of modern documentary photography. For two reasons.

1) He can take a picture.

2) He is very generous with his advice, and is the author of one of the most important pieces of writing any photographer will ever read: On Chaos, Fear, Survival and Luck.

Why is the article so important? Well, the unspoken, veiled secret that many photographers carry with them is that they feel hugely cowered by the demands and strains of the business. Me included. Outwardly, we might project confidence and control; inside, we don’t know what the hell is going on. We’re riddled with angst and doubts about our abilities, our purpose, the direction we should take – the list is endless. The result is that we give to photography everything: our relationships, our health, our money, our sanity. Worse: we can’t even see it. All we know is that we are often profoundly unhappy.

Not all photographers are like this. Those for whom the business side comes first generally aren’t. It’s those of us who are photographers for the pure love of photography who are the basket cases.

Ask it to our faces, and we’ll deny it point blank. Unless, you have the honesty of a Zack Arias.

Doug’s article is a blueprint for survival. In it, he gives his own story and outlines how you can survive as a photographer with your passion intact, and how you can thrive happily.

So when Doug Menuez takes the time to view your work and then send you a complimentary email, it gives you a real lift. More than a real lift. It’s humbling.

12/13/09

Help Portrait in Cork

Some of the people who made Help Portrait 2009 happen in Cork, along with a couple of the people who came to have their portrait taken. (c) Roger Overall 2009

Some of the people who made Help Portrait 2009 happen in Cork, along with a couple of the people who came to have their portrait taken. (c) Roger Overall 2009

As I type this I’m sitting by the fire with my 4-year-old daughter watching Toy Story 2, while my wife is making a terrific shepherd’s pie for dinner. I’m warm, I am safe, I am healthy, I have a loving family and I will eat well tonight.

Not everyone can say the same.

That’s what Help Portrait is all about. Brain child of American photographer Jeremy Cowart, Help Portrait has grown into an international movement. Yesterday, thousands of photographers around the world, supported by an army of phenomenal volunteers,  produced portrait photographs for those who have had or are having a rough time.

Here in Cork, writer Paul O’Mahony took up the challenge to organize professional photographer participation. Thanks to Paul (and the small army of volunteers he inspired), we greeted, made-up and photographed 44 people: 21 women, 10 men, 13 children – giving each a mounted print and a disc of image files. In the process, we must have triggered our cameras over 2,000 times.

In a day or so, I’m hoping to post the names of everyone who gave of their time and skills to help us run the event here in Cork. The effort they put in was just incredible, and they deserve all the recognition we can give them. For now, all I can say is a heartfelt “Thank you” to everyone who made Help Portrait 2009 here in Cork such a remarkable event.

Look out for a video of the day soon on the blog.

Meanwhile, here are some behind the scenes photographs.

Gabrielle Morehead can't resist a munchkin in a Santa suit. Who could? (c) Roger Overall 2009

Commercial photographer Gabrielle Morehead can't resist a munchkin in a Santa suit. Who can? (c) Roger Overall 2009

(c) Roger Overall 2009

Munchkin and several thousand euros worth of camera gear. Phil Daly on the right looking very relaxed considering it's his camera. (c) Roger Overall 2009

(c) Roger Overall 2009

Gabrielle Morehead not getting much respect. (c) Roger Overall 2009