Anatomy Of A Wedding Day #2

After the 2010 National Photographic Awards, I made a bold statement. I wouldn’t be entering any more photographs of children. It is too easy to score well that way.

I’m now somewhat regretting that pronouncement. Well, part of me is. The lazy part. This is by far the bigger part of me, so it gets a lot of airtime in my head.

There is a panel of four photographs from this wedding alone that would make a very decent stand at the national awards. Each photograph shows the same little girl.

My lazy voice notwithstanding, none of her photographs will go to the awards. This year, I want to concentrate on the bride and groom. It is their day after all, and I want to show that in my awards entries.

At least, here in Ireland… ;-)

These photographs are from a wedding I covered in May. Superb, warm, loving couple.

Greyhounds

The bride's family are big greyhound enthusiasts and this scene-setter at the house in the morning helps tell that bit of the story. I was helped by some people coming out of the house to greet me over on my right, which distracted the dog for a second. It's the mimic of the head direction that makes this work. (c) Roger Overall 2010

Flower girls playing at a wedding in Cork, Ireland

Flower girls are an endless source of great photographs. Rarely do they do as they are told. Boredom prevents them from doing so. And they often escape into their own world of play when they can. This was captured just before the ceremony, after the girls had marched dutifully for the third time down the aisle to prove they knew what would be required of them. (c) Roger Overall 2010

Flower girl crying at a wedding in Cork, Ireland

What can I say? Pure genius by the little girl. Talk about scene stealing. This was taken with a 135mm lens - a rarity. (c) Roger Overall 2010

Dancing flower girl at a wedding in Cork, Ireland

When you're bored, you're bored - so you make your own entertainment. Everyone else was busy with the signing of the register. (c) Roger Overall 2010

Bride's veil takes off in the wind

Veils, wind. It's a familiar story. The bride's wonderful warmth here adds dynamism to the photograph as well. In terms of photography, it was a case of looking for the expression. The veil is an added bonus. Documentary photography for me is about emotion first. Any additional occurrences are extras I take gladly, but you need to lay the foundation first by looking for the emotion. (c) Roger Overall 2010

Groom kisses his bride on her forehead

I love the tenderness here. (c) Roger Overall 2010

Old men talking at a wedding reception in Co. Kerry, Ireland

The older guests at weddings are often overlooked by photographers. In a way it's understandable. They are often there at the parents' request. While I do try to concentrate on the younger guests, I like to keep an eye out for older guest interaction. They could be a favourite great uncle, after all. (c) Roger Overall 2010

A couple on their wedding day at their reception venue in Co. Kerry, Ireland

Two worlds exist beside each other - one of my favourite themes. (c) Roger Overall 2010

A boy does acrobatics for a bride and groom at their reception, Co. Kerry, Ireland

Children and sugar. 'Nuff said. From a photographic perspective, this was something of a grab shot, as the boy announced what he was going to do and then did it before the words had fully left his mouth. (c) Roger Overall 2010

Flower girl and groom talk at the dinner table during a wedding reception in Co. Kerry, Ireland

And here she is again. This time in discussion with the groom. I like the way that her hand gesture is mirrored to some extent by that of the groom's mother in blue. I've tried this picture cropped tighter to exclude the window highlights at the top and the two men at the far end. The crop makes the picture claustrophobic; leaving it uncropped keeps the context and depth. (c) Roger Overall 2010

The couple's parents share a joke at dinner, Co. Kerry, Ireland

The parents are often the forgotten players on the wedding day of their children, so I try hard not to. I love this interaction between the bride's mum and the groom's dad. (c) Roger Overall 2010

The groom and his wedding ring

This is all about the ring. I was able to get quite close with a 50mm lens without the couple noticing me. Until the shutter clicked. Taken on a Canon 1DS Mrk II - a camera whose shutter lives up to the brand name. I sometimes wonder whether I should wear earplugs. (c) Roger Overall 2010

An alternative cake shot

Getting an interesting shot of the cutting of the cake can be hard. So I leave it to someone else - as shown here. (c) Roger Overall 2010

A groom address his bride during the wedding speeches, Co. Kerry, Ireland

I love the look on the bride's face. It conveys so much. Photography of the speeches is all about reactions to what is being said. Usually, you get a couple of outstanding speakers at Irish weddings, and there are lots of great expressions. Rich pickings for a documentary photographer. (c) Roger Overall 2010

2 Comments

Filed under Anatomy of a Wedding Day, Photographs, Wedding Days

  • http://journal.nearbennett.com Rick

    These are a fantastic set of photos. I really love your eye for the moment. I also appreciate that you share your thoughts on cropping (e.g. too claustrophobic) or composing for a trite moment (e.g. picture in a picture at the cake cutting). I’ve finally seen the full set of pictures from my sister-in-law’s wedding and I’ve found myself wishing they had more work like yours. I’m also inspired by your “two worlds” theme–I tried, and failed, to capture some on vacation last week. I’ll continue to look for those opportunities.

  • http://www.rogerverall.net Roger Overall

    Hi Rick,

    Thanks for reading and for commenting.

    There is an easy way into “Two Worlds”, which is to look for two physically separated spaces, two adjoining rooms for instance, that you can see at once. Often an open door provides the look through from one space to the next, or a window. This helps your mind concentrate on the two spaces taking away other distractions. The space nearest to you (most likely the one you are in yourself) will likely be the primary focus of the photograph, so keep an eye out for a strong image there. Once you have that, it’s a question of waiting for the second space to fill with something. In essence, you have two photographs going on in one shot, each in its own space – if you get my drift.