pursuing the picture perfect wedding
When I was five, I tied streamers on my bathing suit and my dog (!) and joined a 4th of July parade through the neighborhood. (My twin sister, Meghan, tied streamers on her big wheels!) Ever since then, I have had a fondness for streamers, which look so festive and fun. I like them at weddings, too. Here’s another Polaroid from my friend Jenny’s wedding. Her streamers were her something-borrowed.
photo: Gia Canali
Every once in a while, I forget just how much I am going to miss Polaroid 55 film once it’s gone. And then I remember.
Congratulations, Julia & Eli!
I can’t tell you how often I hear couples say to me before their weddings—or even at their weddings—that they are uncomfortable in front of the camera, or even that they are (supposedly) un-photogenic. It’s difficult for me (as the photographer) because I have mixed feelings on this topic. I simultaneously understand completely, as I generally do not welcome being photographed myself,¹ but also feel that the portrait process is collaborative one, and therefore not only the responsibility of the subject. It’s important to note that I felt differently about being photographed at my wedding, though—I wanted great photographs of myself and my husband, and I was willing to stomach being in front of the camera in order to get them.
Fortunately, there are several really doable strategies for improving your wedding-day camera presence:
You already want amazing photographs of yourself at your wedding. (Or perhaps your spouse wants them, but you are at least willing to go along. A groom once told me he thought getting photographed was a lot like going to the dentist, and was only doing it to please his bride). Wedding photographs become family heirlooms. And for most people, portraits are particularly important—those are the images that must be worked for. Richard Avedon said, “A photographic portrait is a picture of someone who knows he’s being photographed, and what he does with that knowledge is as much a part of the photograph as what he’s wearing or how he looks. He’s implicated in what’s happening, and he has a certain real power over the result.” And your photographer is there to collaborate with you, to coach you through the process. Sometimes, I think it’s a bit strange how we photographers are there coaxing out of people convincing performances of their own real lives. But that’s the job. Or the art of it. My point is that you have a lot of power over how you present yourself … and that you don’t have to go it alone. Hire a photographer you trust. And then trust her. Work with her.
“A portrait must get beyond the almost universal self-consciousness that people have before the camera. If some moment of reality in the personality of the sitter did not happen, you had to provoke it in order to produce a portrait that had an identity with the person. The essential thing was to awaken a genius response.” Edward Steichen, A Life In Photography
This cannot be overstated. People who are dwelling happily in the moment photograph marvelously. If you are stressed about the wedding or the wedding photographs, it will quite likely show on camera. Many of my clients have a glass of wine or champagne before we start. I swear by herbal therapies, including Rescue Remedy, which I think is probably something most soon-to-be-wed couples could benefit from, whether or not they are shy in front of the camera. Other folks do yoga, or get acupuncture, or go on a long walk the morning of the wedding. Figure out something that works for you, and actively pursue relaxation.
God help me, if I could have an invisibility cloak and a pair of wings when I photograph weddings, all my photographs would be blissfully unaware. But that’s really just not how it works. If you don’t naturally ignore the camera, do so on purpose.² Most of the time on your wedding day, there will be so much happening you’d be hard-pressed to pay too much attention to your photographer. Really, you just need to focus on ignoring your photographer during portraits. One easy way to do that is to look at your beloved—laugh, nuzzle, dance, gaze into each other’s eyes, go for a walk—and don’t look into the lens unless your photographer asks you to do so.
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¹ Translation: If I can’t do a thumbs-up sign in the photo, I think the photo will probably be terrible.
² I think I just told you that “what you do with that knowledge” of being photographed is an essential part of the photograph. Now, I am indeed telling you to ignore the camera.
A couple of years ago, I photographed my friend Jenny’s wedding … all in Polaroids. Maybe some day I’ll share Jenny and John’s whole wedding with you. But for today, I thought these little cut paper love doves might make you happy as they make me happy. I ♥ cut paper decorations. So lacy and delicate.
Thought this would be fun to share, kind of like a photo du jour to kick off wedding season! Happy weekend, everybody!
Photo credit: Gia Canali
So, we’ve been very slowly updating my website. If you’ve visited our site since the middle of January, you might have noticed new images in galleries i (color images), ii (monochrome images), and iv (a featured wedding). We also added a gallery for self portrait station photos. And last week, we were very excited to add phase one of new images in the vintage processes gallery. There will be lots more vintage process prints to come, including new platinum prints and multi-media projects.
The other day, a bride asked me which images on my site were my vintage process images. I said that there were some examples in the “vintage processes” gallery. She said she thought that it looked like there were vintage ones in the other galleries, too. Oh.
And then I realized it might be a good time to clarify what I mean by “vintage processes”—and what other kinds of “vintages” you might find on my website. When I say “vintage processes,” I generally mean vintage printing processes. (In previous years, I called my vintage processes “alternative processes” because they are alternative processes to the traditional silver gelatin black-and-white printing process). So, however an image is captured (digital, film, etc.), this vintage processing describes how I print it on paper. For clearer illustration, I’m only going to use images from my site. These few examples represent some of the most common vintage printing processes I use, but I do use and experiment with other processes quite often.
These are Polaroid Transfers, also sometimes called “image transfers”:
Polaroid emulsion lifts:
Here are a few Polaroid 55 images. Technically, they aren’t a printing process. But, I often use the 4×5 negatives to print platinum/palladium hand prints. These negatives have an extraordinary quality. I’m going to grieve when I run out of this film. Actually, I’m going to grieve when I run out of all my Polaroids. (Still quietly hoping somebody picks up production of all those films).
But I have been experimenting with shooting some fun Fuji films in my antique 4×5 camera. I’m not quite sure what I’ll do with these negatives … just yet.
♥
You might also see images that I took using vintage film stock or vintage or toy cameras. Here are just a few examples …
In general, we are all so very nostalgic about weddings—even before they happen. So, we may as well embrace what I like to call the modern vintage aesthetic. Behind the camera, this means your photographer is looking to capture images that evoke a sense of nostalgia. I think all wedding photographers do this instinctively—it’s our job. We capture images of you and your beloved that could be every-bride and every-groom, could be all of us.
The image above I made with no special camera, no special film—actually, it’s digital! The Rolls-Royce helps that vintagey feel, for sure, but the moment itself (Liz and Gary’s lovey nuzzle!) is what makes the image nostalgic.
So … those are my vintages. I hope this helps a little! I think other photographers may or may not use the words similarly, so be sure to ask for clarification if you need it. And if anyone has further questions for me, please leave them in the comments and I’ll answer them.
photo credit: Gia Canali
