My Approach and style

I’m a relaxed sort of picture maker. Photojournalism taught me to become part of what’s going on, to watch and adapt, moving and mingling, making pictures as I go. I’m very ‘hands-off’ and don’t disturb what’s naturally happening. I think it’s real life, real light and real colours that make pictures sing. Everyone seems quickly to understand they don’t have to freeze and grin when I’m around and can just be themselves. And that’s how I think you want you want your family and friends remembered? It’s a long lovely day and there’s so much time to find and make pictures. It won’t matter whether the clouds deposit the wet stuff on us or not…this being the UK we’re all used to it…it’s all about capturing the real character, emotions, humour, charm, and weather of your day, to charmingly present and preserve it for you.

The picture below shows the benefits of my approach to documentary wedding photography. I’m on the dance floor, no-one looks bothered as I’m part of things, helping me find the wonderful mother of the bride and the clergyman who did the honours in full flow. Until it gets too dark I use available light, and I interact with guests in such a way as I’m easily accepted. I may have chatted with just about everyone by the end of the day. It's all about observing, anticipating, and gently moving to keep finding pictures. You’ll be so busy that most of what goes on you’ll have missed. 

One of the ways we all connect with weddings and feel part of them is that we basically know what to expect. However different they follow a pattern of events - they're wonderfully familiar.  Most days have the getting ready, a ceremony, speeches, a sit down something, a party, and hopefully some dancing. One benefit of documentary wedding photography is the fun of finding pictures from the wealth of natural interactions around the main events. Neither Mike nor Mima had told me of the rounders match they had scheduled for after their wedding breakfast at their Larmer Tree Garden wedding in Dorset. And what a venue it is. Hats and jackets were flung aside as family and friends battled it out well into dusk. And fittingly, ‘Team Bride’ won with Mima carried shoulder high from the field back to drinks and dancing as darkness fell. I think at these moments photojournalism comes to the fore. I was right in the middle of it all. Everyone knows I'm there for the couple so the fun can be remembered. 

During a wedding ceremony I'm always sensitive about how much I can move around. It’s usually fine to change positions in registry offices or non-religious venues, but in churches and chapels I’m in the hands of whoever's presiding. They’ll probably allow me at the front for the moment when the bride walks in, but from then on I could be just in one place so as not to disturb the ceremony. There’s always pictures to be found from wherever I’m allowed. During Tracey and Chris's marriage ceremony in the vast Winchester College Chapel these children at the front had a mischievously close view of the proceedings.  

There’s nothing worse than a photographer in the way and I never will be. At large church weddings it’s rare for me to get anywhere near the couple as vows are exchanged. And that’s fine. At the stunning cathedral sized Italianate church in Salisbury (below) it took some negotiation for the vicar to let me be briefly at the front even for the appearance of the bride, but I was allowed a view from the sides during the service. This turned out fine as there was a medieval screen for me to photograph through. I’m sure neither the wedding party or vicar knew I was silently clicking away…until they saw the pictures.

Photojournalism leads me to view a wedding day from all sorts of angles. I love ‘off stage’ pictures of a couple showing them as the team that I hope they are. Moving around during the speeches I noticed Rosalinde and Andrew out of sight of their guests waiting to be introduced by their best man. They looked wonderfulIy composed and together. I think this picture said so much about them. However much I enjoy the fun and reactions during wedding speeches the moments around the edges can be even better. 

I constantly try to be open to the many elements that might make a picture worth looking at again and again. It could be any mix of action, colour and light…something in a scene that draws you in and makes you want to know what's happening, or is just endearing, or funny. Juxtapositions, of character, behaviour, colour, shapes and place are everywhere. I love the work of lots of photographers and constantly look at pictures. I’ve a silly number of photography books and try and learn from the work of geniuses like Harry Gruyaert, Jason Eskenazi, Eve Arnold, Joel Meyerovitz and Carolyn Drake, to name just a few.

Before Kay and Clayton’s wedding the getting ready (below) happened at Kay’s parent’s home, a vicarage. Dad was a Church of England vicar and her mum also ordained. As I’m also ‘The Son of a Preacher man’ (…thank you Dusty Springfield), I felt right at home.

As a press photographer I often positioned myself so people couldn't avoid walking towards me. As the papers want clear face pictures, I sometimes spent hours (..days..weeks!) waiting for someone to appear, then manically clicking whilst walking backwards trying not to fall over. The odds of looking silly on TV news were high. As a documentary wedding photographer those so called 'skills' are rarely used. I avoid being in any prominent place in front of a couple or guests for more than a moment, preferring to observe and find pictures without intruding. But anticipation is still everything. Sensing something might happen, I went slightly ahead of Debbie and Tony (below) as they escaped after their confetti shower and headed around the front of the beautiful Hill Place in Hampshire for a first married moment alone. Tony broke into song as they gathered pace..it was wonderful. 

I've concentrated more on ‘as it happens’ pictures but most couples want some portraits. These are easily done, take about twenty minutes or so, fitted in before the wedding breakfast, or later on when the light or weather might be better. (We can nip out at both times, as well as quickly off a wedding bus, or out of a wedding car for a snap or three..) Asking a couple to stand in a particular place together in good light is enough to get something nice. The pictures below show what happens when a couple take over and start playing within the portrait. It was a bit blowy for Kristina and Jeremy at Southsea Castle. Kristina just went with the flow so to speak. And after placing Mima and Mike in front of a gorgeous folly I then clambered up a bank and through trees to get a good vantage point. Turning round I found the gift of them dancing and laughing.

Every wedding and reception venue has it's charms and possibilities. From cathedral to registry office, wooded glade or village hall, to social club, it doesn't matter where a couple celebrate with their guests. Weddings are personal and about people, and that's what makes them fascinating, ever new and surprising to photograph. In each part of a day I’ll always take those wider pictures that show people and place. It’s amazing what we all forget.

And amongst the action, the support of parents is always lovely to see. I’ve been up to Edinburgh a few times for weddings. Mhairi and Neal were married at the Lothian Chambers on The Royal Mile. During the exchange of vows Mhairi's parent’s faces were a picture of pride. And her mum's congratulation couldn’t have been bigger. Lovely people, and a fabulous day that ended just as it should, with a whiskey fuelled Ceilidh. 

For all my belief in melting in without being in the way, sometimes I can't resist joining a scene. You can spy me below, and maybe you'll spot a small smile on my face as I realise the picture has come together - Mike and Mima sharing the view, guests occupying other windows, and a small place for me in the bottom left corner.