Capturing the Moment.

Capturing the moment. As my mentor told me, wedding photography and

capturing the moment are synonymous. I don't know about the older

style of formal wedding photography, I haven't been exposed to much

of it being relatively young and having been brought up in a world

where documentary wedding photography has been the norm for the past

30 years.

 

So what are we doing to capture the moment? Do we have a storyline in

our minds and then finding the moments to express that storyline? i.e

are we trying to express the romanticism of the day and looking for

shots to express that, or are we just capturing the moments as they

happen, irrespective of particular relevance?

 

In that wedding photography is relatively 'staged', the bride gets

dressed, her father sees her, gets into the limo, etc the moments we

want to capture are relatively easy to predict and because of that it

is easier to be there and capture them. Even such things as the young

bridesmade picking at her flowers etc is something we know to look

out for. We may not expect X moment to happen, but when you get the

main players together then moments will happen and you are there to

capture them.

 

Then there are the other moments, the totally unexpected ones, the

grab shots where there isn't time to zoom, to think, just to hit the

shutter and hope it's in focus, these are the ones that usually

happen behind your back, or you catch in the corner of your eye while

shooting the B&G. These are the ones that usually need the most work

in post process (film or digital) as there is so little time if any

to capture them, sometimes everything else has to give way to the

framing and capturing. You can be ready for it, but you are ready for

the things you expect, not the things that cannot be in any way

anticipated.

 

There are several things which stand in the way of getting

the 'moments', firstly you have to be there! It's no use having great

moments between the B&G if you arn't somewhere near them at all

times. Secondly I believe that you have to have in mind how you want

to capture the moments when they come about as they surely will, do

you want shallow DOF, do you want context to the shot or an extreme

close up, what do you want the angle to be, how do you want to use

the light, most importantly, what do you want to say with that photo?

 

Marc often complains that there is too much emphasis on the technical

side, this is all about the rest of it, the capturing of the moment,

how do you do it, what is your mindset, what does 'capturing the

moment' mean to you?<div></div>

Excellent thread, Ben!

 

I think one just gets experienced in knowing what to look for, and being present and alert is the other half the battle!

 

ie. Any time there is a photos slideshow I know there will be countless expressions with the wedding party, grandparents and many guests. I don't watch more than a few seconds of the show because I am shooting and crawling on the floor looking for expressions. (I have banged up my knees pretty good with this tactic.. hmm..?)

 

Interested to hear what others will have to say about this :)

 

Aaron Lee

Ben,

 

My one word answer - Anticipation! I think Marc said it first.

 

A few more words: Capture the action and anticipate the reaction! As you described, we pretty much know what the action will be because of the similar struture of most weddings. We also know that when people come together, especially certain people like the B&G, B&mom, etc., that where may be some action and immediately followed by a reaction.

 

I have a basic style in which I want to capture all moments. I try to frame tight, but always remembering I may need to crop for an 8x10. When I first arrive at a venue I look for backgrounds and windows for natural light. If I get lucky with natural light, doesn't happen very often, then I try and use it when possible. I like a shallow DOF so I use fast lenses and only stop down a stop or so except for large groups. My sense of humor always has me looking for fun shots. I think the B&G enjoy seeing these later and feeling that their guest had a good time. Wedding are suppose to be romantic, so I am alway looking for that type of shot. Many times I will steal the B&G away from the party and try to set up some romantic shots; sometimes using candles and a Starlite filter. For these shots, beit indoors or out, I use a long lens and try to get the B&G to forget anyone is around and to relex and celebrate their marrage - a lesson I picked up from Mary Ball on this board.

 

I do not have the "eye" that other artist, such as Marc and many others that post here have, but I try to pre-visualize, an A. Adams term, the romantic shots and I look at a lot of other wedding photographers' work. If you study enough other shots and get them into your subconscious mind, then similar shots/style will appear in your work automatically.

 

Cliff

thanks for bringing this up. it's good to step back and consider our mental approach. I

am especially interested in your second paragraph about romanticising the day. I think

making a wedding look even better than it was is part of our job.

 

The best of my wedding photographs are taken with the strategy of the decisive moment.

I find a great deal of joy in editing; for me that's a large part of my role as photographer.

Not only are we selecting which moments to document; we later screen them further so

that couples will see the best takes. Knowing that we can edit gives us a freedom to try

several takes on one situation. It's fun if you ever get a chance to look through cartier-

bresson's contact sheets at magnum. for many of his most famous photos, there are rolls

of film with "almost" great shots in the same situation.

 

as I move water bottles and cans of hair spray out of my way, or wait for an unflattering

arm to leave my frame, I know I am still keeping things real, just slightly improving upon

reality. an entire wedding day presents itself with about 8 hours chock full of moments. I

think we're hired to show the best ones.

The spirit and soul of this job are the irreplacable instants or moments that will for those involved spark an emotional response. If you have the skills and the presence of mind to capture those as the day progresses, you are a success.

 

If you couple those thoughts with a further reaching plan to produce the end product, you are making a timeless work of emotional art.<div></div>

Aaron--are you getting those shots with flash? Because if I were the bride or one of her relatives or guests, I'd be really annoyed at having a flash go off "in my face" while I was trying to watch a slide show. During slide shows, I take maybe one or two shots of the overall scene early on and maybe of the couple watching, but then don't take any more because I don't want to hinder the enjoyment of the show.

 

Anyway, Ben, I don't claim to be good at real PJ, but I think those "captured moments" type shots fall into several categories. First is the true captured moment. You happen to be in the right place at the right time, preferably with the perfect technical settings (including framing) in place but even without. Call it luck or skill--doesn't matter if you are there and get it. Second is the captured moment due to the photographer's anticipation skills. This is supported by good technical skills. Together, you get the moment. Third is the "coaxed" moment. You might have a hand at directing it, if only to suggest an action to someone. Follow up with good anticipation and technical skills and you've got it.

 

The first kind of shot happens to everyone sometimes, but you can't count on it, so if you advertise "capturing the moment" you have to rely on type two and three. It is difficult to get a lot of type two shots if you are also responsible for traditional shots and/or are working alone (no other photographers) with a tight schedule. You can't be standing back, observing and waiting if you have a million "must have" shots to complete in x minutes. You can get some, with luck AND skill, but if you are hampered by the traditional shots, you will miss some opportunities.

 

So...enter the type three shot. The kind that Al Kaplan talks about--"directed PJ". At least you have some control about "making" these shots happen, which can protect your reputation as a PJ photographer. I don't think there is anything bad about this type of shot, especially if you don't seem to be getting a lot of type two and one shots as the day goes on. I notice that some of the best PJ photographers who are skilled at type two shots have second or associate shooters covering the regular stuff. And there are weddings where nothing exciting happens. Not much interaction (at least photograph-able interaction) going on between the major characters and not much action at all beyond the usual events at a wedding. What's a poor photographer to do?

I think there are special times during every wedding

during the vows,first dance,toast where you not only have to look and anticipate moments but be patient enough to wait for the moment

Sometimes 15 to 30 seconds holding the camera to your eye knowing and sensing something is about to happen and if you're patient enough

you'll get quite a few since there are so many special moments

at every wedding. Patience and quickness helps alot so for me it's anticipation coupled with left brain proficiency that makes it fun

and hopefully leads to many storytelling moments.

I have a completely different take on all this. This is the type of photography I offer, and

it's what the clients come to me for. Therefore, I disagree that it is performed in-between

getting the "must have" shots, but instead is integrated into it as part of the whole cloth by

nature of the shooting philosophy employed from the start.

 

So for me, "Decisive Moments" are the "must have shots". And I would add that it's not for

everyone, nor should it be.

 

Many photographers profess the capturing of all the emotional moments that happen at a

wedding, then proceed to mechanically record the event ... which is basically the same

event with different players. It is the different players that make a wedding unique, not the

events themselves.

 

Anticipation. What does that really mean? Knowing something is about to happen? Well a

couple of weddings into this and you pretty much know what is going to happen

physically. What is unknown is how the players in the little story are going to express their

feelings during each predictable event.

 

My epiphany came when I realized I shouldn't intellectually try to anticipate the action, but

instead become tuned in on the feelings of the subjects which leads to the action. Call it

"Emotional Anticipation" for lack of a better term.

 

I know, it sounds esoteric, but what else is a wedding other than a string of emotional

happenings structured with-in a traditional and regimented event? It is the well spring of

the "Decisive Moment".

 

Luck favors the prepared mind ... to which I'll add that it favors the emotionally prepared

mind even more.

 

Being very intuitive, "emotional observation" is a difficult thing to discuss, and even harder

to teach. Think "Vulcan Mind Meld" ... LOL : -) But if you let yourself feel, to empathize

with the subject, it will come to you ... sometimes slowly, or as an Epiphany.

 

Here's a little one, no great shakes, but it expresses the notion. While setting up for the

formals I could feel the love just bursting from these two. They had gone through a

traditional Jewish wedding where they really were discouraged from canoodling. I just felt

they would let go, and damed if they didn't sneak a kiss while everyone else was

preoccupied.<div></div>

Sorry for a second photo Mary, but in my opinion this subject deserves equal time to

threads like "using fill flash" (which are extremely important also).

 

For those interested in honing their skills at "Decisive Moment" type wedding

photography, I would urge a bit of research into the masters of the moment. I rarely look

at other wedding photographers work (except when I was learning traditional posing

techniques), and return to my library of the masters when I need some inspiration or

course corrections.

 

HCB is an obvious one. Chim another. Elliot Erwitt. Andre Kertesz. Jacques-Henri Lartigue.

Marc Riboud and many others including a personal favorite Robert Doisneau ... who titled

one of his books "Three Seconds From Eternity" referencing the fact that all his work

amounted to shutter snapped captures totaling less than three seconds in time. Puts the

"Decisive Moment" in perspective huh? We are recording nano seconds in time, which is

the power of the still image.

 

Another candid and telling moment of love and joy of celebration so ubiquitous at a

wedding ... if you open yourself up to them.

 

Good shooting all ...<div></div>

Marc--if you are referring to my remark about getting "must have" shots, I should clarify that I didn't say that captured moments are gotten in between "must have" shots. I said it is more difficult to get those shots if you are also responsible for getting the "must haves"--the more "must haves", the tighter the schedule, the worse it is. I also said that you get some, if you're good, but you will miss opportunities. No matter how good you are with anticipation--even your emotional anticipation--you're going to miss a possible great moment or two sometimes--for instance, in the second or two it takes for your mind to focus on the next group shot. In those seconds, you may miss the signal, whether it be hair standing up on your neck or whatever, that alerts you to an impending "moment".

I do have some key words in my mind as I drive to the event, they're things I've picked up from my consults and from the images they have pointed out to me as favourites. Sometimes it's "romantic, candid" sometimes it's "elegant, simple" whatever, they're things I've tuned into about the couple and then I look for the moments that will convey these things. And I talk to my second shooter about the couple and thir style on the way as well.

Sorry Nadine but I disagree.

 

If you go into a wedding with a "Decisive Moment" mindset, even the must haves can fall

with-in that mode of thinking. Formals may take up a fraction of the total time devoted to

expected shots. The remainder of expected shots are fair game for this method of

thinking. Dad and Bride procession, giving the Bride away, Mom's reaction, the look on the

Groom's face as the Bride approaches, the recession, elation afterward, hugs from well

wishers, Cake cutting, toasts, first dance, Bride-Dad dance, letting go on the dance

floor ... all unplanned emotional moments with-in the structured regimen of a wedding.

 

Other than the formals, and a few other group shots, the only other time consumer would

be shooting the tables which I do not do, nor do my clients come to me for that.

 

But as I mentioned, it's not for everyone, nor should it be.<div></div>

I have to say that I am more with Nadine here. Last Saturday, I shot a wedding where no photography was permitted in the church except for pix from the choir loft. I had a half hour to get the "must have" group shots, and then off to a reception in a venue darker than Hitler's heart. I find it quite difficult in those situations to get my mind around the "decisive moment". In this particular instance, I was able to get some fun stuff at the reception and some pix of the bride and bridesmaids kevetching before the ceremony, but it was almost all direct flash and I don't like to work that way.

 

I have been doing some work in other areas other than weddings where I can work more spontaneously and without the physical and time limitations imposed by a wedding and that has helped me to keep my eye in practice. For example, I just finished a project for a homeless shelter wanting to get material for media presentations. Since I was donating my time, I could do as I wanted which was great for the portfolio as well as being emotionally and spiritually satisfying. Unchoreographed children's photography is also a great way for me to keep "tuned up".

Nadine - Yes, I certainly have to use flash - on a LightSphere. The lights are all turned down - so no option there. I see your objection, but I don't go directly in front of the person. I'm off to the side, or down low. I antipate the shot, pop up, shoot and get out of the way. I introduce myself to the guests when I do table shots so that people are more comfortable with having me around. They mostly ignore me after that.

 

Marc, I love your perspective of "emotional anticipation"!

 

Aaron Lee

Simply a matter of intuition and willful paying attention backed up by being prepared ... not at all simple.

Yet another very cool thread (just got to love the PN Wedding Forum)! When I used to shoot rock'n'roll concerts (as a fan), I watched most shows with my eye on the viewfinder and shutter button half pressed throughout the entire show. So I was on the ready-5 for whatever happened. But what it really takes is being able to see a moment developing, anticipating a decisive moment, and using your tools as a seemless extention of your vision. This comes from being "in-tune" with the players and the situations that you see developing around you.

Marc, I don't think we disagree here. All those other aspects you mention--processional, etc., I agree--fair game for that mindset. All I'm saying is, even you, advertising yourself as a true journalistic photographer, have some expectations placed upon you for "must haves", such as a somewhat formal shot of the bride by herself, showing the gown or her face and form, etc. These are basic shots which one normally directs at least somewhat. When you are concentrating on shooting these, you can miss those impending "moments". I say "can", not "do". And as you say, you don't do table shots, so don't have to worry about that holding you back. That's my point.

Be, Nadine, Marc....keep it coming...I'm learning!

"I have to say that I am more with Nadine here. Last Saturday, I shot a wedding where no

photography was permitted in the church except for pix from the choir loft. I had a half

hour to get the "must have" group shots, and then off to a reception in a venue darker

than Hitler's heart."

 

Perfect description of Saturday's wedding I did at the Shrine of the Little Flower, and half

the reception was in light so low I needed a flashlight to see my gear bag. A hundred

"Decisive Moments" captured including the one posted below.

 

There are a hundred reasons not to approach a wedding this way, just trying to provide a

few in favor of it ... which was the subject of Ben's thread which started with: " wedding

photography and capturing the moment are synonymous".<div></div>

A "must have" shot can also be "in the moment". Professional wedding photography is more about consistency, be it traditional, contemporary. or journalistic.<div></div>

Marc,

 

this is drifting a little OT but I was struck by your comments on emotional openness - being there in the moment. If you haven't read any of David Deida then now is the moment. He talks about just this way of being. Best book to start is (sorry girls ;-)) The Way of the Superior Man! Well worth a look.

 

OT - sort of

 

Mike

what not to do

 

Photographing a wedding 'is a bit like assemling a shelf unit from a flatpack: you start off looking at the picture, sure you can do it perfectly. Then you get all the bits out and realize it's a bit more complicated than you thought. You start with the scews and dowels, and quite soon you're overwhelmed. Getting tireder and more confused, you succumb to anxiety, anger then panic. Finally, you shove it together, hide the bits you left out, and just hope it doesn't collapse when there's anyone nearby' (also applies to parenting)

 

Seriously, when it comes to capturing the moment luck does play it's part. At a wedding a few weeks ago, I was shot the meeting between the groom and father of the bride - an emotional hug, but just 2 mins before I was up with the bride while she was getting ready and had no idea it was about to happen. Every time you press the shutter - there are other moments going on that you have missed. You have to use your intuition and judgement to (hopefully) get the best ones.

This obvioulsy improves with the more experience you have, you learn something from every wedding (like I learnt last Sunday not to drop my new sb 800 on the dancefloor) and I can only hope to hone this skill like some of the wonderful photographers on this forum!

What I'm trying to apply is that the emotional moments _are_ must-have shots for the documentary/PJ wedding photographer. If you are there then you can capture the moments happening in front of you. Be there and be ready at all times!

 

There also is the issue of the clientele, if they arn't emotional then it is hard to capture emotion, so you wait, often you wait a lot, but it works. For me with my religeous clientele there is usually more emotion between parents and the B&G than between the two themselves, which is what I've been capturing. However the day is about the B&G not everyone else and hard though it may be, I aim to capture the, if not emotion, then connection between the two and again it means being there the whole time, being ready to capture it because it will be fleeting...<div></div>

I love this 'moment' photo, technically not brilliant, but a fleeting moment has been captured forever - I love the way his ring hand is on the small of the back and the other hand seems to be gently stroking the cheek. Only problem is it's the groom and best man! who have been best friends for about 20 years.<div></div>

William Morgan - Columbus, Ohio , may 11, 2006; 10:25 p.m.

Simply a matter of intuition and willful paying attention backed up by being prepared ... not at all simple.

 

Amen to that. I've been having the darndest (is that a word?) time with first dances. Lately, all of my couples seem to be dancing away from me and I find myself scampering all over the floor trying to get 'the' shot...personally, I'm finding luck is a large part of the equation :)...

 

Best,

Reina<div></div>