Why wedding photographers suck (and how I try not to)

My quest for clients puts me in weird situations sometimes. Like in the center of a convention center parking lot surrounded by thousands of yards of toile, silver foil, and bustling women who have never been happier in their lives. Such is my life in the scope of my wedding photography. Not always a position I enjoy. I'm hardly the picture of professionalism, either.

I used to tell myself that I would never (EVER) shoot weddings. Not that I felt it was below me, or that I would fuck it all up, well, actually yes I did feel like I would fuck it all up. Weddings were just too much pressure -- non-repeatable, high-stress events that could wind me up as tight as a goth corset just thinking about them. But then I was suddenly broke. And damn there's just something about a single shoot raking in $2000 that'll get you going.

So, these days I find myself in constant competition with other wedding photographers; respecting some and finding others simply laughable. The thing that gets me is how SERIOUS most of those in the trade portray themselves to be... and it never seems to fail that the most serious of all have the most laughably AWFUL photos (in my humble opinion, of course). I mean, aren't weddings intrinsically doomed to 'fail' anyway? Not in the overwhelming-divorce-rate way, but in the tons-of-stress-over-minute-details-throws-you-all-out-of-whack way? Very evident when you see a nervous bride. Nothing seems to go right for her because she expects too much. This is her perfect day. Right? Yeah, right.

But of course, you have to figure that I have somewhat of a discerning eye, having been a 'photographer' for over a decade. Your normal 'pretty picture' is going to make me vomit all over myself. And then add on to that my favorite photographers are a little ::ahem:: different from your run-of-the-mill family portrait smile over your shoulder type deal.

Joel Peter Witkin, Anton Corbijn, Margaret Bourke-White, David LaChapelle.

So what the hell does a wedding photographer have to do to impress me? Turns out not much. Just be creative. Don't do the same things EVERY SINGLE WEDDING. I know some shots are 'required', but how about not taking them the same WAY every time? I'm not going to post bad photos on my blog, but I assure you, they're out there. Go to a few wedding websites and try to avoid seeing them. However, I will allude to a couple of wedding photographers that give me hope for the genre:

Joe Buissink
Masterful. A contemporary purist to rival all others. Annie Leibowitz hired him as wedding photographer. Twice. Each photo makes me think either 'How'd he do that?' or 'If I was there, would I have caught that moment?' Genius.

Jeff Ascough
King of the wide angle. But not just for the sake of documentation; his subjects are so clearly defined, so eloquently pored over... each photo is like a poem. And each image is striking in its own way.

Christian Oth
One of the best perspectives in photography period. Totally in the moment but yet with a pervading instinct for art that encompasses every shoot. If I ever get married I hope I can afford him. Also the artist behind my favorite wedding photograph thus far:

David Beckstead
His website alone will give you a hint of his creativity - but the images speak for themselves. I love when photographers are conscious of reflections and their ethereal beauty, and David is a master at capturing them. I only wish he gave classes.

So, if you're a wedding photographer, and you happen to be reading this, don't think I'm one of the greatest. I'm not. In fact compared to the photographers I just listed, I suck. But I'm trying. And I try to do something I've never seen before every time I pick up my camera.

I guess my point is: yes, weddings are dangerous. Stressful, once-in-a-lifetime photo shoots where the client usually expects more than you can give them. But that DOESN'T mean you should hide in your own little box of mediocre, cookie-cutter shots that you look for each time. A risky business requires RISK if one is to be taken seriously. I could go on and on. Here are some quotes by Joe Buissink that I think sum up my sentiments exactly:

“I really try not to previsualize. If I did, I would see the same things, week in and week out.
I’ve also discovered that when I force myself to stop looking for things that normally happen at a wedding, I find other moments.”

“Some photographers spend their entire career trying to create the perfect picture, but it does not exist. What does exist is the perfect moment."

*VC*

Bohemian Home

I don't like working around other photographers.
I know some photogs like to watch others work and/or get that feeling of superiority when they know you're doing well. For me though, I always feel afraid that someone will copy my ideas, and I even feel embarrassed and apologetic for being so damn good at what I do.
Let me explain.

I was recently commissioned to create some images for an ad to be used by a local store - Bohemian Home. They had just introduced 'Bohemian's Next Top Model', where the winner each month gets to appear in their latest ad campaign.
Apparently, when the store manager scheduled with me (2 days before the shoot) she had been drinking just a little. LoL So when I didn't call her the next day (I didn't have her number with me - but texted the stylist that I would be there), even though I confirmed her for 1 o'clock, she assumed that since she hadn't talked to me that I wouldn't show up. Chaos!
So, little do I know, but the shoot gets rescheduled for 3:30 pm, and an intern from a local free paper is doing the shoot. WTF?

Long story shorter, we both end up shooting the same model - only I get to set up my own shots and so does she. It was weird for me though because I had part of my mobile setup - Alien Bee lights + stands, my Nikon D200 + SB600, and my MacBook Pro. The intern came in with a Canon. Nothing against Canon at all - such a great camera, especially for action. I just felt bad for even being there... I didn't want her to feel like I was showing off or trying to be better than her. Awkwardness therefore ensued.
Anyway. Let's move on. This is what the model (Jenna) looked like before her makeover (not my photo):
She's so cute!
My friend Kelly Odom and her makeup artist Daniel did wonders for this young lady, and I had the pleasure of documenting it. Check out some of my faves:


The lime green chair she's sitting on there had a $1700 price tag on it... lol

Quite posh, huh. I do believe this was my favorite commercial shoot that I've been on - having a wardrobe person and a stylist to help me was SO GREAT! It usually takes me longer to set up a shot because I have to fix all the small details that are askew in the photo. On this shoot I had people to do it for me... and they did it RIGHT! I was giddy with joy.

So, even after all the confusion, I ended up having a blast, and coming out with some nice images for both the Bohemian Home Store and I. This is the one I like for the ad...


when it's published, I'll post it here.
Here's to assistants! hehe ;)
*VC*

Vega's World

So this is my new blog. I thought I'd start off with my latest photo shoot and try to figure out why it all went wrong. hmmm.

When I take a look at Leslie, I see an almost alien beauty about her that totally contrasts her humble sensibility and shy wit. So a couple weeks ago when I realized that it had been over a month since I'd gone out and taken pictures voluntarily, she came to mind as a great candidate for a model.
I had a great location in mind - a semi-abandoned work-site full of rebar and broken rock (perfect for walking in designer shoes). On an overcast Sunday afternoon I set out to create a mood of timeless beauty in a wasteland of industrial rubble.
My inspiration was a famous painting by Andrew Wyeth (Christina's World). If you don't know the story behind this, check it out here.

I know this is far from industrial, but this is the sense of longing I was going for. It is also quite timeless, her clothing is simple, the setting ambiguous - this could be anywhere in America at any point in the past 100 years. And it would still evoke the same emotions for me.
In any case, I tried to explain the setting to Leslie; even though she had not seen the painting I described the look I was going for - patient longing for another world while trapped within your current surroundings/situation. I think she got it, and by gosh she tried... but I think by far the best images came from somewhere other than my original inspiration.


It's not so much the photo that is disappointing to me, although I must say this series is somewhat stunning on first glance. I feel like I failed in drawing emotion from Leslie - which I feel is just as much my job as it is setting up a location or supplying the camera. In any case, I don't think I can use any of these images for my actual portfolio - although they are doing quite well on Flickr so far.


Anyway, I guess the point of this is that I definitely need more practice working with people. Friends, strangers, stars, freaks, whoever. So if you care to have some creative portraits done somewhere in South Carolina, let me know. Or if you want to fly me out to L.A. and take pictures of your feet - whatever. I'm up for it.
Yours Truly,
*Vega Chastain*