I usually avoid thinking of the wedding I’m about to photograph, but driving to Kristy and Steve’s it was different.
On the way through Tewantin I called in on a friend who I hadn’t seen for 30 years. She is the mother of a family I stayed with sometimes on school holidays and our lives were loosely entwined for pretty much all my teenage years. Rose showed me a photo album full of old photographs from the seventies and eighties. Amongst them where ones that were either washed out, contrasty, faded, scratched or out of focus. It’s funny though, they all had the same transporting effect and all bought up palpable feelings of long forgotten times and places.
Afterwards as I headed down to Perigian I thought that’s exactly what I want my wedding photo’s to be about. That humble little photo album packed so much emotional wallop and it reconfirmed with me the choices I make and priorities I have when shooting a wedding (and afterwards during editing). In thirty years I don’t want anyone looking at wedding photo’s I’ve taken and say “wasn’t the photographer clever, look how perfect everything is” or “what beautiful light”. I’d much rather they say affectionately to each other “look at us, that’s how we were”. Don’t get me wrong I value good technique and love stylish portraiture, but if I’m not getting the real stuff too, then it’s a missed opportunity.
Real wedding photography, Noosa, Perigian, Tewantin 2008
(Wednesday, 24 February 2010)
There’re two types of performance photography, each in many ways the opposite of the other. Rehearsal photography involves a virtually empty room with even (but usually low) lighting, actor/s and a director, often an assortment of designers, sound composers and lighting specialists and occasionally the playwright, all meeting to discuss and perform the script. Over three hours or so there may be the same 5-10 minute scene repeated over and over interspersed with discussion. The trick is to get variety.
Production photography is recording the performance in its finished form with costumes, and often with bright constantly changing, high contrast lighting, you’ve got no idea what will happen next and there’s only one chance to get it.
My first production shoot for The Queensland Theatre Co. was “The Orphanage Project” in 2003. Written by the very talented Angela Beitzen, the play was an alternate history of Australia from the veiwpoint of the non-beneficiaries of settlement and society in general. She teamed up with director Leticia Carceras plus an ensemble of youthful actors and production professionals to deliver a poignant reminder about a wrong this country was collectively denying at the time. It was a stinging volley of shots during the long dark years of the “Howard Culture Wars”. Bravo.
Queensland Theatre Compant 2003
(Wednesday, 24 February 2010)
If I was to mention Post-modernism seriously, then those of you who’ve managed to read this far may be thinking “here we go …pretentious wanker”. But I’ll have a go; it’s a bit like speaking up for someone who has helped you out.
I’m not welded on to any beliefs, but P-M explains why the world can never be explained (if you’ve noticed). Simple insights like; things are more than the sum of their parts, and the truth depends on who is standing where and when, seem obviously true.
Why is it a such a misunderstood and maligned measure of the world? Anyway that can wait.
In the meantime here’s a minute in the life of a bird in a cage.
Art Photography, Polaroid Art, Lismore pet Shop 2001, Post Modernism ain't so bad.
(Wednesday, 24 February 2010)
“Did the Real Estate Agents send you?” I jumped and looked around. A guy in a suit was standing right behind me, his tie flying free in the cold westerly.
I was a little self conscious at being seen photographing let alone in front of a shop window full of undressed mannequins.
I wasn’t from anywhere and didn’t have a reason for being there, “Ah … no … sorry”
He looked down and noticed the camera swathed in black tape ...”oh”, and kept his gaze on me as we turned and walked away from each other.
Brisbane Street Photography, Fortitude Valley 1988
(Wednesday, 10 February 2010)
It’s good top have Plan B. Sometimes that is nothing just not Plan A. Luckily Jacob and Kim had one when the sky over the border ranges turned black. The boys carried the Chuppah (Jacob had made) up the beach and across the road to a restaurant.
The storm spent itself by the time of the ceremony shrouding the remains of the day in a dreamy mist that came off the sea.
Gold Coast Wedding Photography, The Boatshed Bar and Cafe, Currumbin Wedding, Non-Flaky Wedding Photography, Wedding Photo-documentary, 2008
(Wednesday, 10 February 2010)