A lot of behind the scenes work goes into keeping a wedding photography business successful and in demand, so I'm always delighted when I discover I've been shortlisted for something like this :)
Interested in award-winning wedding photography?
Photography blog featuring my latest wedding photography & family portraiture created across the UK and on destination.
All photographed in my natural, authentic reportage style.
Search this blog by county, city, venue or culture…
A lot of behind the scenes work goes into keeping a wedding photography business successful and in demand, so I'm always delighted when I discover I've been shortlisted for something like this :)
Interested in award-winning wedding photography?
A little interview I gave for F2 Freelance Photographer magazine late last year about my photographic setup, what it details and why. I'll be writing an in-depth article on this very subject very shortly, so keep posted. In the meantime, here is my interview...
Allister Freeman advises a two-camera setup. Freeman has been a wedding photographer for 12 years. Although he is based in Devizes in Wiltshire, most of his work tends to happen in London. Once again the Canon EOS 5D MkIII is his camera body of choice. “My set up is very simple, in that I’m shooting mostly with available light,” he says. “I also shoot mostly prime. So one camera will have a 35mm f/1.4 lens attached, and the other an 85mm f/1.4. My only backup lens is a 16-35mm f/2.8.”
Freeman favours the use of two Canon Speedlights. “They’re used on the rare occasion I have to freeze movement during the dancing”, he says. “I use them very delicately and only ‘splash’ the flash, so I’m essentially still using high ISOs to take in the ambience. I’m very much trying to keep the shots looking naturalistic: the flash really is just to freeze the couple within the frame.”
Freeman’s use of prime lenses is, he says, down to the fact that they focus his mind. “I want to create frames that have stories within them”, he reasons. “Shooting with prime lenses makes it less about the kit, and more about actually seeing what’s going on. “After a few years – or even a few months – of shooting with primes, you can actually ‘see’ at the specific focal lengths without having to pick your camera up. You just know which lens you need for which particular shot, so I find it more natural. “That said, I like to use the 16-35mm for Asian weddings because, without having a facility for shooting very wide-angle, they tend to be so busy that you would simply lose important elements in the frame. But I still tend to use the zoom in a very fixed way, in that I will set it beforehand to a specific focal length so that it fits the style of the rest of my work.”
Although he shoots throughout the year, the contents of Freeman’s kit bag remains consistent. “In the first few years of shooting, you have that ‘gear lust’”, he says, “but once you’ve got over that, it’s a case of finding the most efficient tool and sticking with it. “I change my kit every three years. As I’m on the road, it’s treated in quite a rough manner; I’m often dropping it or kicking it accidentally “especially with London weddings where you’re running around and getting on and off public transport, so they get knocked around. I tape my bodies up with black gaffa, which sounds awful, but after the three years I remove the tape, get a bottle of white spirit, clean them up, and my re-sale value is great because I’ve reduced the amount of damage and scratches they might have suffered. Hiding the logo of the cameras with black gaffa also stops keen amateurs asking too many questions at a wedding, it sounds mean but so many potential images can be missed because of a chatty uncle!
“I shoot full-frame because I like my prime lenses and the detail I can achieve. If a good crop camera was to come along that suited my needs, I would consider having it, but at the time that I bought it, the EOS 5D Mk III was – and still is, really the only camera that suited my requirements, which is a small, high-end DSLR with decent megapixels. It’s the right tool for my line of work.”
Freeman also recommends 128GB memory cards, which are a recent addition to his arsenal. “You’ve got dual SD and CF card slots on the camera bodies”, he says. "Having a 128GB card has essentially enabled me to use CompactFlash as a built-in hard drive, so that’s given me a bit more security and peace of mind. “My oldest investment is my trusty Peli 1510 case, which holds all my kit and gets used for international weddings. I shot an Austrian wedding last weekend, and to know my kit was completely safe was invaluable.
“Although it’s not everything, equipment helps give you a signature look: mine is that I shoot in very low light, so having the EOS 5D Mk III has allowed my style to evolve further, and means I’m able to produce a professional quality image from a very tough environment. “We actually printed an ISO 25000 file next to an ISO 6400 in an album, and you couldn’t tell the difference. And that's amazing, especially as 95% of my work is just available light.”
f2
We've noticed a shift in wedding photography recently in which photographers are experimenting with composition, moving away from formal wedding shots to let their images tell a different story. Rachael D’Cruze spoke to wedding photographers who are embracing this new style, taking their influences from creative and reportage photography to see wedding photography in a new light.
“I never set out to be a wedding photographer, perhaps that’s why my style is so unconventional,” says Allister Freeman, talking about his unique way of capturing weddings.
Allister’s style is perhaps best described as fine art documentary with a healthy dose of both fun and contemporary style. Indeed, Allister initially set out to be a fine art and social photographer but found himself shooting weddings instead.
Once he’d stopped feeling obliged to produce what he calls ‘stereotypical wedding photography’, he started to enjoy himself and his work has continued to evolve from there.
Allister now has a thriving business with creative clients who actively seek him out, as they fully appreciate what his coverage is all about.
After studying photography at The Arts Institute at Bournemouth, Allister assisted several advertising and fashion photographers in London before shooting his first wedding in 2001.
“For the first few years of the business I felt obliged to cover an unnecessary number of formal group photographs – an issue faced by many relatively new professional wedding photographers I’m sure,” says Allister.
“I think that 95% of the time formal group photographs are completely unnecessary, as a strong documentary image is far superior in terms of its storytelling ability,” he continues.
Allister’s particular style of documentary wedding photography is very personal and sees him work very close to his subjects, typically shooting with just 50mm and 24mm prime lenses.
“I know many wedding photographers have an issue with these focal lengths and argue that they would create an awkward environment. This closeness, however, allows me to make incredibly personal, authentic photographs of often quite private moments,” explains Allister, who adds that he knows he’s not a ninja and can’t make himself invisible when shooting this close – he has the necessary interpersonal skills to mingle at a wedding as a guest would, while still getting the shots.
Over time Allister has mastered his single focal distances and perspectives of choice, to the point where he can see the image without lifting the viewfinder to his eye, so he is not constantly walking back and forth – something which many photographers considering switching to prime lenses are fearful of.
Allister says his close way of shooting means he is completely tuned into the wedding, as opposed to standing on the sidelines picking people off with a telephoto.
He can predict when things are going to happen, when the decisive moment will occur and ultimately when to create the best, most thought provoking and inspiring photograph for his clients.
“Images, for me, must have enough narrative to work alone. By ensuring each image tells its own little story you can create an incredibly powerful body of work – a complete picture of the day and its emotions in their entirety”, says Allister, who feels that this allows him to give the client more with each image and a more diverse coverage too.
“Seeing beyond the obvious aesthetic qualities is key to producing something that provokes emotion, not just a set of pretty pictures.”
He also looks for patterns and symmetry that not everyone would notice – matching or even contrasting facial expressions, for instance.
“It’s very important for me to stay creative with composition; every event throws up different challenges and results in a slightly different approach. I’m always looking to evolve and improve,” he says.
The fun element is an important aspect to Allister’s portfolio and to his clients too – he says he knows they’re his target customers if they ‘get it’. Shooting up close helps him with this; specific moments are easier to understand because he is close enough to see the cause and subsequent reaction.
“I like to subtly mock, and I know the customers take great amusement from it. It’s important to have fun; documentary wedding photography needn’t be so serious and ‘film noir’ all the time.”
It makes sense then that Allister is influenced by Martin Parr’s photography; “I’m mesmerised by his representation of society in his unique style, in an often unflatteringly honest but very amusing light. Most importantly for me, however, his work is so much more than just aesthetics – it’s a study of people, of human behaviour, an aspect I always apply during my wedding coverage.”
Elliott Erwitt’s quote, “It’s about finding something interesting in an ordinary place,” is pertinent for Allister and describes his ethos perfectly. He prefers to draw his photographic inspiration from beyond the wedding scene, and cites the work of Sam Abell, a fine art documentary photographer, as playing a huge role in how he frames and structures his images.
“Sam’s images are always beautifully composed and balanced and he has an exceptional skill for ‘layering’ the subject matter to strengthen the narrative. His images, therefore, demand a more thoughtful and penetrating interpretation,” says Allister.
Allister’s clients are largely professionals working in the creative industry: designers, stylists, and other photographers – a great accolade to his work. Feedback is incredibly important to Allister’s business; in fact he says it’s the driving force, or at least one of them.
“When you’re looking to create such a personal product it obviously matters a great deal what the customer thinks and I’m often incredibly flattered at how honest people are when giving feedback.
Powerful images create powerful reactions, so it’s always nice to be on the receiving end of a client expressing their gratitude,” explains Allister, who says the most satisfying feeling is an uproar of laughter, or perhaps a few tears during a preview session when an image that requires a certain level of understanding is appreciated.
When clients visit Allister they go to his studio, close to his home in Wiltshire. Although not strictly necessary in terms of his photography, Allister says his studio is important for creating a good impression, as inviting clients into your home can conjure images of ‘weekend wedding photographers’.
Demand has been so high for Allister to cover weddings that he has started a mentoring programme. He currently has one full-time associate, Joshua Archer, and has just taken on another this year. “We can offer a dual perspective on the same wedding, which is incredibly valuable for very large Asian commissions,” he explains.
The photographers he mentors are freelance, but work under his brand.
The majority of Allister’s clients are based in London, although he does get booked for international weddings, some of which he has to turn down due to time constraints. He currently shoots 45 weddings a year and the majority of his work comes through word of mouth, although he says he’ll always do some paid-for marketing with high-end magazines and Google, as it’s undeniably good for brand building.
After all, Allister should know: he’s in demand, has an enviable client base and shoots in the style he loves.
ALLISTER’S GEAR
- Two Nikon D700 bodies - 24mm f/1.4 - 50mm f/1.4 - 135mm f/2.0 - 16-35mm f/4.0 - Nikon Speedlight SB-600s. - Manbag!