Funerals and dead bodies are MUCH harder to photograph than
weddings.
Of all things I'm asked to photograph, shooting a family
gathering at the bedside of a dying loved one has to be about
the hardest thing I do. I try to never do this for anybody that
I know. This is Leica terroritory. A small, quiet and
unobtrusive camera is critical. I prefer to not use flash and
try and use hi-speed B&W film. The XA is nearly perfect for
these situations and is now my camera of choice. Don't ask me
why people want pictures of dead Aunt Mimi, but they are more
appreciative of them than any other pictures I've ever taken.
Funerals are the same--silent camera and B&W film. Sorry I
don't have any samples to show. These rolls are given to the
family after any reprints are requested. I've done a couple of
these a year. I doubt that the pictures are ever looked at, but
it's the knowing that they have the pictures gives them comfort.
The funerals are a real difficult situation as there is
absolutely no freedom to photograph or move. Can't really pose
the subjects either. <g> I try to do most of the photographs
at the grave side, visitation, wake or reception. If the
"honored guest" happened to be a bigwig, photographs at the
funeral is more acceptable.
On the opposite end of the spectrum. I've photographed newborn
babies (other than my own, even). The excitement of the unknown
and the world of possibilities makes this a very happy moment.
I'm now leaning towards high-speed B&W for this too. Always
shot it in color before, but the pastel colors found in
hospitals just don't lend themselves to pictures. Process,
proof, handle the reprints (usually 5x7s and wallets) and then
offload the film on them when you are done. These are "first
run" only and may never see the light of an enlarger again.
In the middle of the spectrum, you have various "rites of
passage" such as graduations, anniversaries and ethnic/religious
steps in life. I've done only a few of these, but they are
exciting, fun and sometimes "intoxicating!" Since I am not a
direct member of any ethnic group and I'm one of those fanatical
right-wing anti-this-and-that types (JT knows the truth), I am
not on the "call-list" for most Polish/Jewish/Indian/Catholic
things. Bummer. Anyway, be prepared to deal with Uncle Fred
who keeps comparing his wonderful, ultra-professional Canon Elan
with your ancient OM equipment. He keeps bugging you about how
much more advanced his camera equipment is than yours, but then
proceeds to load Seattle Filmworks film in his camera and tries
to shoot clear across the room with his zoomy-lens (F5.6-8
maximum aperture) and built-in wienie flash. He not only gets
in your way, but dominates the key people you are trying to
photograph. Unlike a wedding, where I dictate the photographic
rules, I can't tell him to take a hike. Figure on spending
about five minutes sitting down with him and looking at and
praising his wonderful equipment (stroking his ego) before you
can get anything accomplished. I'm convinced that shooting
these with a 4x5 or 8x10 is the only way to go. Big honkin
cameras on tripods are the only thing that get peoples attention
and set you apart from the Uncle Freds. Use the big-format
camera for just one group picture and then shoot the rest with
your pathetic OMs. Mental note: Get a new 4x5.
Corporate events, conventions, etc., are another animal. I work
closely with the organizers and art departments to get the best
possible views, access, and photographic opportunities. It
isn't unusual for me to be able to manipulate the overall
schedule a little bit to guarantee certain types of photographs.
Always know when awards are to be given out and make sure you
are positioned correctly when the time comes. Otherwise make
sure you have a big-honkin lens on a monopod to "be there" even
when you aren't there. I now shoot these almost exclusively
with the IS-3. Fuji 800 is pretty much the standard film here.
The OMs stay with me and loaded with slow, fine-grained film for
group shots and when I need the 24mm lens.
Now for weddings. Now that I have a 35mm lens again for the
OM's, I'm pretty much shooting just the 100/2.8 and 35/2.8 for
weddings. The 50/3.5 is awesome for the formals, but is TOO
sharp for bridal shots. The IS-3 is my "horizontals" camera and
the OM2S is setup for "verticals". Most wedding shots will be
vertical. Verticals outsell horizontals probably 4 to 1.
The key for most of these things is having the right equipment
and attitude. Equipment selection is VERY important. The lowly
XA is the best possible camera in some circumstances, but a 4x5
is more appropriate in others. After my last bout with medium
format, I'm not inclined to go with anything medium format
unless it is the most advanced techno-widget built. Twins and
Mamiya Press cameras may be technically very good cameras, but
they are also scary looking to the people being photographed.
The new autofocus 645 cameras are probably the best all-around
professional camera for these purposes.
Proper flash equipment is also critical. You don't need to haul
around thousands of dollars in studio strobes and backdrops, but
something "different" than what Uncle Fred has. This can be as
simple as a mini-softbox on your camera mounted flash. I would
recommend a flash bracket as it gives you horizontal/vertical
freedom and a reflector or diffuser of some form.
Attitude: I am hired to WORK at these events. As such, I
cannot be a participant in the event. Always, always, always be
the hired hand, never the recipient. A "working" mindset will
keep you alert and your head on the swivel. Always know what is
going on everywhere. If you are at a wedding, NEVER let the
bride get out of your sight. Know where she is at all times.
Photographic Talent: Frankly, with today's technology (come on,
OTF flash control is for brainless flash operation so let us not
get a superior attitude) all we have to do is drop the roll of
film in the camera and point and shoot. Nothing too scientific
about that. Even composing is forgivable with good cropping
later on. What is most important (and what I look for in
wedding photographers) is the ability to work with people and
get the final results in which the bride (and mothers) is happy
with. The best wedding photographer I've ever met could barely
even load her own film. She hired assistants to do the
technical stuff. She worked with two RB-67s and would swap
entire cameras with her assistant when she reached the end of a
roll. Even at that, they showed up with a half dozen film backs
already loaded.
Wedding photography is a LEARNED skillset. One must devour the
various books on the subject to lean about posing, lighting and
eticut. Things like knowing when it is proper for the bride to
have her ring on her finger and when it isn't. When is the veil
photographed. How to hold flowers, and which side the bride
stands during the formals. Tricks of the trade, like working
backwards--shoot the biggest group first and start subtracting
people and sending them on to the reception hall. Knowing the
customs of the various religious and ethnic sects is also
important. I wouldn't tackle another Jewish wedding without
serious study, but I can handle catholic and protestant weddings
in my sleep.
The hardest part of wedding photography for me (and I did have a
crash and burn at first) was learning the "rules". After my
first disaster it was at least five years before I tried again.
This time, I bought books, asked lots of questions and observed
several pros before doing it myself. I quickly developed my own
distinctive photographic style based on personal preference.
The books taught me valuable creative and management rules, but
the final execution is strictly my own style.
By my third wedding, I had a pretty good handle on things and
started to settle down a little. I worked with another
photographic company for a while and learned how to shoot on a
"budget" and how to manage people better. We eventually parted
ways because I was tired of doing the "Jerry Springer" weddings
and they were upset that my shots were too good for what the
customer was paying. I was also contract working at the time
and was gone Monday through Friday to places all over the world
and would be back in town just in time for a wedding and then
would fly back out on Sunday Afternoon. I wanted to relax with
my family for a few hours.
Wedding photography is a gut-wrenching affair. The stress level
is very high and the energy expended is great. If I had my
druthers, I'd never shoot one again.
But then, there is the money...
AG-Schnozz
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