Having been a marriage photographer for the previous fifteen years, I’ve seen my fair proportion of white wedding ceremony clothes, however earlier than specializing in weddings, I used to be lucky sufficient to realize a bit expertise within the style business, taking pictures for magazines, working backstage at style exhibits, and overlaying each London and Paris Style Weeks.

These early experiences in my profession, paired with a broader curiosity in documentary pictures, have meant that for a very long time I’ve wished to report the method of creating a marriage costume, from the design stage by means of to the marriage day itself.

Quick ahead to 2019, and my preliminary name with Emily and Lewis about their wedding ceremony pictures, and Emily occurred to say that her mom could be making her wedding ceremony costume for her. In fact, I noticed my alternative and requested in the event that they’d be fascinated with me documenting the method. It helped that each bride and groom are additionally extremely artistic and will see the potential within the challenge.

In addition to taking pictures between 30-40 weddings every year, I love to do these sorts of private initiatives now and again. Beforehand I’ve made portraits of the longest-married couple at every wedding ceremony I shot that specific yr, and I additionally did a challenge during which I photographed newly engaged {couples}, at one of many massive wedding ceremony festivals in London.

I see these utterly self-funded initiatives as a throwback to the kind of initiatives I might do at artwork school. I really feel it is vital to push myself creatively, with the shackles off from my regular wedding ceremony work, and I might encourage any skilled photographers who could also be studying this to do the identical.


From a technical perspective, I wished to strategy this specific challenge with an open thoughts, and with no preconceived concepts. I wished the challenge to evolve naturally in response to what I used to be photographing, and experiment with a spread of various cameras and methods. My solely constraints have been that I wished the challenge to be in black and white. I felt that this could deliver cohesion to the sequence as a complete, and I knew I wished to current the photographs in e-book type.

A lot of the challenge was shot digitally (extra in regards to the cameras I used beneath) however I additionally wished to return to taking pictures on movie and printing within the darkroom. I shot on Ilford Delta 3200 in order that there was a transparent distinction between the digital photographs and the grain of analog movie.

An vital a part of the challenge for me was the post-production. The challenge, and certainly the marriage itself, have been delayed by the COVID pandemic, and through my visits to {photograph} the costume being made, I noticed what an attention-grabbing household historical past there was, and the way this was made seen across the house. I wished to incorporate these components so as to add context to the work, but additionally to get away from the strict linear/chronological means during which documentary pictures is normally offered, and I wished to embrace picture manipulation too.

There are examples within the e-book of photomontage, photograms, and portray with developer resolution.


Inspiration for the challenge got here in lots of kinds, from the documentary work of photographers like Eve Arnold and William Klein to the creativity of Nick Knight and his influential SHOWstudio web site.

Eve Arnold was certainly one of my very earliest influences. I’ve all the time been struck by her compassion, consciousness, and sensitivity that comes by means of in her footage, and having been fortunate sufficient to have a few of my work featured on SHOWstudio, I’ve all the time adopted Nick Knight’s profession carefully, and have all the time been amazed by his willingness to experiment and push the medium of pictures.

One of many preliminary triggers for the challenge nonetheless was seeing Nick Waplington’s “Working Course of” exhibited on the Tate Gallery, during which Waplington had documented the preparation of Alexander McQueen’s Horn of Loads style assortment in 2009. I really like the range of Waplington’s apply.


All of the digital photographs within the e-book and nearly all of pictures from the marriage day have been made on my Sony A9, however it appears to me that with the developments in digital camera expertise of late, has additionally come a sort of predictability. I subsequently wished to introduce a component of likelihood and serendipity again into the method, which I believe goes hand in hand with the delayed gratification of taking pictures on movie, utilizing outdated lenses, and printing within the darkroom.

I shot with my grandfather’s outdated Zeiss Ikon SLR, which is the very first digital camera that launched me to pictures, and shot on a disposable digital camera and Polaroid.

I additionally wished to make it possible for I used my lovely giant format digital camera, a classic Ansco 4×5, which I imagine dates again to the 1950s. Working with giant format is a sluggish course of, and so there is just one very rigorously staged picture within the e-book. The unfavorable drum has been scanned to extract as a lot element and dynamic vary from the unfavorable as potential.

E book design and printing

I believe it is the ambition of each photographer to supply no less than one e-book of their profession, and I am definitely no totally different! I had underestimated simply how lengthy it might take although, and it was a steep studying curve, however finally very rewarding when a double-page unfold comes collectively.

I used to be clear from the outset that I did not need the e-book to resemble a marriage album. As an alternative, I wished to take my cue from the picture books and artist monographs that I’ve collected through the years. The method started by making 6×Four inch prints of every little thing I might shot, earlier than both assembling photographs collectively in Photoshop or placing them straight into Pixellu’s Sensible Albums design software program.

Some photographs have been ultimately dropped from the ultimate edit, earlier than making an A4 measurement maquette, and Queensberry, who printed the e-book, very kindly made take a look at prints that I used to be in a position to lay out throughout the ground, so as to work out the sequencing.

The ultimate e-book is a 14×10 inch portrait format e-book, printed on Queensberry’s Tintoretto paper which has an attractive watercolor texture to it.

In regards to the writer: David Weightman is a marriage photographer based mostly in Surrey, UK. Yow will discover extra of his work on his web site, Instagram, and Fb.


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