Jul 16, 2020
We all go into this strange old gig for different reasons, but never on that list is “to win xx award” (i’m pretty sure my couples don’t really give a shit about that stuff and nor should they). Regardless, it’s nice to be recognised by your peers as international wedding photographer of the year, and winning awards does help for visibility and for sharing of educational content that I enjoy putting a tonne of energy into.
So at the risk of compromising my desire to be a recluse artiste gnawing on my own fermenting dreadlocks (it turns out that celebrating the wins and actually talking about them is a necessary part of the capitalist empire we all find ourselves in), I thought i’d share some images judged at the International wedding photographer of the year (IWPOTY) competition last year, the same competition that i’m also totally rapt to be judging this year. It’s a ripper competition and has been doing tonnes to rebrand an industry that thanks to being associated with cheese and all that jazz, is generally the first thing folks think of when they muse “I wonder where all photographers go to die”.
For me it’s meant the most stupidly wild quests all over the planet, making stuff that matters for real humans.
Winning the analogue category is particularly special to me as i’ve got a huge love for shooting film, and as far as IWPOTY, have a tonne of respect for their judging panel and founder Luke, so it means a lot to be selected.
With this win I thought i’d share a selection of my entries across all the other categories, and I was fortunate to place as a finalist in nearly all categories.
Grandstand, grandstand, look at me me me, here we go.
Actually though, a special shoutout to all my bloody awesome couples who make this happen and (pre covid 19 anyhow) make me well aware i’ve stumbled onto one of the most bloody wonderful jobs on the planet.
I also love that I can look at all of these images and say they were made for them, and not for me, and that’s where it all starts and ends.
Thanks again to all the judges, and the IWPOTY founder Luke Simon who puts so much time and personal energy into making this happen, and sifting through the thousands of entries submitted from over 50 countries around the world.
Jul 10, 2020
Jun 28, 2020
Every once in a while at a wedding, you’re graced with a little moment where the thing happening in front of you, the environment itself, the weather, and the gear you’re using all come together in perfect harmony.
You can read more about being a film wedding photographer here.
Jun 15, 2020
For those with “can’t-let-go-of-the-past” syndrome, or beautiful pieces of engineering cut short before their prime? This is a little how and why I drag around gear that passed it’s use-by date half a century ago and why I consider myself a film wedding photographer.
For a brief moment there in the late 00’s, opportunistic young-things were meeting the cries of the old-guard lamenting “film is dead!” with “yes, i’ll take all that dead processing gear off your hands for free, thankyou very much”. All of the beautiful analogue film processing gear that had seen so much love, had been decommissioned and retired, before being snapped up by enthusiasts for a song.
As a result, more film-labs began to open than they did close, and now there has never been a better time to shoot analog at weddings.
Film has been a key part of my look and approach since I became a melbourne wedding photographer, and an ongoing reason why creative folks and even other wedding photographers book me – even if in some cases I just channel the look of film photos in my digital images.
In 2019, I was awarded the analogue international wedding photographer of the year award, and in this post I want to discuss why I shoot film, what it’s benefits are, and why you might consider the use of analogue film as part of your wedding coverage.
It slows you down, and costs you money. In a generation of excess, our freewheeling brains need to be reined in. Historical patterns show that the more Tik-Toks and short-form content (ie – catering to short attention spans) there is entering the arena, the more room is then created for long-form content, and things warranting pause and stillness, as we collectively look for a space to make us feel something again.
When something forces you to respond slowly and consider the cost, the by-product of that is that you give yourself to the medium more. Where there’s tonnes of advantages in firing off thousands of frames on digital, there’s just as many advantages to having the costly walls of constraint around us (constraint being the only true useful tool in creativity that continues to stand the test of time).
People throw the whole timeless thing around in association with analogue film, but I think that only really holds true for black and white (Tri-X) film.
Most colour stocks actually have their own distinct look and feel that, when processed by a modern lab, aren’t what I’d necessarily call timeless. I don’t say that in a bad way – but the timeless colour we’re perhaps used to, is more the Kodachrome, stuff from the 60’s-80’s that our eyes more closely align with timelessness.
The rich, punchy colours of beautifully over-exposed Portra film aren’t any more timeless than digital, and are actually very distinct in their own right.
The sheer variety of looks in analog film stocks, lenses, and camera bodies is staggering, and each link in the chain imparts it’s own little flavour on the end look of the image.
So for me, shooting analog film is less about timelessness, and more about variety.
In my own tests, shooting analogue film is an objectively better experience for the person in front of the camera – if for nothing else, because we’re slipping into a loss of generational memory of those old cameras: and so these crazy old things bring on a strange sense of removed nostalgia and wonder, simply because it’s assumed that they’re just mantlepiece decorations, rather than fully capable image-making machines.
Having someone use an archaic piece of engineering with all the romance of a past-craft makes them feel valued in a totally different way. Even if the whole shoot isn’t being done on film, having some gear in the bag to switch things up can completely change the tone of the shoot.
David Rees is a good point of reference for the question “can the intrinsic value of a thing be increased or amplified by wrapping some old-world artisan air of craftsmanship around it”.
Typically, there are two main approaches that a photographer will take when choosing to use film as well as digital during a shoot, and they are either hybrid shooting, or separatist shooting (I made that second label up, but I can’t think of another way to title it).
Hybrid film photography is when the photographer shoots analog film, but aims to have the feel and tonality of the images completely in tune with the digital coverage. Often the aim of the preset applied to the digital images is to have them look as close as possible to the film ones. In this way, hybrid shooting is a process-based approach to film photography, rather than an output based approach: which is to say that it’s used mainly to provide variety to the photographer, rather than to the couple. This is not how I shoot film.
Separatist shooting is when the differences in the two mediums are celebrated, and no effort is made to create consistency between the digital images and the analogue images, meaning that the photographer gets to enjoy the process of shooting with different cameras, as well as providing something unique to the couple, and extra variety in the images they receive. This is how I choose to shoot film.
Separatist shooting is my preferred approach, and this is why: over the last 100 years, we’ve had hundreds of beautiful, differing formats used to create images. Different analogue film-stocks, and different lenses that all interpret light and render a scene, differently. I think those differences should be celebrated. It also keeps me more entertained pushing to find the deeper uniqueness of a particular format, rather than agonising over getting a perfect match between analog and digital, which for me, defeats the purpose of enjoying analog film as a medium.
Mixing things up is probably the number one reason why I shoot analogue film at weddings.
I don’t necessarily think consistency is overrated, but I do think surprise and intrigue is underrated. And as a film wedding photographer, there’s no greater joy than delivering a set of images where couples get the chance to swoon over that sprinkle of images that seem to just have something… else, to them.
Sure, I could go into the all the impractical bits of it, but for me, they’re joys. The only prolonged implications of shooting this stuff, is that it costs. It’s easy enough to throw in a roll here and there, but with analogue film and developing costs, we’re looking at about $70 for a couple of rolls – or about $3 per shot.
That’s fine when it’s a small part of the shoot, but a full-day analog wedding shooting only film can run past $1500 in film and developing costs alone very quickly, and that’s where it has to be considered as an add-on, rather than something that can be thrown in.
If you’re considering having your wedding photographed on analog film, I can recommend a bunch of ways in which it can be approached: whether having your entire wedding photographed on film such as Lil and Jake here, or doing what I do much of the time, when I detect that the idea sparks joy: bringing along some weird, wonderful gadgets, and making some images on them over the course of the day.
If you like, you can see some of what’s in my camera bag over at Shotkit, although it’s in need of an update (i’m pretty sure all the kit there hasn’t survived my anarchist hands for half a decade).
The poor-mans Rolleiflex, this little beauty is quiet, a marvel of engineering, dream to look at, and a pleasure to carry around.
This is my “good afternoon, i’m making some serious work” camera. A little heavier, a lot louder, but due to having an enormous mirror inside it, what you see through the ground-glass is what you get: whereas with a Twin Lens Reflex (TLR) camera, there might be a very slight difference in what you end up with.
The grand-daddy of common press-cameras in the 1950’s. Extremely portable, lightweight, invites curiosity, and the looks of it alone are good enough reason to be a film wedding photographer.
If I had to take one to a desert island, it would be the Yashica. If I got to take a tripod too, it would be the Hasselblad. My favourite film stocks are Kodak Portra 400 and Kodak Tri-X, although these days i’m taking a leaning towards the rich colours of Ektar.
If you’d like me to shoot some analogue film at your wedding, you can connect with me here or on instagram, and maybe for a doubke-whammy of awesome, let’s get our analogue on at one of the best alternative wedding venues in Melbourne.
For more of my film-only work, you can follow my personal account here.
If you like this, check out more black and white wedding photos.
Mar 24, 2019
Head on my Melbourne wedding photographer instagram to see updates on weddings photographed all around the world, and in and around Melbourne. From Immerse Yarra Valley to Rupert on Rupert, Gather and Tailor and everything in between (if you haven’t picked a venue yet, maybe my post on the best melbourne wedding photo locations might help), I have the beautiful honour of documenting love and ceremony all over the planet (and Australia).
Head to my instagram to keep up to date with what i’ve been photographing and where, here: Briars Atlas Instagram.