Robert Hughes Photography

"What Is Wedding Photojournalism?"

(Robert created the term "Introspective Commentary")

"The Digitized Decisive Moment"

(Is a "digitized decisive moment" any less decisive than the "decisive moment?"

"How To Choose Your Wedding Photographer"

(International Bridal Magazine "I DO" Interviews Robert H. Hughes)

"Beware of Amateurs with Digital Cameras!"

(Horror Stories from the Brides Themselves)

By Robert H. Hughes

Is Photojournalism, Wedding or otherwise, something we can define? Is it more than just taking many pictures, hoping to obtain one great picture? How are great Photojournalism pictures seen and placed on film? What is the mystique?

First of all, Photojournalism is a particular type of approach or mindset. It reflects a personal method in which to express visually. Photographers who choose to work in this manner adopt a policy not to interfere with the action. They believe that they should be unobtrusive, so much so, that at the moment of the actual picture, they become invisible! They believe that they should not interrupt! This is in direct contrast to other types of photographic workers whose goal it is to direct and influence the final visual outcome.

One of the greatest photographic books of all time is "The Decisive Moment" by Henri-Cartier Bresson. In this book, all Bresson's pictures are "slice of life," unrehearsed pictures that probably define the exact moment when the shutter froze life and defined it as no one had ever done before. Bresson was invisible and no one ever even saw him work. Yet his work serves as the ultimate example of Photojournalism.

The Photojournalistic approach will attempt to answer the who, what, where, why and how questions. I will add "with what feelings and emotions," but making note that this addition is not shared by all practitioners of Photojournalism.

I personally like to think of my approach to Photojournalism as a "type" of reportage that is somewhat biased with my own personal introspective commentary. Total objectivity is very hard to achieve. For example; I feel that any title, caption or story immediately produces bias. The written word begins to introduce the influence of subjectivity. Bias on the part of the commentator is inserted into the picture. Thus, the picture does not "stand alone." The picture has written accompaniment influencing it to whatever strategy or personal point of view that the writer has.

The difference in my approach is that I state from the beginning that I intend to produce work that is journalistic in nature, but introspectively interpreted through my own personal experience, creativity and talents. In short, I feel that I am an "Introspective Photographic Commentator!"

There I have said it: " Introspective Photographic Commentator "

It is not easy to come to this conclusion. This is a matter in which I have spent considerable time and energy to define. The work I do is extremely important not only to me but to my potential clients as well. It is not enough to say that I am a photographer. It is very hard to define myself. I am a visual person and words are so inadequate!

This is different than a Photojournalistic Photographer who simply has a goal of not posing. Some Photojournalistic photographers choose this course because they do not interact well with people. Other Photojournalistic types has not taken time to think about philosophy. Thus they may have no real clear mindset or point of view.

I believe that the time of being a see-all, know-all, be-all, do-all photographer is nearing an end. Photographers would find themselves in a more effective position to serve their clients, by first knowing what it is that they excel in and what their personal point of view is. That is not easy in a world where it easier to sit on the fence and be a general practitioner. Remember this: Never in history were great Photographers rewarded for sitting on the fence. The Photographers who were considered great, took a chance. They were very passionate about what they produced!

Here are the Photo &A questions we discussed the other day. As you know, your audience of readers consists almost entirely of brides-to-be.

Q. How do you decide on the balance between posed wedding photographs and just capturing the moment? I know that the former looks staged and the latter is "photojournalistic." I really want both. Do I just leave everything up to the photographer, or should I provide a basic shot list?

RH: As I am Photojournalistic by nature, I request from the Bride and Groom a small list of images that would be considered “posed.” These are almost always what I shall term “Family Updates.” I also accept a list of any images that we may not be aware of. (i.e. Grandma is parachuting in from Vegas and plans to land on the roof of the reception at midnight.) This is a stretch, but you see what I mean?

You would be surprised to learn that many Photographers think that by coaxing their clients into various “cute” poses (Coaxed Candids) they are producing Photojournalism. Some believe that “Grainy” film is Photojournalism. Still others think that “Tilted Camera Angles,” is Photojournalism.

A Photojournalist will usually record many more images than a Traditional Photographer. A Photojournalist has an intuitive mindset to “shoot now” and “analyze later.” Also, the Photojournalist can’t wait to get those great, fun, festive reception pictures. Many Traditional Photographers work from a “Punch List” and therefore have a “Formula Approach.” To a Traditional Photographer, pictures outside the “Punch List” may not be seen, felt, or easily understood, let alone committed to imagery.

A litmus test for Photojournalism is fairly simple. Ask yourself these questions;

· Does the image represent Who, What, Where and Why with feelings and emotion?

A Professional Photojournalist will see and feel the “Personality” of each event. No two Weddings are alike! It is those moments when the “real” images reveal themselves.

Q. How has the digital revolution affected wedding photography? Is there anything I need to know, or are there choices that I need to make before the wedding day? I don't have a clue.

RH: This question could turn into the longest and most complex discussion of this entire session. The information regarding the benefits of Digital Technology is wildly misunderstood. The learning curve for digital is steep. Many “old-school” Photographers, who are still using film, have not been willing to do what is necessary to understand digital technology. Thus, these image makers will statements to leave the impression that digital is “not there yet!” They may even go so far as to sell themselves to the client by stating that anything other than Film is inferior.

There is so much to learn and understand about Digital Technology. An increased awareness of exposure and such things as “Overall Scene Brightness Ratios” are a must! There are other “must-know,” issues of Color Space, Color Management, ICC Profiles, Histograms, White Balance, Color Temperature, and Color Corrections … the list goes on.

Let’s cut to the chase. If an image-maker has very “high-end” digital equipment AND has put the hours of hard work necessary to insure and achieve digital success, then the digital arena can offer many benefits. Specific benefits of Digital imaging include and are not limited to, Improved Quality, Archival Color, Multi-Faceted Delivery Systems, Speed, easy access to File Manipulation, Savings in Retouching and much more.

Conclusion: Whether a Photographer chooses to use Film or Digital is not really the question. What prospective clients should be most interested in is whether or not the Photographer knows and understands the profession of image making. Bottom Line, think more about commissioning a professional who demonstrates Talent, Knowledge and Creativity and less about whether the image maker uses Film or Digital.

Q. What about color vs. black and white photos? Should I pick one or the other, or mix them? Is black and white artier? Which holds up better over the years?

RH: Black and White is always an interesting topic. Traditional Black and White darkroom practitioners will always love Film, Paper and Chemicals. The latest trend toward the Digital Black and White darkroom is just as interesting in a different way. Both are valid and can produce results, which are beautiful, have a wide range of tones and are considered Archival.

The issues and desires of Black and White Imaging should be included in a “wedding-chat” discussion. Black and White can be produced in a number of ways. The Traditional Black and White darkroom “Silver Gelatin” prints are produced by hand and are labor intensive. These “fine-art” type prints will probably be more expensive.

Similar to “fine-art” darkroom prints are prints, which are converted digitally to a file and then printed by a Black and White Quad-Tone System. These prints, converted and printed properly, are labor intensive as well.

Shortcuts can be made in either the traditional or digital process. When practitioners take shortcuts, quality will suffer. Some Image-makers will do things to cut costs, but be aware that cutting costs usually means that quality suffers.

Q. What is the best way to talk to a photographer about the kind of wedding photos the bride and groom want? What are the most important considerations?

Posed, or Traditional images are produced by a Photographer, who verbally communicates instructions or commands to the client. These pictures may be produced in front of a background, by the light of a window and/or other various backgrounds and lighting techniques.

Photojournalistic images are created “on-the-fly,” without interruption or correction. Many of today’s Brides and Grooms do not wish to be manipulated or interrupted on the day of the wedding. This is important consideration when choosing the Photographer. If the Photographer displays work which is posed, you can count on spending time creating these “traditional” posed pictures. Creating posed images may mean that the Bride and Groom spends more time with the Photographer and less time with family, friends and guests.

The answer here lies within the needs, wants and desires of the potential client. Is Photojournalistic or Traditional a concern? I would recommend commissioning the most knowledgeable and creative Photographer one could afford.

Q. How does a bride or groom determine if a photographer is qualified to shoot a wedding? How important is it that the bride and groom actually like the photographer?

RH: You definitely want a Professional Image-Maker to create wedding images. Successful mastery of Lighting, Exposure, Color Balance, Mindsets, Talent, Experience and Creativity, is a must. It is a definite bonus to “gel” with the Photographer, especially if you will be doing quite a bit of “posed” imagery.

The Wedding Photographer will do Portraits, Still Life, Details, Wide Angle, Photojournalistic, Candid and Commercial images. In short, the wedding Photographer should be well rounded, and must understand all types of photographic techniques.

The Photographer must be ready to overcome all lighting obstacles. The Photographer should have a crew or staff that helps on the day of the wedding. Working in this manner helps alleviate stress and allows the Photographer the freedom to work photographically. Multiple Photographers are very helpful as they can capture different locations at the same time.

Also, as a qualification, you can seek Photographers who have earned titles like “Master Photographer” (M. Photog.) There are other titles such as MEI (Master of Electronic Imaging), CR., (Craftsman) etc. Photographers who have earned these titles have had to pass exhausting written examinations and had their images score in the “Blue Ribbon” category in International Print Competitions.

Earned titles and awards can be an indication that the Photographer has demonstrated a certified “professional-level” working knowledge of lighting, theory and composition.

Q. Can you address cost in a general way? What runs up the tab? What are some legitimate reasons to spend more money on photography? I'm only getting married once, and I want to do it right. These are the only photos I will have for the rest of my life.

RH: I believe that when you come right down to it, most clients are commissioning CREATIVITY and TALENT! Put another way; clients do not hire cameras, paper, film, and pixels! Clients make a decision on whom to commission, based on professionals who represent and display talent, experience, creativity and knowledge.

If a potential client does choose a Photojournalistic Photographer, realize that since the Photographer does not interrupt and works quietly from the shadows, he or she will take many more Photographs which runs up labor cost at the production end.

Other factors in determining cost could be the amount of education that a Photographer has. For example, a Master Photographer usually costs more than a non-Master Photographer.

A photographer who is able to display a high degree of Talent, Quality and Creativity is worth more and always will be.

Today, more than ever, extra care must be given when commissioning a Wedding Photographer.

I am dumfounded by people who purchase a digital camera, slap a lens on it and believe themselves to be a Professional-level Photographer. They believe this because they can see an image on the LCD screen. This line of reasoning is dangerous!

Does anybody remember the days when there was a trend for the Bride and Groom to purchase disposable cameras and placed them on tables for guests? Why did this not work? These pictures, taken by “well-meaning,” guests, friends and family, were overexposed, underexposed, over flashed, poorly composed and in general, meaningless to the Bride and Groom. Thankfully, this trend did not last!

Enter the well-meaning “digital camera owner” friend, guest or family member!

One cannot simply purchase a camera, slap a lens on it and consider themselves to work at a professional level! If it were that easy, no one would have ever needed a Professional Photographer!

"PHOTOJOURNALIST’S R US"

People often make the fatal mistake of believing that Photojournalistic practitioners are simply “snapping” away at everything. This is far from the truth!

The Life Magazine “staff” Photojournalists, like Eugene Smith, had a complete understanding of the Photographic process! They knew f-stops and shutter-speeds as well as lighting and every other issue connected to the traditional darkroom. If short, they knew the entire process.

Professional Photojournalistic practitioners have an extensive understanding of every aspect of their profession. This includes Materials, Lighting, Theory, and Creativity. They display a high degree of sensitivity to who, where, what, why and with which feelings and emotions. They also understand how the scene translates from the “real world” to film or sensor.

Just because an image shows up on the back of a digital camera, does not mean that it is an image that is even usable. You would be shocked to learn how many digital images are not exposed enough to have proper detail in the highlight and shadow areas. The notion that digital images “snapped” by a “well-meaning wanna-be,” are even close to being focused properly, produced in the appropriate Color Space, White Balanced properly, Sharpened correctly or had the appropriate Noise reduction strategy applied, is the equivalent of playing “Russian Roulette.”

Without a complete knowledge of the digital arena, which includes care of CCD sensors, understanding issues of resolution and how it affects output, ICC Profiles, Color Management, System Calibration, File Formats, White Balance and Kelvin translations, producing meaningful digital images is very difficult.

If a decisive moment is truly decisive, could it be considered a "digitized decisive moment?" Is a "digitized decisive moment" any less decisive than the "decisive moment?" Is a "digitized moment" somehow less significant or any less important?

Is it the transitions from original vision to how lens optics alter and interpret through traditional photographic methods that intrigue us? If so, why do those words, "alter" and "interpret" sound so much like some type of digital maneuver? Is there an underlying fear that the digitized moment operator has no choice in operating?

Maybe what is on trial is the interpretation of the difference between the "decisive moment" and the "digitized moment." The decisive question is whether digital data is decidedly different than that of analog data.

The law of "separatism" leads us to conclude that a "byte" is not a "grain." My question is this: Can a byte or group of bytes be considered decisive?

Where does that nagging, annoying thought that the "byte" is a prime candidate for the old "bait and switcheroo" con, come from? Do we feel that a digital image has already been manipulated and is now manipulating us? Maybe that's it! When confronted by a byte we feel uncommonly vulnerable.

Gene Smith, possibly the greatest "Life Magazine" photographic reporter of all time,

manipulated his images in the traditional darkroom and passed them off as "reality." Whether this was right or wrong, the point is that the possibility of presenting fact as fiction has always been a fact!

Robert Hughes Photography Philosophy & Insight

By Robert H. Hughes

There I have said it: " Introspective Photographic Commentator "

"PHOTOJOURNALIST’S R US"