Unobtrusive. It’s a popular word used by many wedding photographers at the moment – but what does it actually mean? I prefer the dictionary definition:

un·ob·tru·sive
adjective / 

Not conspicuous or attracting attention

A photographer can’t truthfully claim to be unobtrusive if a sizeable proportion of their images have people looking straight into the camera. That’s called ‘attracting attention’. And it’s the easiest thing in the world to prompt someone to look at the camera.

For me, the imagination lies in catching moments without the subjects being aware.

So next time you see the words “relaxed, unobtrusive” – have a look at the photographs in question and see for yourself if the second part of that is really true.

Here’s a favourite moment from one of my recent weddings. Mary (pictured centre) and the bride Joanne were very close as Joanne grew up. This was the moment when Joanne thanked her in front of everyone during the speeches and presented her with a big bouquet of flowers. I just loved her emotional reaction as she brought her hands up to her face!

I build up a series of visual impressions as I go through a wedding and during the day I always have several images imprinted in my instant memory as I go along. Two photographs (below) had really stood out for me during my wedding last week.

Later in the day, once everything had quietened down a little, I asked the bride Louisa what was her favourite moment from the day. So naturally, I was delighted when she told me it was the same moment – when she turned into the aisle and saw her groom!

Whilst some photographs are previsualised, others are purely reactive.

As she paused to speak, the other flowergirl whispered something – I wonder what she said?

The challenge for the documentary wedding photographer is in staying invisible and in being at the right place at the right time so that when a moment happens you have the opportunity to capture it. Then, it’s a question of composition and of timing the exact moment you press the shutter release. Often, you have to previsualise a photograph before it appears.

This is an example of just such an image. I’d initially seen it on the way upstairs to photograph the fitting of the brides dress and veil. Whilst these were all lovely pictures, the image I was really hoping for was this one.

For it to materialise, on the way back down I knew that the hallway would need to be clear from bridesmaids, flowergirls and parents and that the bride would need to stop at the mirror.

Moments later that’s exactly what happened – with the hallway quiet, Nicola stopped momentarily to check her veil and I took two, maybe three frames.

Seconds later she was in the car and on her way to the church!

This weeks portfolio image comes from a wedding I covered in London last Saturday. The scene is set at the signing of the register at the back of the church with the two Mums as witnesses.

The signing of the register is an important part of the wedding day. Strangely, in Ireland, I’m often told by Ministers not to photograph this until it is all finished. I suppose most photographers like to interfere and show the subjects all looking straight into the camera. Yet part of the challenge of shooting documentary photography is to try and get pictures without interfering or having subjects ‘camera aware’.

In terms of the lighting here, I had strong directional window light coming in from behind the bride, groom and the two Mums. With a quick exposure compensation dialled in to the camera I moved into position along the back pew of the church. Then it was a case of just waiting for the right moment.

With the bride still signing the register the groom’s Mum touched her son’s hand and he smiled.

And that was my moment!

I find it’s just such a lovely genuine spark of time and the background/foreground interest really helps tell the story.

I’ll be posting more images from this wedding later this week.

“In order to “give a meaning” to the world, one has to feel oneself involved in what you frame through the viewfinder. This attitude requires concentration, a discipline of mind, sensitivity, and a sense of geometry. It is by great economy of means that one arrives at simplicity of expression. One must always take photos with the greatest respect for the subject and for oneself.” – Henri Cartier-Bresson

I love moments like this where background and foreground elements come together in the frame to create a picture.

The flowergirl at this wedding reception was momentarily lost in her thoughts and unknowingly mirroring the pose of the lady in the painting behind her. My heart just sang when I saw this.

The challenge for me was to get the photograph without being noticed and to capture it before she changed her pose and expression. I had maybe one or two seconds before the moment had gone.

It’s a great example of how, where photographic observation is concerned, chance favours the prepared mind.