You gotta give some wedding shooters points for ambition.
The getaway car. As a wedding photographer, the first thing that comes to your mind when you hear those words is probably not Bugsy or Babyface automotively evading law enforcement, but the bride and groom heading off into the horizon on the way to their honeymoon.
Hold that thought as as we offer you a quick pause in the middle of your day – a frothy diversion that will be over in no time, allowing you to get back to editing the 394th image from last week’s session.
Of all the iconic shots generally featured in a wedding shoot, the very, very, very last ones would be the shots of the getaway car slipping away, aluminum cans in tow, the words “just married” inscribed on the rear windshield in shoe polish or something. You’ve basically wrapped up the wedding shoot when you snap off a few shots of the bridemobile screeching off into the sunset, and you say, “Well, that’s done.”
Maybe we should pause for a moment to reflect on two different philosophies of wedding photography. The first, and (we’re guessing) the dominant one, says that there’s a more-or-less clearly defined number of wedding shots that you take. You nail a few good ones in each of a few dozen clearly-understood categories, ending with the getaway car doing what getaway cars do best—getting away—and then it’s all over but the editing.
But there’s a second, less popular school of thought, one whose adherents are passionate and inflexible in their commitment to it. This approach involves taking approximately seventeen grillion
shots of everything imaginable that’s even remotely connected to the wedding, and not stepping back when the getaway car tries to get away. The photographers we now speak of will follow the getaway car, like paparazzi, shooting the blissful couple’s progress to their destination. Then a photographer of this school of thought, having booked a room in the same resort where the couple are passing their honeymoon, continues to shoot them… lounging by the pool, touring about the city, dining by candlelight… even after repeated polite explanations that the photographer has done a marvelous job, thank you, and all of that is over now, and he can go home, great job dude, thanks so much, we’re done, okay, go, shoo! In some cases, a photographer espousing this philosophy may round out his shoot with some deeply evocative images of law enforcement at work, and an inside look at America’s prison system.
Don’t make us bet on it, but we’re inclined to guess that the photographer represented in this clip is a prime representative of the second school of thought that we just set forth. Ya think?
As Michael Zhang points out in his report on this enterprising fellow, we may be looking at a Darwin Award in the offing.