We're a little bit (well a lot actually!) behind with the blogging at the moment. There are a couple of reasons for this. Firstly we are right in the middle of what we call our "silly season". Not only are we busy photographing weddings but also in the throes of album designs and orders and we are absolutely inundated with wedding photography enquiries - some for this year but mostly for next year.

I can honestly say we've never had so many enquiries at this time of year. I think some couples have sadly been disappointed with their wedding photography in the last couple of years and their friends, eager not to find themselves in the same situation are seeking out good and skillful photographers.

So I've been thinking about how we photograph weddings and including some more information about this in our literature for next year.

To us a wedding is all about the love between two people (call me mushy if you like but it's true). By this I don't just mean the bride and groom. It could be the bride and her father - weddings can be incredibly emotional for dads as they in effect pass over the care of their daughter to another man or it could be the pride and love between mum and dad as their children start a new path in their life, or could simply be the excitement bubbling over in little flower girls and page boys as they rush to pick up the confetti your guests have just thrown. Whoever it is we aim to capture and document that special moment, that special look or that special touch to enable you to relive the moment forever.

Photographing a wedding is a huge responsibility - and not one to be taken lightly either. It's not as if you can repeat the day afterwards is it? We only get one shot (or two in our case if you count Andy and myself!) at getting it right and being in the right place at the right time.

We've heard this year of more couples than ever before relying on photographs from their guests or asking a "talented" friend or relative to photograph their wedding. To be fair some of the pictures we've seen are not bad at all and to the bride and groom they must be extra special because of who it was who took them. But we have also, sadly, had more than ever before couples approach us with photographs which are unusable in their native state. We have been asked "Can you fix these pictures?" or "Can you make an album like the ones you offer with these pictures please? We don't know what to do with them." The short answer is "no" - we can't. In addition to this is it fair to ask a relative to have the responsibility of photographing your wedding? It's a massive amount of pressure and the chances are it will impede them from enjoying the day fully with you. What if something goes wrong and the pictures don't come out? How bad will your relative feel?

You may think this is an unlikely scenario but it happens to the best of us. I will never forget, years ago my sister was in a charity raft race down the River Ouse. It was a fancy dress race and she was dressed up as a red indian Squaw girl, little skimpy suede outfit, face painted, feathers in her hair - the lot. My husband at the time ran all the way along the river bank, at times hanging out of trees taking her photograph as she paddled her Indian Canoe along the river. We had some amazing pictures - or so we thought. When we came to rewind the film (this was an SLR before the event of digital SLR's) it didn't sound right. I had not put the film in correctly. To this day she has never quite forgiven me (or my ex husband come to that since he went to such effort to get his shots) for getting it wrong. Imagine if that had been her wedding day and I was her only photographer!

Strange things are happening in the wedding photography business at the moment. I believe that this year will see many would be photographers fall at the first hurdle. Already I have heard, via a photographer friend of mine that she has been approached by two different couples in her area (Lancashire) asking for help. Not only has the photographer (two different ones) stopped replying to any emails/phone calls or other communication but they have also seemingly disappeared - taking with them all of the unhappy couples money. This is before the wedding has taken place. In both instances the photographers they booked were not members of Professional Photography bodies (namely the MPA (Master Photographers Association) or the BIPP (British Institute of Professional Photographers)) - via whom there would have been some recourse. Sadly for these couples it is unlikely that they will ever see their money again.

Then we have the email which dropped into our inbox last week from a very well-known, successful and respected photographer in our area. It seems they have overbooked (deliberately as it's more money for them) many of the weekends this summer. The email had been sent to several other photographers besides ourselves. They wanted to know if we would like to photograph some of their weddings for them. Some were for one main photographer to work on their own, others for a couple such as Andy and myself and then they were looking for competent second shooters.

The couples who have booked will have seen a portfolio of work and booked on the strength of that portfolio thinking they have booked a very good photographer. The photographer who turns up to shoot their wedding on the day however will not be the author of the work they have seen and think they have booked. It's wrong - very wrong. It is one thing to book a wedding for a couple whilst explaining to them that their photographer will be allocated to them nearer the time but quite another to show them a portfolio of work which they believe will be the one photographing their wedding if this may not always be the case. It should be made clear from the outset.

So a few words of wisdom when booking a photographer for your wedding:

* Always ask to see complete weddings and albums and check that the work you are viewing is from the photographer who will be shooting your wedding.
* Where possible book a photographer who is a qualified member of the MPA or BIPP.
* Check the photographer carries both Professional Indemnity Insurance and Public Liability Insurance.
* Check the photographer has adequate back up gear should any of his cameras either fail or get broken (many don't).
* Take out independent wedding insurance and make sure it covers you for the possible failure of a supplier.
* Choose someone who's work you love and with whom you "click".

If you have found a wedding photographer whose work you absolutely love then get them booked now before someone else secures your date. Judging by the way our diary is filling up many couples stand to be disappointed next year. From all your expense on your wedding day, the cake, flowers, cars and venue they only last that one day. The photography will be your only true lasting investment from your wedding and perhaps this is why you will find it being one of the most expensive.

A photographer friend told me the other day that he had attended a wedding where the flowers alone had cost £4000. He had been paid £2500 to stay until the beginning of the wedding breakfast and to include the speeches. To have him there for the evening to include the first dance would have cost the couple an additional £450. They chose not to book him for this and said on the day that one of their relatives was going to photograph that part of the day for them. Their album will not tell the story of the full day and the photographs from the relatives, no matter how good they are will not even come close to matching those my friend (who is recognised as being one of the top photo journalistic photographers in the UK) would have taken. He was, by coincidence, at the same venue the following day. The £4000 flowers were in the bin behind the hotel kitchens as he drove up. The couple had forgotten them, the venue staff were not allowed to take them home and the couple who's wedding it was that day did not wish to see any flowers from another wedding. Nevermind - he made sure he had taken a picture of them for the couple to remember them by.

About 4 years ago now I had the pleasure of interviewing and writing about for a photography magazine one of the leading wedding photographers in the world. His name is Yervant and he comes from Australia. He was over in the UK conducting a tour with seminars arranged all over England.

His wise words about albums, editing, album design and processing will never leave me:

"Sharon Photoshop can make a good photo great but it can't make a bad photo good."

We were talking about album design and Photoshop at the time as his signature style had some photo shop applied along the way. This leads me nicely into my thoughts for this post. It's all about albums, album design and what's out there.

What prompted me to write the post in the first place was the recent boasting of quite a well-known Yorkshire wedding photographer that each year he is approached by 5 or 6 couples requesting that he produces an album for them from the images they have on printable CD from their photographer. He stated that he quotes £1500 to each couple who asks for producing an album for them using his design skills. I have no problem with that either. If people want his design and an album their existing photographer can't or won't deliver either then it's good for both sides that this is on offer.

What I do have an issue with however is his boast that someone had recently approached him with a request that he produce an album for them from the work of a photographer whose photography they loved but not their albums. He stated that when he found out who it was he wouldn't touch it and that the bride to be had become very upset at this. He didn't state why he wouldn't touch it - was it because the photographers work had too much of a certain "look" to it i.e. was too stylised and too far away from his own style for him to be able to do it justice or what? The implication I took from what he was saying however was that he thought that the photographer concerned did not work to a high enough standard for him to make anything decent from the images. This was said in front of a lot of other photographers - some of whom I believe regularily pass work to the photographer concerned.

It could be sour grapes because he lost a booking to the other photographers - who knows? There is one thing which should be considered. The couple concerned loved the photography and style of the photographers they decided to book and found them nice people to consider having around on their wedding day. They preferred the albums and design of photographer "B". At the end of the day which should take priority and be most important? There is no doubt about the answer to this question in my mind - great photography should win every time! With great photography you at least have the chance of making a great album even if you ask your photographer to consider getting a quote for your chosen album manufacturer if you prefer it over the ones they showed you. With great albums but average photography then you may come unstuck. As the saying goes: "You can't make a silk purse from a sow's ear."

Sharon Malone, Wedding Photographer In Yorkshire

Allerton Castle - what a stunning venue for a wedding! It's literally on our doorstep too only 5 minutes down the road from our studio. With its magnificent Great Hall, stained glass windows, beautiful ballroom, elegant drawing-room, fabulous staircase, gothic looking interior and exterior it always makes for great pictures whether you are outside in the summer in the beautiful memorial gardens or inside in winter with the blazing log fire.

It's also one of the few venues around North Yorkshire where you are guaranteed "exclusive use" without having to pay a massive supplement.

For Paul and Julie's recent wedding celebrations at Allerton Castle we were mostly indoors. Even though it has two magnificent chandeliers at the base of the staircase the interior of the castle is often quite dark - especially if it happens to be the middle of winter! That gives us plenty of opportunities to get our creative lighting gear out and to introduce some light to even the darkest of nooks and crannies which in turn makes for great photos.

Our latest "thing" (because we're always moving on with ideas and new "things" to try) is to play with the shadows that the lights we introduce can create. One of Paul and Julie's favourite pictures from the day does just that. Whilst we're talking about being creative - the "lads" at Allerton Castle nearly always want pictures taken of them playing billiards at some stage during the day. Paul was no exception. In Pauls' case we shot some pictures of him and "the lads" before the ceremony as Julie was with the girls getting ready. We took the time to do something a little different with both the billiards and the rings.

The band at the wedding were excellent. The lead singer was very confident in himself and thought that he was noticed by the ladies I think (if you know what I'm saying girls!). I thought the Saxophonist was pretty amazing too though and so decided to take a shot which I felt represented them both - so I waited for my moment and framed the lead singer in the shape of the neck of the Saxophone. I like the picture for something a bit different - see what you think!

There's a lot of photographers listed on the Allerton Castle website, we suspect it's hard for couples to choose between them - especially since most of them offer the same albums and prices. Hopefully our images set the standard for what you can expect to see from a wedding at such a beautiful venue.

Lizzie-Anne's first studio photo shoot. We don't very often get to show pictures like this because the parents often ask us to keep them private, so it makes a nice change to show how creatively we photograph newborns. Hope you like them!

For those who would like to know a session like this normally takes around 2 - 3 hours and requires some patience. Expect to feed your baby whilst you are with us (we have a separate room for privacy). Expect dad's to take their shirt off at some stage - there is nothing more emotive than flesh against flesh in these pictures - as I'm sure you will agree.

A session like this costs £95 for the studio time and editing (no picutres included) a bump session can be added for £50 and after the two there is an option to purchase a special "Bump to Baby and Beyond" acrylic which has 4 x 4" pictures on it for only £100.

We discourage older siblings from attending the newborn session because it takes some time for the photos to be taken as we are working to the baby's schedule and not ours. We find that under 5's often get over excited and bored during this time which in turn has a knock on effect to the session and parents can find this stressful. We are more than happy to arrange a further photo shoot to include siblings (cost £50 for the session) and would suggest that this take place from 3 months onwards. Pictures from the sibling session can be included in the acrylic Bump to Baby frame if you wish.

The full session pictures can be seen here: Lizzie-Anne 4 days old.

Well the last few weeks have certainly had their ups and downs for us but yesterday saw us at an all time high.

The reason was the safe arrival of our first grand child (yes, I know - we're far too young to be grandparents!)Lizzie-Anne. She made her entrance into the world at 09.42am at Harrogate District Hospital weighing in at 8lbs 14 1/2 - no mean feat for our daughter Natalie who is petite.

Here are some of the first photos of our precious little bundle:

I sometimes dip in and out of the bridal forums – I like to keep totally in touch with the current trends and way of thinking of our brides. It helps to make me a better photographer I think because for me in order to do that I need to almost be inside my brides head if this makes sense.

Think the way she is thinking, see the things she is seeing, pre-empt what she is about to do so I’m in the right place at the right time and know when to ask for pictures and when to just keep quiet and go about the job of documenting the day as it unfolds.

So, knowing what the latest fad or craze is for table decorations for example ensures that when my couple have decorated their tables that way I don’t miss the all important details in the shots I take.

Equally when I am putting together my marketing materials it’s good to know what’s “in” and what’s “out” – so if I want to make my wedding packs look like and be made from pocket folds then my brides will identify with them because they may be considering these for their invitations. It’s good to keep in touch.

It’s also good to keep in touch and clued up on how the wedding photography market is perceived by most brides to be (apologies to any grooms to be who may be reading this post for referring to the brides but I see very few grooms on the forums and deal with very few grooms at the enquiry stage).

So I was a little sad, if not surprised, to see one post this week on one of the most popular forums made by a desperate bride to be who had that morning received through the post her wedding photography “deposit” back from her photographer along with an accompanying letter stating that due to the recession etc. she was ceasing the business.

The bride had gone on to say that for £450 she was getting an album and a printable CD along with all day photography. The problem here is that whilst the photographer concerned “probably” had another job during the week from which she subsidised her weekend photography long term this can not be sustained. In short there is not only no profit in that kind of pricing – worse than that – each time that photographer offered such a package, whether she realised it or not, she is making a loss.

Not long ago one of the few reasonably priced UK album manufacturers went bust. It had a massive knock on effect throughout the wedding photography industry. Not only could photographers who offered cheaper packages not get the promised albums the replacement ones they could get cost more. So where this lady photographer may have thought she could price the wedding at £450, knowing she could obtain a “cheap” album for her client once this company went bust then she had no cushion in place to be able to supply an alternative without losing even more money. There must come a point (obviously there did – hence the return of the deposit) where it’s no longer viable to carry on haemorrhaging money in the name of business. It’s a sad state of affairs.

There was no place for this lady to go with this other than to take the action she did – although it must have been terribly distressing for the bride. In including the printable CD she was not going to gain any reprint sales either – so had no hope at all of picking up any of her shortfall.

The scariest part of this whole sorry story though is that it is repeated all of the UK virtually every weekend. So consider this – if the album and the prints in the album are costing the photographer virtually all the money they are making from the booking then what is left for other necessities such as Professional Indemnity Insurance, Public Liability Insurance, back up cameras and lenses, additional lenses to ensure they are properly equipped for the job, a flash gun and back up flash gun, the necessary pc and software to process the images? Training – even the most accomplished of us still need to keep working on this one! A reliable car – which they know is going to start when they turn the key and get them to the wedding, suitable wedding attire? Tax – both personal and VAT required on products they buy in to enable them to fulfil the contract?

Ok – so we’ve established that these guys are flying pretty close to the wind in most cases. They are certainly much braver than I am! But it doesn’t end here either. What happens if they are sick and can’t photograph the wedding? Who is going to step in and take their place? Or indeed if they cease trading as this one did? At this level it’s unlikely that they will have insurance to cover it or a network of other photographers who will be willing to step in and bail them out.

So what steps can you take to protect yourself against the unthinkable happening? The advice I’m going to give now should apply whatever price you have agreed to pay for your wedding photography. Following years of experience in the business this is the absolute minimum protection you should be looking for from your photographer.

A – Ask about insurance. Your photographer should have adequate Professional Indemnity and Public Liability Insurance, in addition to this I would also want to know that they keep all their equipment fully insured too. Accidents do happen and what if that lens they dropped at last weeks wedding costs too much for them to replace before yours? I would want to know they had it covered!

B – Basics. Do they have enough kit and back up kit to undertake the commission you are paying them for, regardless of the weather? If it’s raining and they have to shoot your entire wedding indoors do they have the necessary lighting equipment to enable them to do this? Furthermore, do they have the knowledge and skills necessary to use the equipment? Do they have the skill necessary to produce pleasing pictures for you and not just “snap shots”? Once the wedding has been photographed do they have the basic equipment necessary to produce your finished pictures? If producing an album for you do they have the design skills and creativity necessary to make that album look it’s best?

C – Contingency plan. Do they have in place a “plan B” should the unthinkable happen and for some reason they are unable to fulfil their contract with you to photograph the wedding? What happens if they are sick or unable to attend the wedding due to personal reasons? Do they have a network of people, equally competent as themselves who are willing and able to step in at the last minute to ensure all is not lost?

At the end of the day there are wedding photographers around to suit all tastes and budgets. Just because a photographer is a relatively low price does not mean that there should be any compromise in the level of protection that is built in for you, their client. Whilst every photographer at owes it to their clients to ensure that they do undertake their business in a professional, reasonable and fair manner, every bride also owes it to herself to at least look at the photographer who she “thinks” she can’t afford. It could be that the very one she thought she couldn’t afford turned out to be not expensive but priceless.

©Yorkshire Wedding Photographer 2010

What’s in a name?

Unfortunately quite a lot at the moment if you are my friend and fellow photographer David Calvert.

David has just discovered this in light of the recent stories run in the daily papers suggesting that Jon Venables (who was convicted of murdering Jamie Bulger) was going by the name of David Calvert. Since then David’s photography site has had over 50,000 hits. Normally we’d be thrilled that his site is so popular, but at the moment he is obviously very concerned.

As his colleagues we are doing all we can to help David disassociate himself from this dreadful story. He is in no way related to David Calvert of Fleetwood, who has also been highlighted in the press and is in no way connected to the tragic case of Jamie Bulger.

David, 46, is a national award winning photographer and his business David Calvert Photography, based in Hertfordshire, specialises in family and child portraiture. David has our complete support in these difficult circumstances and we hope very much that they pass without impact to him, his own family or his business.

There’s quite a romantic story behind the existence of the Bowes Museum, which lies in the beautiful Teesdale, near the market town of Barnard Castle and a short 20 minute drive from the Scotch Corner junction of the A1 along the A66. It is situated in the heart of the Pennines in County Durham, North East England.

John Bowes, born in 1811 was the son of the 10th Earl of Strathmore. Although they had lived together as man and wife for many years John’s parents only married 16 hours prior to the death of the Earl of Strathmore. Following a long legal battle where John Bowes was awarded the Durham Estates John was never recognised as the legitimate heir to the Strathmore title. He was educated at Eton and went on to become a very successful businessman in his own right. From 1847 he divided his time between France and England.

John Bowes had a passion for the arts. In 1847 he travelled to Paris where he bought a theatre and met the future Mrs Bowes – Parisian born actress Josephine Coffin-Chevallier. They married in 1852. Josephine, herself a talented amateur painter shared her husbands passion for the arts and art forms, including paintings, ceramics, furniture and textiles. With the idea of making the art they so loved accessible to “the people” John and Josephine decided to build a museum very close to Barnard Castle. As Josephine laid the foundation stone in 1869 she said: “I lay the bottom stone, and you, Mr. Bowes, will lay the top stone.”

Between them John and Josephine purchased 15,000 objects for the museum during the years between 1862 and 1874. Sadly, Josephine passed away in 1874 and never saw the museum completed. John passed away in 1885 and did not fulfil Josephine’s’ wish of “laying the top stone”. Undeterred by their passing the museum was seen through to completion by the museum trustees and opened it’s doors to the public for the first time on the 10th June 1892.

Although there are so many beautiful pieces of art to see in the museum one of the most famous and from which the museum takes it’s logo is the 230 year old life sized Silver Swan. The Swan is an English Silver automation which is still in working order and is operated daily at the museum. It is simply beautiful.

One can see in the building architecture of the museum the French influence – it is very much along the lines of a French chateau and took 23 years to build. The museum gardens were designed by John and Josephine and comprise of formal gardens and parkland. The fountains are magnificent on the terrace at the front of the house.

With its beautiful architecture, fabulous grounds and mouth watering menus the Bowes Museum offers everything and more you could possibly wish for in a wedding venue, a special occasion or simply a brilliant day out with the family.

Here at FNS Weddings, we are delighted to be the only officially recommended photographers for the Bowes Museum.

We rang the doorbell.There was no reply. We knew they were in – we could hear the excited chatter drifting down from the open window. We rang again. Eventually a bridesmaid, in a bathrobe, tiara in her hair came to let us in. “Hi, Andy and Sharon – photographers” I explained as she ushered us inside. “Hi there – come on in.” It was the voice of our bride coming from the lounge. We wandered through. There she sat, having her makeup done, looking just beautiful. The light on her was amazing as it shone through the window. I took my shot. The makeup artist smiled in acknowledgement and carried on preparing her bride. I caught her reflection in the mirror, along with “our” bride behind it. I took my shot. This was her moment.

I left Andy documenting the brides preparations and went in search of flowers, shoes, the dress and trinkets which I know go to make up months of careful planning by the bride. The brides’ mother helped me – fussing with the dress, taking it out of the plastic cover which had kept it pristine. She stood back, admiring it as it hung, as yet unworn. “Isn’t it beautiful?” she asked her hands clenched tightly together under her chin in excitement at the thought of seeing her daughter wearing this beautiful gown in just a few short minutes. I took my shot. This wasn’t her moment – this was “just” the dress. Her moment was coming next.

The bridesmaids fussed around the bride. She was beginning to get nervous now. “Do I look ok?” “Is my hair ok?” were just a few of the questions she asked as she looked for reassurance. Next - the dress. The bridesmaids helped her into it and then the mother of the bride, already looking stunning in her suit stepped forward. The bridesmaids stepped back. They knew their place and how important this was for mum to help her daughter into her dress. Deftly and with the aid of a crochet hook she did up the delicate buttons. This would be the last time she dressed her daughter and she knew how important it was to make sure the dress was sitting just right.

The bride took a deep breath in, the bridesmaids held the dress perfectly in place and her mum
continued doing the buttons. The bride glanced sideways at herself in the mirror. I caught her
glance, saw everyone working together and took my shot. I quickly then moved and focussed in tightly on the perfectly manicured hands doing up the buttons. I took my shot. This was mums’ moment.

I waited at the bottom of the stairs, camera poised watching as my bride carefully lifted her dress enabling her to take each precarious step. She was not used to coming downstairs in such a dress! To fall now would be a disaster. I took my shot and then stepped back to allow her room to descend. Dad stepped forward. I saw his face – a mixture of emotion – this was his little girl on one of the most important days of her life looking well – with the exception of the day she was born, which he remembered so well right now, more beautiful than he had ever seen her before. His eyes filled with tears but he didn’t cry. He fought them off. The bride – at this moment so in touch with her father noticed. I saw them and I took my shot. This was a special moment belonging to the two of them.

The organist struck a chord and then Pachbels’ “Canon in D” rang out throughout the beautiful little church. The groom shuffled nervously as he stood. The chief bridesmaid, holding the hand of the beautiful little flowergirl beamed as she led the bridal party down the aisle and swept past me taking their place at the front. I took my shot. This was their moment.

I swung back round to the groom. He turned towards the direction the bride was coming from, unable to help himself. This was the moment he had been waiting for. I took my shot.

The bride, clinging onto the arm of her father looked simply radiant, her father tenderly put his
hand on hers – this was the last moment she would truly be “my little girl” to him. I took my shot. She turned the corner of the aisle and faced the groom. She looked amazing. I took my shot and swung round towards him. This was her moment.

His eyes were brimming with tears – he was blown away by how simply beautiful she looked. He was in awe of her and totally in love with her. It was written all over his face. I took my shot. The
lady Vicar, who I knew had known the bride for many years simply beamed. This was a proud moment for her as the bride and her father reached the groom she leant forward, whispering private words of encouragement. I took my shot. This was her moment.

“Who gives this lady to be married to this man?” the Vicar asked. Full of emotion dad stepped forward. He tenderly took his daughters hand, lifted it and passed it to the Vicar. “I do” he said.
He glanced at his daughter for one last time, she smiled back of him, full of encouragement and
love, and he stepped back. I took my shot. This was his moment. I quickly refocused on his wife,
just behind him in the congregation and saw her dab her eyes – proud of both of them. I took my
shot. This was her moment too.

Silently I stood with the rest of the congregation as the couple exchanged their vows. Then the
Vicar asked for the rings. The best man stepped forward. So careful not to drop them he placed them on the waiting bible as if they were made of egg shells, the concentration showing on his face – he must not drop them! I took my shot. This was his moment.

The groom picked up the ring and placed it on the brides waiting finger. Stopping only to make
promises to her that would last a life time. She looked at him, they exchanged a glance as he pushed the ring into place. I took my shot. This was his moment.

The bride, hands shaking with emotion, picked up the grooms ring and put it on his finger. She
struggled with her words, tears streaming down her face. They’d almost done it! Months and months of planning and this was her moment. She loved him so much she couldn’t tell him what she wanted him and everyone else to hear. She choked to make her promises. He smiled an encouraging smile – that was all she needed and she pushed the ring home. Their fingers entwined – they were married! I took my shot. This was her moment.

They looked at each other, then looked at the Vicar, an eternity seemed to pass and then we heard the words “You may now kiss the bride.” I took my shot. Then paused, knowing there would be more – they couldn’t help themselves. They kissed again – so full of joy. I took my shot. This was their moment.

The reception room looked amazing. Everything had been planned to perfection by the bride. Every table setting had a little gift or “favour” for each guest. No-one had been left out. The candles on the table made patterns on the white linen as their flames danced in the cooling breeze coming in through the open window. I took my shot. Everything about it was undisturbed, perfect.

Gradually the room filled and guests took their places at the tables, talking excitedly about the
events of the day. Then, the Maitre’D knocked loudly: “Ladies and Gentlemen – please be upstanding for your bride and groom.” The doors burst open and in they came. The bride, bouquet in her hand, was leading the way. The groom, beaming from ear to ear punched the air, triumphantly. He knew the belle of the ball today was his. I took my shot. This was their moment.

They took their seats and their guests cheered. Andy stepped forward and took a picture of the top table from behind with them looking backwards towards him, the entire room and all their guests in the shot behind them. He then took a shot from high above them of the whole room. It looked fantastic with the round tables facing the long top table. We vacated the room and left them to enjoy their wedding breakfast. It was soon time for the speeches. The groom stood up. He started to talk. I raised my camera to my face and started to look like I was taking pictures, tears streaming down my face. I was annoyed with myself. I glanced at Andy across the room – ever the professional – he appeared unmoved and continued on taking the shots I know we needed to make the story complete.

I focussed on the grooms’ mother for a second. Seeing the tears running down her face made it harder to carry on, I shifted the focus slightly onto the groom – his eyes brimming over as he spoke so lovingly about his absent father. This was difficult. He looked directly across at me and I wondered if we were intruding on this – a private moment. He struggled to find his words. The
bride, her eyes full of love for her husband stood up and carried on with his speech as he was choked up and unable to speak further. Then all three of them came together in a deep, mutual
understanding. The groom clung onto his mum – each giving the other support whilst the bride looked on. It was a poignant moment. I took my shot. This moment belonged to his mother.

As the Castle staff moved in to clear the tables, I was kicking myself for “losing it” – I was so
taken up by the moment and the friendship I had built up with them as a couple since they booked us for the wedding meant that I was a party to how difficult the day was likely to be for the groom. I had got too close to them hadn’t I? I had allowed myself to become too involved. The groom approached me. What was I going to say to him? He knew I had lost it. “Sharon – thank you.” Was all he said as he hugged me. He didn’t need to say anymore. It said it all. The pictures were important to him. His dad was gone but not forgotten. That moment, during that speech, belonged to his dad.

The couple went off to freshen up and we arranged to meet up with them to take some “Wedding Art” photos. I held the lights and watched in awe as Andy created picture after picture, capturing the intimacy between the two of them. We were there but we were incidental. This was their moment – and the first moment they had been together in private since the day began. It was important to them. It was a special moment. We stood back and quietly went about the business of taking pictures.

“Today This Could Be The Greatest Day Of Our Lives…..” the lyrics said it all. Our couple were lost in the moment. They were alone in a room full of people. No-one else mattered. I took my shot. Again and again I took that shot. This wasn’t just one moment. This was a whole series of moments and it belonged to them. These were their moments.

We took our leave, saying good night to parents, guests and “our” couple. We paused a moment outside to take a few last shots of the Castle floodlit and the celebrations continuing – through the window. We were on the outside looking in for the first time and it was appropriate to take that shot – the celebrations were continuing, we had done our bit now.

Home again, I sat in front of the computer screen and began the task of downloading the cards of the pictures we had taken. Picture after picture flashed in front of me. They were documenting a
perfect day full of moments in time. I felt a lump in my throat when I saw what we had captured
between us, amazed at the beauty of the images Andy had documented as he went. Pictures I hadn’t “seen” as I went about my day.

I poured myself a glass of wine and I knew - this was “my” moment.

© Sharon Malone, Partner Yorkshire Wedding Photographers www.fnsweddings.com