Well, this is my ‘goodbye old decade, hello new,’ post. So, as I round off 2009 and begin a fresh decade, I’ll start with giving a little personal detail about myself, an admission if you like – I am, always have been, always will be; an anorak. There, I’ve said it. Not quite so startling as admitting a drinks problem I’m sure and some people may prefer the term enthusiast, but hailing from my early days in broadcasting where anyone with a slightly more than unhealthy obsession in the technical nature of the business was referred to as ‘Anorak,’ it seems only fair to apply that label to yours truly. There was a time where I could recall every medium wave frequency and assign it to a radio station and region – even in Aberdeen (290 metres medium wave – and where Nicky Campbell was ‘born’ – see?) I spent, like many adults will recall, many hours with a radio under the sheets into the wee small hours, ear pressed firmly against a solid state transistor, tuning a dial across a myriad of stations that only came out at night such as Radio Luxembourg. When I clear my late mother’s loft in the next week or so, I am hoping that I find a dog earred, well worn and much loved old edition of the IBA handbook. Mum kept everything, and for all of my teens, that handbook was the most important piece of literature in my life. On my final approach path into actually broadcasting over two decades ago, I was so bitten by the craft, that I even found myself studying the artistic pauses (known as dead air) – trying to find a reason why the broadcaster had used it – reference Simon Bates, Our Tune. I guess now, I can refer to them as my medium wave moments. Magical, at times irrational, most certainly obsessional. And so, a mite over two decades later, and I find myself once more obsessed, not with medium wave crackles and beautiful artistic pauses, but grit, grain, mood and what I can only describe as the guts of a black and white image. Ralph Gibson, Josef Koudelka, Helmut Newton – have captured all my imagination for instance. The guts, the grain and emotion in their pictures drives me in much the same way that the original Radio 1 brat pack used to – I’m far too young to remember pirate radio of course. The buzz phrase at Breathe HQ, seems to be ‘let’s inject some more guts into our photography.’ In the same way that radio throttled my attentions all those moons ago, I’m now re-obsessing – but this time about photographs. I’m obsessing about light, I’m obsessing about form, I’m obsessing about grain, I’m obsessing about the shadows and sheer depth of an image. I’m obsessing about good old fashioned exposure and print values that frequented the lives of the masters that seems to be edging out of existence as people find that button in their editing package marked ‘grayscale.’ I’m amazed that even my professional peers will press that button and believe they’ve created a black and white image akin to the beauty, depth and style produced by the likes of Bob Carlos Clarke. See? Now doesn’t this sound like the verbal wanderings of someone who should ‘get out more?’ Or perhaps, and the real reason behind this final post of 2009, you’ll accept this as my way of wishing everyone who has subscribed to this blog, or occasionally clicks in, a happy new year, with all my hopes that a new decade brings us all what we’re seeking. For me, that’ll be health and happiness for my family – and that ever elusive perfectly toned image – with loads of grit. Anyone who writes a blog will recognise that publishing one of these things can be somewhat of a cathartic exercise. Anyone who has or will be commissioning me over the next year will equally recognise why I get a glint in my eye when the light, mood and moment come together for my photographic version of a medium wave moment. Happy New Year, and I’ll sign off with a handful of good wholesome grit, I hope.

Dishes prepared by chefs at Cain Manor, Notley Abbey and Silchester House, venues within the Bijou Wedding Venues group.

You know me, sucker for a window lit shot. And there was plenty of sunshine around during the morning to provide it.

We had a lot of fun on the prewedding shoot, the ceremony followed the same line. The reason for their smiles? It was an outdoor ceremony and as one of the ushers started his reading, a horse started to join in in the background.

And then, the clouds started to gather!

We got through the ceremony before the heavens opened. This is probably one of my favourite shots from the day and it shows something very important. If you accept the rain as part of your day, embrace it and enjoy the occasion, you get magic all day long.

Being a headlining dancer on the Take That tour, the evening studio brought a few surprises…

“Greatest Day” the first dance.

The farm right now (home of Breathe’s studio) feels fabulous. During the winter I rarely use the yard, grounds and fields around us – so it’s great when some kindly weather drops by. Much of my social photography calendar is and will be taken up this year by wedding photography and pre-wedding shoots. A couple of shots from Jay and Katy’s pre-wed shoot featuring some new colour work; textures and the sunburnt look of old Polaroid stock. Boundary pushing is very important in this business, and I’m really trying to edge away from what’s around me, so the post production work being carried out at ‘Chez Breathe’ is entering a new era of development. Hope you like them!

This one’s for the photographers; those thinking of lifting a lens towards a bride and groom! When I started shooting weddings, like most ‘togs’ who shoot them, my reasoning was part challenge (a close friend had insisted I shoot his brother’s nuptials) and part financial; there are wolves to keep from one’s doors. Actually, those elements stay true to this day, but a third ingredient has become the ultimate reason; professional, even emotional purpose – knowledge that I’m doing something important in the World, that I make a difference for the split second my finger hovers over that shutter button. The most important side of my photographic work in wedding terms is to document moments. It’s easy to romance and wax lyrical about forms of capture like photojournalism and so on, but for me it’s really very simple. Wedding photography offers an opportunity to make a difference to someone’s life. I whole heartedly believe that. But incase I stand accused of presuming that I’m solving World issues through a lens, as a colleague from my previous existence in the heady world of broadcasting said; “It’s only radio love, not brain surgery.” Ultimately I still subscribe to that philosophy. I’m not saving lives – I’m only taking pictures, hopefully very important pictures none the less. As a stranger, you’ll rarely if ever get invited to be a part of someone’s most hallowed private moments. When I shoot a wedding, I am witnessing the very essence of a couple’s intimacy. I’m sharing instants that are unfeigned once only, catch it now, you’ll not see this again moments. Pity the hardened heart belonging to a snapper that only sees pound notes and awkward relations to deal with. When I call for the witnesses during a register set up, I sometimes wonder whether it would be deemed a little comedically insensitive and over enthusiastic to pop the camera on a tripod, set the timer and run round to spread eagle myself with all the panache of David Brent upon the signing table. But witnessing a wedding is surely one of the most priveleged parts of this job. It’s moments like the one above from Adam and Donna Robert’s recent Newbury Shaw House wedding where I freeze just momentarily before the capture. The ceremony had concluded. The guests in the room were quietly chatting amongst themselves and Adam, sat at the head of the room with his wife, removed his ring. He sat studying it, taking in what had just happened and for that one moment, the room may as well have been empty, bar him, his wife and the circle of gold. Away from all that Hollywood jazz, that, is what I call a real ‘complete moment.’ And that, is why I shoot weddings.

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