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| With the intensity of weaving all of our matrimonial plans, we initially agreed that our only criterion for a photographer was that we did not want to suffer flipping through a stack of photos clad with fake smiles plastered on our guests and ourselves; we wanted to feel as if our wedding pictures complimented our emotions, reflected the intensity of the ceremony, and would be able to remind us of the multitude of split-second emotions that time would blur. Andrew promised this, he gave this to us, and he surprised us with so many unexpected amenities that we had not even considered when discussing our criteria: He framed our wedding day. When we went through the pictures the next month, we found ourselves wondering how the particular picture was possible when we were sure that neither of us saw Andrew. He was invisible at all the most intimate moments, yet was also able to set the pace for the day. He smoothly, and enjoyably, brought everyone together for our requested twenty minutes of posed shots, and quietly slid into the background right after. He also reminded us at dusk that we had mentioned wanting to steal a moment together for a few pictures of the two of us and the setting sun: he courteously helped us to do this on a day when it was an absolute whirlwind of excitement. There were also many shots that allowed me to reflect how I was emotionally feeling throughout the day. A seemingly simple shot of applying make-up reminded me how internalized I was...amongst screaming bridesmaids fighting for mascara, this picture reminded me that inside I was concentrating on my husband-to-be's smile to keep me centered. This incredible talent to amplify one's personality through a picture was especially significant in pictures of people/events when we were not able to see a particular expression or happening. These pictures made the documentation of the day complete, and not just a documentation of one person's perspective of the day. One aspect that we were worried about was the use of a digital camera and having to use a disk to sort through the photos with. This fear of ours was not quelled until we were able to view the pictures; the first thing that we noticed was that we had in our possession every single picture in black and white, and in color. Call us old-fashioned, but we liked having the opportunity to hold and look at all of the photos. And, ultimately, these paper pictures helped us to pick out specific pictures from the disk that we wanted to print, enlarge, edit, etc. We realized we had the best of both worlds: We could manipulate and print pictures exactly how we dreamed them to be, but did not have to sit at the computer to view the image. (And I must say that since every single picture came to us edited, there was nothing to be done except decide on size). The combination of paper pictures and a disk satisfied our need to have something tangible and to also have the power to print out as many as we liked and in whatever size. And, as far as the quality of the prints, we had no idea that digital pictures could be more beautiful than film pictures. There seems to me no reason to go back to the archaic way of using film. Despite the ease of the digital pictures, the invisibility of Andrew, and his wonderful style, the most glorious part was how each picture was more aesthetically stunning than the next. There is no better way to say it, except, his pictures are beautiful. Liza and Joel Reed |
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