Wedding photographer Scott Johnson shares his insights on creating images that encapsulate the magic of a couple’s special day
For the happy couple, it’s one of the most important days of their lives. But for Scott Johnson, it’s just another day at the office. As a wedding photographer, it’s his job to deftly navigate all the pressures of the big day, focusing on quietly turning unrepeatable moments into cherished memories.
An industry veteran of 20 years, Scott specialises in grand, fine-art-style portraiture – and as such, he is largely booked specifically to make these images. What’s becoming increasingly popular though, he says, is blending this with unposed reportage.
“Since the pandemic, a lot of couples are aware that it could all be taken away again in a heartbeat,” Scott asserts. “People are a lot more invested in making sure they spend enough time with their friends and family and recording those memories, because you never know when they’re going to be gone.”
Tools of the Trade
For his grandiose, signature images, Scott makes use of the huge sensors of the GFX System. But for responsive reportage, he favours something smaller.
“For the most part, when I’m doing documentary-style work, I will use an X Series camera. I’ve got the FUJIFILM X-T5 at the moment. There’s no point doing reportage with my GFX. Portraiture or group shots, absolutely, but not for this.”
When it comes to lenses, Scott prefers primes – though this isn’t a hard-and-fast rule.
“I use the FUJINON XF8-16mmF2.8 R LM WR a lot, but the XF33mmF1.4 R LM WR is probably my weapon of choice. If it’s a big venue, you’ve got the XF90mmF2 R LM WR, which I use more – that’s great for sitting on the periphery and just picking people off.
“When people aren’t aware you’re there, that’s when they become the most vulnerable – and you get the best pictures.”
When going in for a closer photo, Scott makes sure his subject’s attention is elsewhere.
“Sometimes, you have to get in close. If there’s a magician, for example, I’ll put on the XF8-16mmF2.8 and go right up because the subject isn’t necessarily focused on me. Having spent a lot of time with magicians, you know when the reveal is going to hit, and you get prepared – that’s when you get the best reactions.”
Setting his camera to Continuous Shooting mode gives Scott a full range of expressions to choose from later.
“When I’m working on candids, I’ll burst a little bit. When someone laughs at 8fps, you’ll get that perfect expression. That’s when Continuous Shooting comes in great: short-fire bursts.
“Certainly during speeches, burst is brilliant. I can make eight frames here, then turn around and make eight frames of reaction – and get both done really well.”
This isn’t a default setting for the entire wedding, Scott stresses.
“During a couple’s portraiture, or any group shots, it’s calm and considered,” he continues. “If your camera’s going ‘bam, bam, bam’, that energy translates to the couple. So you want to keep it nice, calm and relaxed.
“I’m relaxed in my photography because I’m comfortable doing it. The minute you transfer that to the couple, they’ll be relaxed, and everyone’s enjoying the process more.”
How to Approach Wedding Reportage
Good wedding photography isn’t all about equipment. Scott’s two decades of experience have equipped him with a natural approach to documenting these special events. One of his top tips is simply taking a moment to step back and observe.
“It’s about being socially aware,” remarks Scott. “Once I’ve done the portraits, I’ll generally go and get a drink, and put the camera down. I’ll walk through the guests, listen to conversations, listen to what’s going on, and won’t make any pictures for ten minutes.
“I’m just looking to see the pockets. Okay, that’s the fun crowd. This is the elderly crowd. These are the kids just mucking about. And I’m working out a bit of a plan, rather than spraying and praying, trying to photograph with a scattergun approach.
“It’s knowing, right, I want to photograph the kids but that kid’s playing up – I’ll give it ten minutes and come back when they’re happier. It’s knowing to photograph the old people first because the light is good outside, and they’ll go inside first.
“It’s all about having that social awareness. Being a people person helps.”
Being observant is only one aspect of this work, however. Knowing when to step in with a smile and a joke can make all the difference.
“I’ll have a bit of banter on a wedding day,” he grins. “I break that guard down by having a laugh with people. It helps to engage with someone who’s not overly enamoured with having their photograph made. In 20 years, I’ve built a good repertoire, shall we say, that helps bring down barriers and opens people up – then you get great results.”
Tips for Timeless Photographs
Good wedding photographs become family heirlooms – treasures to be enjoyed by generations to come. For that reason, they need to be made with a certain timeless quality in mind.
“It’s about not bowing down to trends,” notes Scott. “At the moment, the trend is intentional motion blur, which I’m not a big fan of. I think that’s going to be like the colour pop we had in 2010 – black & white photos with colour bouquets.
“To create timeless images, you have to stay true to why people booked you in the first place. I’m in a position now where couples book me, and they trust me. They say, ‘We booked you for a reason, just do your thing.’ Of course, I get requests and won’t just say no out of hand.
“I pitched for a wedding yesterday, and the guy asked me, ‘Do you retouch faces?’ I said, ‘Well, yeah, a little bit,’” Scott recounts. “So, if you have a spot come up, or a toddler has a big black eye because they fell over. But I try not to overwork skin because I want you to look like you and remember how you were – not a porcelain version of yourself.
“That’s a trend which, in ten years’ time, people are going to think, ‘My God, look at the state of my face,’ because we’ve over-enhanced the skin.”
“I’ll do minimal retouching – things like fire escape signs will come out. But, generally, I’ll try and keep it as clean as possible; I want it to look real and natural. I won’t over-egg the sky or put fake sunrays in – that’s just not cool.
“The more natural it is, the more timeless it will be. Yes, I will adjust the colour and turn some photos black & white. In certain cases, some look good in a sepia tone because I use a lot of natural light. But, generally, I’ll keep them as clean as possible.”
Scott’s parting tip indicates the subtle touch he has mastered over the course of his career.
“Don’t make it about you. Become invisible but remain present,” he advises. “If you can balance those two things together, your reportage photography will elevate.”
