Through my photography, I’ve been fortunate to meet an inordinate number of incredible people, many of whom I’m blessed to call my friends. One of the most amazing is Bunny Lynch, an unbelievably talented photographer from Charlotte, whom I co-opted into modeling for me during the first iteration of my interview project, launching her into the world of art modeling.
This past May, Bunny told me that she was increasingly worried about the reliability of the photographer that she had contracted for her wedding and asked me to take-on the task, instead. Now, the three basic rules I’d always lived by are:
- Don’t photograph weddings;
- Don’t photograph friends’ weddings, and
- Don’t photograph photographers’ weddings.
I hemmed and hawed, but eventually caved (in about 30 seconds).
In the end, it was a wonderful (and stressful) experience documenting an incredible day, which I was fortunate to witness, alongside so many friends.
That said: no more weddings.
One of the most brilliant bits of evidence that fate has a funny sense of humor is that Bunny received her 600 on a 600 camera two days before her wedding… and the Impossible Project film pack was protected by an wonderfully appropriate darkslide. (If you venture to 600 on a 600, you can also see Bunny’s photo documenting just how grimey I was, by the middle of the drizzly day.)
For those wondering, I used a mix of Canon digital SLRs (my 1D Mark III and a 5D Mark III borrowed from Canon), my EOS 3, my Polaroid Land Camera 100 and my Mamiya RB67 ProSD. I shot Fujifilm FP-100c, FP-3000b and Neopan ACROS 100, pushed to 400asa (35mm and 120) and Kodak Portra 400 (35mm and 120). The Holga, F3HP and Ikonta 523/16 made the trip, but never came out to play.