John Hooton

Croydon, United Kingdom

Retired Professional Photographer, web designer, software developer, still dabbling in photography and all things technical!


How to Photograph a Wedding

So your friend has asked you to do the wedding photos. You are a pretty good photographer, but the responsibility is niggling you and quite frankly, you don’t quite know where to start.…

Look no further friend, you can start right here and by the time you have read and practiced what I am going to tell you, you will be looking forward to the job!
Amongst my archives, I have an article called How Not To Photograph A Wedding, and you should start by reading that first because it contains some important stuff that I will refer to.

The first wedding that I ever photographed was my sisters in 1967. I had flown back from Italy where I was now working in Milan, especially for the event. An album of exquisite photographs was to be my wedding present, it also suited my very limited gift budget!

How Not To Photograph A Wedding

Many moons ago when I was a young assistant to top London fashion photographer John Cowan, Frank Buck, John’s senior assistant introduced me to a firm of photographers in the East End of London that specialised in weddings. Frank was making a few extra bucks (ha, ha, that was his name) and suggested I might do the same. This became my ‘Saturday job’ for a while.…

We had to go equipped with 2 and 1/4 square format cameras, no Nikons allowed here. Frank took our back up/fail safe/last resort Rolleiflex, and I took my Yashica Mat which was a cheaper Japanese copy of the same thing, and a couple of light tripods. We would split up at, or near our destinations which were separate weddings in separate churches, but usually fairly close together. As the Saturdays mounted up, I got to know th

Lighting The Head Shot

“If God had intended photographers to use more than one key light, he would have made more suns.”…

Just about every single shot including the food and still life shots in my portfolio was made with one light. One light in the right place. You won’t need any more except possibly to light a background. In this case make sure that they light the background, and do not spill back on to the subject. Use barn doors or large black sheets of card if necessary.

Very early in my career I learnt that light bounces around all over the place in a white studio. This is unwanted light. When I worked for top food photographers and fashion photographers like Barry Lategan, we actually blacked out the studio with drapes or black screens. Great for glassware too. I ordered funeral drapes to cover an

Urban Wildlife

New GroupUrban Wildlife

Hosted by Nic Relton and myself.

We’re really keen to see images of wildlife in an urban environment!

We don’t mind if your bird is perched on a chimney, your butterfly is on a wall, or if your polar bear is raiding a garbage bin. We simply want to see those images that have not been taken in the wild or country. We are happy to see pictures of all wildlife including insects and wild flowers as long as they have been captured in the urban environment including gardens and parks.

To help make this educational, please include the name of the species you have photographed!

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