Steve Sint's book is old-school, but not in a good way, and I just cannot get over his choice of images.
The 200-page tome is loaded with wedding photos, but they are mostly of the cheesy variety, right down to the double-exposure technique that lets you superimpose a close-up of a smiling bride over the interior of a chapel. To me, that photo epitomizes all that is corny and dated about wedding photography, and it drives home the reason why we desperately needed (and got!) a new school of wedding shooters -- Joe Buissink, Yervant, Bambi Cantrell, Jeff Ascough, Anna Kuperberg, Sean Watson -- to rescue the genre from death by embarrassment.
The business advice Sint offers is often pretty questionable too. Case in point: He presents another double-exposure shot where you see the exterior and the interior of a church at the same time, superimposed, and writes "If you're the only photographer in your area who shoots pictures like this, you'll get a lot of referrals because of its [sic] uniqueness." Yeah, in 1986, maybe. Most Gen X and Gen Y brides go wouldn't be caught dead with photos like that in their albums. Has Sint looked at a recent issue of, say, the Knot?
A large photo on page 17 shows a couple posing at Rockefeller Center in New York, and despite that location offering a wealth of cool angles, it's not much of a shot compositionally, with the bride and groom placed dead center, and lots of distracting elements all around them (exacerbated by an f-stop of perhaps f/8 or f/11, which doesn't appreciably blur the background). But worse is the unflattering gleam on their faces, a greasy-looking sheen probably caused by the photographer's fill flash. How you can NOT retouch an image like that, especially if you're going to include it in a book like this, is beyond me.
There are nice photos too, and a few excellent ones, but they are few and far between.
The book is almost all artifice and posing, with just a couple of throwaway lip-service sentences about photojournalism-style wedding photography.
Some of the shots that Sint reminds you to get (at Bar Mitzvahs):
"Bar Mitzvah Boy Sitting in Driver's Seat of Family Car."
"Dad Giving Boy a Cigar."
Again, it's corniness exemplified. Most modern shooters worth their salt are guided by the uniqueness of the people in front of them and so end up with something different every time; they neither need nor want a greatest-hits repertoire of synthetic poses. Cookie cutters are for baking, not for photography.
Beyond that, it doesn't help that Sint, between the lines, kinda pooh-poohs digital camera systems, and appears stuck in a peculiar time-warp (OK, it *is* a 2005 book) that has him singing the praises of *roll film* (not even 35mm film!). Well, no wonder he's not into photojournalism, then: I have to assume that at weddings he's being slightly stingy with the number of exposures on his expensive film, which in addition must be swapped out after every 20, 24, or 30 exposures (depending on the format). That hardly promotes spontaneity or spur-of-the-moment shooting. To each his own, but I'd rather be taking photos than tending to yet another cartridge/film replacement.
I'm sure Sint is a nice guy, and I mean no offense -- but the bottom line is this: If your creative sensibilities skew towards modern and light and fun and 'not stiff,' this book can't help but be be a disappointment.