• Dr Rowan Williams admitted vicars can be ‘over controlling’ with photographers
• But also argued it is ‘not unreasonable’ to ask for respect of the spiritual service

By Natasha Anderson

Published: 04:08 EST, 3 March 2024 | Updated: 04:40 EST, 3 March 2024

Vicars can be ‘complete pain’ and ‘over controlling’ with photographers trying to snap pictures during a wedding, an ex-Archbishop of Canterbury has admitted.

Dr Rowan Williams, who served as the officiant for the Prince and Princess of Wales, argued that while some clergy get frustrated with intrusive photographers, it is ‘not unreasonable’ to ask cameramen to the respect the spirituality of matrimony.

‘The event isn’t staged just as a spectacle to be filmed, but as a personal encounter of a couple with God,’ Dr Williams, 73, told The Sunday Times. ‘So there are indeed two sides to this.’

His remarks come amid tensions between wedding photographers and clergy, with more than 900 snappers last week having signed a petition calling for church leaders to be more considerate.

The photographers claim it is becoming almost impossible to take pictures inside churches due to the ‘aggressive, rude and humiliating’ behaviour of members of the clergy.

Some of the alleged ‘rude behaviours’ include vicars halting the ceremony, intentionally obscuring the couple or exiling photographers altogether.

The former Archbishop acknowledged that the actions of some clergy can be irritating, but also reiterated that there are ‘two sides’ to this debate.

‘While some vicars can be a complete pain and over controlling to a degree, clergy too need to be able to do their jobs,’ Dr Williams told the newspaper. 

‘A request not to be intrusive during a service when something significant is supposed to be taking place at the spiritual level is not unreasonable.’ 

He reminds photographers that marriage is meant to be a ‘spiritual’ ceremony and should be respected as such.

But photographers claim they are only trying to honour couples’ wishes, noting that images of that first special first kiss are treasured.

Snappers are asking to have ‘some kind of collaborative effort’, said Birmingham-based photographer Mike Horton, who now longer shoots church weddings because ‘I just don’t want the hassle’.

Similarly, Jade Eleanor, a photographer from Surrey, said the ‘power struggle’ between snappers and vicars is ‘really awkward’ and ‘not fair on the couple’.

The petition was started by photographer Rachel Roberts, from Lincoln, who said a conversation between wedding photographers and church leaders was needed to address the situation for the benefit of marrying couples.

She said couples were increasingly choosing not to wed in church while photographers were avoiding taking work in churches because of the problems they face.

Mrs Roberts, 37, told the Daily Mail last week that while photographers acknowledge that the service is a solemn occasion and take steps to be discreet, they’re often subject to strict rules which make their job more difficult, with some ministers being openly hostile towards them.

The photographer said couples were also frequently finding out on the day of their wedding that they can’t have pictures inside the church at all leaving them devastated.

She added that she felt many church leaders were ‘stuck in the past’ and that those who embraced photography and social media had waiting lists for weddings.

Mrs Roberts hoped the petition would help make ‘positive change’ adding: ‘Ultimately, we all want the same thing which is to deliver lovely results for the couple’.

While it is at the priest’s or vicar’s discretion on what photographs can be taken at each church, many refuse to allow them during the ceremony at all. Others permit only one picture or photos only during the signing of the register.

The Church of England has said that it worked with professional photographers to produce guidance for couples. 

A spokesman previously told the Mail: ‘Photography is an important part of the day… Good early communication between the couple, the officiant and the photographer can help to ensure that expectations are aligned, and we advise that couples discuss these matters in advance with their church, so they know what to expect.’

MailOnline has approached the Church of England and the Catholic Church for comment. 

On the remote island of Adak, nestled in the Bering Sea, an unexpected relic of the 1990s survives, frozen in time. Photographer Chris Luckhardt, known for documenting deserted places, stumbled upon an abandoned McDonald’s, providing a rare glimpse into the fast-food giant’s past presence in this isolated location. This discovery has sparked interest, highlighting disparities in prices and the evolution of menu items over decades.

A Blast from the Past

Adak Island, once bustling with military activity, is now a quiet, largely deserted landscape. Its McDonald’s, closed and forgotten since the early ’90s, serves as a peculiar time capsule. Luckhardt’s exploration brought to light the untouched menu of the era, featuring items such as ‘dino-size fries’ and Happy Meal toys from the animated series ‘Bobby’s World.’ The prices, startlingly low by today’s standards, with a Big Mac meal costing significantly less than its current price of up to $18 in some locations, underscore the shifts in economic landscapes and consumer habits over the years.

Reflections on Consumer Culture

The visuals captured by Luckhardt do more than just evoke nostalgia; they prompt reflections on inflation, the changing fast-food industry, and the broader implications of these shifts for consumer culture. The stark contrast between the pricing then and now, often referred to as ‘foodflation,’ illustrates the economic changes that have occurred over the last three decades. Moreover, the presence of such an establishment on a remote military base highlights McDonald’s once expansive reach, underscoring the brand’s global influence and its role in American cultural export.

Preserving Memories through Photography

Chris Luckhardt’s work in documenting abandoned sites like the McDonald’s on Adak Island serves a dual purpose. It preserves a piece of history that might otherwise be forgotten and fosters discussion on the impermanence of human endeavors and the shifting sands of consumer preferences. His photographs offer a window into a past era, inviting viewers to ponder the transient nature of businesses and the spaces they occupy. This unique intersection of history, economics, and art resonates with a wide audience, bridging gaps between generations and geographies.

The discovery of the abandoned McDonald’s on Adak Island by Chris Luckhardt not only captivates those with a penchant for nostalgia but also serves as a poignant reminder of the passage of time and the inevitable changes it brings. As Luckhardt’s images circulate, they invite us to reflect on our own places in the continuum of history and the legacies we leave behind. This exploration of a deserted fast-food outlet, seemingly trivial at first glance, thus becomes a mirror reflecting larger societal and economic shifts over the decades, encouraging a deeper contemplation of our evolving world.

The shared secret of after-hours love is one of the hardest things to capture with a camera. The Swedish photographer Christer Strömholm was a master of this kind of unaffected moment. After dramatic war years fighting with the resistance in Norway, he had settled in Paris and become a fixture in its cafe society in the 1950s and 1960s. For several years he spent his nights photographing transgender people in Pigalle for a series of pictures, Les Amies de Place Blanche. Often he would end up in Latin Quarter cafes, still with his Leica to hand. This picture was taken in La Methode, a bar famous at the time for its all-night opening hours, and a cast of regulars that included students from the nearby Sorbonne and artists and writers. Serge Gainsbourg was an inevitable habitué.

This picture of young lovers taken in 1960 seems to demand a Gainsbourg backing track, perhaps L’Eau à la bouche – “listen to my beating heart, let yourself be” – which was a hit that year. The couple are adrift and alone together among the drinkers we see in the mirror behind them. Their world seems to have narrowed happily to contemplation of the reflection of the glasses on the tabletop – in contrast to the blurred stare of the man in the mirror, a momentary voyeur, like the photographer himself.

Strömholm died in 2002, aged 83. He was married four times. A new retrospective book of his work includes an interview with Anders Petersen, one of many younger Swedish photographers whom Strömholm taught and mentored, and who went on to create perhaps the definitive book of cafe pictures in Hamburg’s Reeperbahn in the late 60s. Asked about what he learned from Strömholm, Petersen says, “Photographers are lonely, but the realisation that you have shared this loneliness with others gives a very warm feeling of kinship”.

• Christer Strömholm is published by Dewi Lewis (£48)

The much-anticipated exhibition ‘Seen & Unseen: Photographs by Imogen Cunningham’ has officially opened its doors at Reynolda House, welcoming art enthusiasts to a diverse display of both iconic and rarely seen works by the acclaimed photographer. Running through June 2, this exhibition is a prime opportunity for visitors to delve into the historical and artistic significance of Cunningham’s contributions to photography.

Exploring the Depths of Cunningham’s Portfolio

Imogen Cunningham, renowned for her pivotal role in the American photography movement, has left behind a legacy that spans several decades. The exhibition, organized by the Imogen Cunningham Trust in association with Photographic Traveling Exhibitions, Los Angeles, CA, showcases a broad spectrum of her work, including mesmerizing portraits of Martha Graham and the delicate intricacies of Magnolia Blossom. This event not only highlights Cunningham’s mastery over the silver gelatin print but also her experimental spirit and relentless pursuit of capturing the essence of her subjects.

Engaging Events and Learning Opportunities

Complementing the exhibition, Reynolda House has organized a series of events aimed at deepening visitors’ understanding and appreciation of Cunningham’s work and the broader context of American photography. Highlights include ‘Drinks Dusk’ on March 6, an evening filled with music, drinks, and art, and the ‘Gallery Talk: Group f/64’ on March 27, offering insights into the pioneering collection of American photographers, including Ansel Adams alongside Cunningham. These events, along with free admission days and interactive sessions, ensure that visitors of all ages have a rich, engaging experience.

Support and Sponsorship

The exhibition’s success is notably supported by major sponsors including Phoenix Packaging, Inc., highlighting the community and corporate backing for enriching cultural and artistic endeavors. This partnership underscores the importance of collaborative efforts in bringing historical and artistic exhibitions to the public, allowing a wider audience to access and appreciate the fine arts.

As the exhibition ‘Seen & Unseen: Photographs by Imogen Cunningham’ continues to attract visitors at Reynolda House, it serves as a testament to Cunningham’s enduring influence on the world of photography. The carefully curated selection of photographs invites viewers on a journey through time, emotion, and beauty, offering a unique glimpse into the life and work of one of America’s most revered photographers. With its blend of educational and engaging events, the exhibition promises to be a profound experience for all who attend, leaving a lasting impression of Cunningham’s artistic vision and legacy.

Elliott Erwitt is considered one of the most influential black-and-white photographers of the 20th century. His works are emotional, spontaneous, and full of irony.

Arina visits the exhibition “Through the Playful Eyes of Elliott Erwitt” at Fotografiska. The museum’s curator, Jessica Jarl, gives her a guided tour around the exhibition.

Photography possesses the remarkable ability to evoke profound emotions in individuals. Such was the mastery exhibited by American photographer Elliott Erwitt. He gained widespread acclaim for his black-and-white images, distinguished by their subtle irony.

Born to Russian immigrants, Erwitt began his journey in France, then moved to Italy, later pursuing his education in America, and rose to fame once again in France, where he served in the army in the 1950s, capturing the lives of his comrades.

It was his keen eye for the humorous aspects of daily life that attracted the attention of Magnum Photos, where he found his place among esteemed photographers.

Over the years, Erwitt’s lens immortalized numerous prominent figures, including Jackie Kennedy, Grace Kelly, Marilyn Monroe, Nikita Khrushchev, Richard Nixon and Henry Kissinger.

Yet, amidst these notable subjects, Erwitt found joy in his cherished hobby of photographing dogs.

As Erwitt eloquently expressed: “Little occurs when one remains confined at home. I invariably carry my camera and capture whatever piques my interest”.

He harbored a sincere conviction that commissioned assignments could compromise their inherent authenticity due to the initial parameters set by clients.

Consequently, he conscientiously carried two cameras during commercial shoots: one dedicated to commissioned work and the other to nurture his creative vision.

Until his passing in 2023, Erwitt steadfastly adhered to the art of shooting on film.

Sun Chao / SHINE

One of EErwitt’s most iconic photographs depicts a famous scene that unfolded during the American-Soviet summit in 1959.

Erwitt had initially traveled to the Soviet Union to photograph Westinghouse refrigerators at an industrial exhibition.

However, an unexpected turn of events occurred when the Vice President of the United States coincidentally visited on a state visit.

Promptly redirected, Erwitt witnessed the historic meeting between Richard Nixon and Soviet leader Nikita Khrushchev.

It was during this encounter that he captured his most famous photograph, known as the “kitchen debate,” where the Vice President is depicted pointing his finger at the lapel of Khrushchev.

The image captures Khrushchev and Nixon, the future President of the United States, locked in a gaze before articulating their political positions.

This iconic moment became a symbol of the tense relations between the two great superpowers of that era.

Erwitt’s photograph stands as a classic example of photojournalism, immortalizing significant moments in world history.

Arina Yakupova / SHINE

You can visit an exhibition dedicated to Elliott Erwitt at Fotografiaka’s branch in Shanghai from March 1 to June 2, 2024.

Sun Chao / SHINE