No wedding is without laughter and tears. It's a hurricane of emotions that hits us and can surprise even the biggest tough guys. It's an unforgettable experience and we want to keep it in our hearts as well as in photographs that can transport us back to any time. Capturing the feelings and atmosphere of a wedding is an art. How to do it? Vojta Hurych is a photographer for whom emotions and the power of the moment are the main thing and he pays 100% attention to them every time. A professional in every way and a heartthrob who takes every photo shoot as a unique opportunity. In addition to weddings, he is dedicated to documenting sports or film stories and gives his work a philanthropic overlay.
What makes weddings so captivating to you?
My dad is one of seven kids. I have twenty-four cousins on that side of the family, and I'm the youngest "grandchild" of them all. I've been dragged around to those honest-to-goodness village weddings ever since I was little. Lots of people, lots of food, and nobody paid any attention to us kids. I remember going to the kitchen and eating my aunt's delicious kremrole or getting into fights with the boys behind the community centre because they were fishing for pike in the fire tank and then stepping on them. All this in that biting, unflattering and mostly inherited bag. I even remember Mr. Photographer stalking us for a group photo and me totally boycotting it. Other than that, though, I really enjoyed it.
My dad is one of seven kids. I have twenty-four cousins on that side of the family, and I'm the youngest "grandchild" of them all. I've been dragged around to those honest-to-goodness village weddings ever since I was little. Lots of people, lots of food, and nobody paid any attention to us kids. I remember going to the kitchen and eating my aunt's delicious kremrole or getting into fights with the boys behind the community centre because they were fishing for pike in the fire tank and then stepping on them. All this in that biting, unflattering and mostly inherited bag. I even remember Mr. Photographer stalking us for a group photo and me totally boycotting it. Other than that, though, I really enjoyed it.
So you got caught up in the environment and suddenly it was a job?
Photographing weddings wasn't a conscious decision, more of a natural one because it was close to my heart. I didn't know you could make a decent living shooting weddings. Money wasn't my motivation to start shooting weddings. The first wedding I was the main photographer for was eight years ago. After that, the first honoree followed, if only symbolically. Now I've had two hundred and fifty of them.
Photographing weddings wasn't a conscious decision, more of a natural one because it was close to my heart. I didn't know you could make a decent living shooting weddings. Money wasn't my motivation to start shooting weddings. The first wedding I was the main photographer for was eight years ago. After that, the first honoree followed, if only symbolically. Now I've had two hundred and fifty of them.
How do you manage that weddings haven't gotten old for you over the years of professional photography?
Setting aside the fact that every wedding is really different because it's always a reflection of people, I think it's a matter of respect for an event that is sincerely important to the fiancés and their loved ones. I respect that as much as possible.
Can you tell in the photos when it becomes routine for the photographer?
Interesting question. Every creator or creative, consciously or unconsciously, creates an imaginary autopilot for different processes or situations to save mental capacity. And then if he uses that energy elsewhere to move a little bit further, I don't think the routine will show in his work.
Why is a photographer even needed at a wedding when everyone has cell phones with relatively good optics these days?
Because it's not the camera that makes the photographer, it's the ability to sense and recognize emotions and then capture them. If you had a choice, would you take someone to your wedding who has a good camera, or someone who can tell the story of a celebration of two people's love through a set of photographs? My guess is that most would choose the latter, because you can do it with a cell phone.
Because it's not the camera that makes the photographer, it's the ability to sense and recognize emotions and then capture them. If you had a choice, would you take someone to your wedding who has a good camera, or someone who can tell the story of a celebration of two people's love through a set of photographs? My guess is that most would choose the latter, because you can do it with a cell phone.
What should a good wedding photographer meet and what should you look for when choosing one?
Obviously, a wedding photographer should be a proficient professional who knows a wide range of photographic genres. But above all, he should be a good companion. It might seem that engaged couples choose a photographer only on the basis of the photos they have seen from him. But I often get inquiries from fiancés I met as wedding guests at a wedding. Because there they see you functioning as a person at the wedding. In short, it's also good when fiancés choose a photographer based on their human fit.
Do you take photos at the request of clients that are not your own or go against your philosophy?
There is one rule in wedding photography - what the photographer shows in his portfolio and on social media is what the fiancés will expect from him. If he doesn't want to photograph something, he shouldn't show it. Luckily, my clients don't ask me to take those photos. Every now and then, a bridesmaid comes in with an idea like "our photographer took this at our wedding" and it turns out to be an arrangement that may seem like a big cliché at first. But even in this there is something extra, for example, the bride's sincere laughter when something goes wrong with that arrangement. I consider such a photo to be valuable and it doesn't matter to me what path led to it.
Humour is typical of your wedding photographs, as is a sense of subtle paradox. At times it's reminiscent of Forman's classic "Hoří, má panenko. Is this specific to the Czech environment, or is a wedding really that much fun?
That's a great comparison. In Hoří, má panenko, Miloš Forman supposedly didn't give the actors a script to encourage their spontaneity and believability. Every wedding has always been and always will be about people. The photos that result are meant to protect their memories without exaggeration, not to serve as a contrived self-presentation for former high school sweethearts. I love the humor in a photo, so I'm always happy to share such photos. But if the wedding is intimate or romantic, I'll capture it that way. I always respect the atmosphere. My clients often tell me to shoot it as it really is.
That's a great comparison. In Hoří, má panenko, Miloš Forman supposedly didn't give the actors a script to encourage their spontaneity and believability. Every wedding has always been and always will be about people. The photos that result are meant to protect their memories without exaggeration, not to serve as a contrived self-presentation for former high school sweethearts. I love the humor in a photo, so I'm always happy to share such photos. But if the wedding is intimate or romantic, I'll capture it that way. I always respect the atmosphere. My clients often tell me to shoot it as it really is.
Even after all these years, are you afraid of missing the right moment?
Of course. My approach is photojournalistic, that's why I don't take my camera away from my eye for most of the wedding. I still miss a lot. But that's normal. Luck favors the prepared.
Of course. My approach is photojournalistic, that's why I don't take my camera away from my eye for most of the wedding. I still miss a lot. But that's normal. Luck favors the prepared.
How did the Photo Stories project come about?
When my wife Barunka and I were on our honeymoon in Norway, I lamented to myself that there was no place on the web where I could read photo stories. I approached Zanda Valenta, one of the co-organizers of the Wedding Photographers Festival, with this idea. She got excited about the project and actually became its co-author and main driver.
What is the project about?
Stories of Photos is a charitable online gallery that supports the Good Angel Foundation by selling special edition printed photographs from established photographers and enthusiasts. All published photographs can be purchased at a price of CZK 3,000. There is always a limited number of ten available. The printed photographs are supplied on the highest quality paper, framed and gift-wrapped, including a certificate of authenticity and the story attached to the photograph. One hundred percent of the sale proceeds always go to the Good Angel Foundation, which helps families in need.
Stories of Photos is a charitable online gallery that supports the Good Angel Foundation by selling special edition printed photographs from established photographers and enthusiasts. All published photographs can be purchased at a price of CZK 3,000. There is always a limited number of ten available. The printed photographs are supplied on the highest quality paper, framed and gift-wrapped, including a certificate of authenticity and the story attached to the photograph. One hundred percent of the sale proceeds always go to the Good Angel Foundation, which helps families in need.
You mentioned the Festival of Wedding Photographers, is it purely a platform for professionals or can expectant couples find inspiration there too?
The festival is purely for wedding photographers and videographers. It's a gathering where we can educate, inspire and meet each other as creatives and professionals. We then use the money raised to help those in dire need. Whoever finds the values meaningful participates in the festival.
Many of your projects have a charitable dimension. What are you most proud of?
Over the four years, we have donated 407,191 crowns to charitable causes through the Wedding Photographers Festival. Stories of Photography has helped with another 121,000 crowns to date. That's not a little for being "just" wedding photographers, right? Many thanks to my colleagues and co-organizers Zanda Valentová, Petr Wagenknecht, Yvonne Baranovičová, Katka Sedláčková and Tomáš Malý. Everyone contributed to this amount with their work, time and effort.
Over the four years, we have donated 407,191 crowns to charitable causes through the Wedding Photographers Festival. Stories of Photography has helped with another 121,000 crowns to date. That's not a little for being "just" wedding photographers, right? Many thanks to my colleagues and co-organizers Zanda Valentová, Petr Wagenknecht, Yvonne Baranovičová, Katka Sedláčková and Tomáš Malý. Everyone contributed to this amount with their work, time and effort.
You organize the festival, lectures and workshops. What attracts you to sharing information?
What you put into your life comes back to you. That's what my mother once told me. The credo of the Festival of Wedding Photographers is "Amateurs compete, professionals help".
What you put into your life comes back to you. That's what my mother once told me. The credo of the Festival of Wedding Photographers is "Amateurs compete, professionals help".
Another area you're involved in is shooting for film. What is your role?
As a location photographer, I usually have to take two types of photos. The first ones are photo-shots - photos where the crew is not captured and which should evoke the atmosphere of the film. I'm sure you remember these shots from the shop windows outside the cinema entrance before they were replaced by posters. Today, they are used more to promote the film on the internet and in print media. My second task is to capture the film crew at work and the action on set.
As a location photographer, I usually have to take two types of photos. The first ones are photo-shots - photos where the crew is not captured and which should evoke the atmosphere of the film. I'm sure you remember these shots from the shop windows outside the cinema entrance before they were replaced by posters. Today, they are used more to promote the film on the internet and in print media. My second task is to capture the film crew at work and the action on set.
Where have you been?
With the 1st Department Cases series, I've gotten a peek under the hood of the Prague mortuary. The film Hastrman and the series The Invisibles then opened up the world of watermen in Bohemia for me. Milada gave me a glimpse into the first half of the twentieth century. That was definitely the most powerful experience!
With the 1st Department Cases series, I've gotten a peek under the hood of the Prague mortuary. The film Hastrman and the series The Invisibles then opened up the world of watermen in Bohemia for me. Milada gave me a glimpse into the first half of the twentieth century. That was definitely the most powerful experience!
Shooting such a film must be a completely different experience than a wedding...
It is. When capturing wedding stories, I try to imprint the emotion into the photographs through the human expressions on people's faces. During the filming of Milada, in addition to the standard photos, I created a set of eight images where, on the other hand, the faces are almost not captured. I concentrated more on illustrating the time and the overall oppressive mood of communist persecution. For me, it's the complete opposite of a wedding photo. There's a chill that comes from that file. I'm extremely grateful for the opportunity, I consider it my best set and most importantly my piece to the puzzle that is meant to remind us what a mess communism was.
Photos from the shooting of MILADA.
You also photograph stories of interesting personalities, and you received a Czech Press Photo award for your sports documentary about Jiří Soukup. Are you interested in time-lapse work? Is it another counterpoint to "one-off" revelry?
The documentary about Jiří Soukup was a year-long project. From January 1 to December 31, I continuously captured a year of his life, in which he celebrated his 90th birthday. I spent time with him at sporting events and at celebrations with family and friends. During that time we became friends and got to know each other. Logically, I don't have that luxury at a wedding. But the approach was and is the same in both cases. It's about telling a human story in an engaging way through a set of photographs. I would love to embark on another similar project next year.
From a sports documentary about Jiří Soukup.
Vojta Hurych
Photographer, husband, dad, born in Litomyšl. Originally a landscape engineer. Winner of four Czech Press Photo awards, finalist of the New Talent 2019 competition at the largest European wedding conference BODAF in Barcelona, co-founder of the Stories of Photos project, co-organiser of the Festival of Wedding Photographers.
www.pribehyfotek.cz I www.festivalfotografu.cz I www.hurych.cz
Text: Helena Stiessová | Photo: Vojta Hurych
