British weddings, captured in their boozy, chaotic glory
- Text by Huck
- Photography by Ian Weldon
Ian Weldon first started photographing weddings as a way to make extra money to fund other projects. However, from the get-go, his approach was far from traditional.
Rejecting the methods usually favoured by ‘wedding photographers’ – family members and guests queued up, waiting to pose in different arranged combinations – Weldon employed a different tactic. Instead, he shot weddings as they actually were: warm, strange, chaotic affairs, where everyone – and everything – plays an important role.
That was seven years ago, and what began as a side project has evolved into his full-time focus. Now, I Am Not a Wedding Photographer, a new book co-published by RRB Photobooks and the Martin Parr Foundation – plus an accompanying exhibition hosted by the latter – details some of the photos he’s made throughout the years: from scenes depicting the frantic last-minute preparations, to the boozy antics after-hours.

“I think that the photographs I make – the ones that I’m actively seeking – are photographs most wedding photographers would dismiss as mistake,” Weldon says.
“Although they are made at weddings, none are really ‘wedding’ photographs. From a single handful of confetti being thrown into a bride’s face by her grandmother, to the aunties smoking at the side door to the venue, it’s evident that these are not traditional wedding photographs.”

Weldon refers to his approach as “photographic democracy”, where no one photograph is more important than the other. In his mind, a shot of the bride hugging her father carries equal weight to one of “a kid picking their nose”. Towing the line between being both “utterly serious” and “utterly ridiculous”, I Am Not a Wedding Photographer explores Weldon’s love of people – and the strange things that they do when they’re together.
“Even the most drunken of wedding guests show some restraint, mostly,” he says. “There have been the usual arguments, scuffles – a cake was kicked off a table once, and a car crashed into a courtyard water feature – but nothing of real note. It’s just people partying, and I like a good party.”

I Am Not a Wedding Photographer is available now from RRB Photobooks. An exhibition of the same name is showing at the Martin Parr Foundation is showing from 26 June – 10 August, 2019.
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
You might like
Glasgow’s Calabash is the restaurant the African diaspora call home
Home Cooking — Having been open in the heart of the city for 15 years, the Kenyan rooted eatery has become a community staple for migrants and Scottish-born locals alike.
Written by: Lisa Maru
Andrea Modica’s 40 year long Italian Story
Storia — The Italian American photographer first ventured to her ancestral country in 1987, beginning a decades long exploration and documentation of it.
Written by: Miss Rosen
Exploring Bucovina, the last wild place in Europe
Noroc! — 70% of Romania’s northern provinces are covered in ancient woodland, with its people cultivating a close relationship with the land that stretches back millennia. Jack Burke forages, eats and drinks his way around the region.
Written by: Jack Burke
War & Pieces: The race to become the world’s fastest jigsaw puzzler
The Obsessives — The UK Jigsaw Puzzle Championships see contestants turn a cosy pastime into a high stakes battleground, as they race to complete 500-piece puzzles in as little time as possible. It’s as much a feat of athleticism as cognitive quickness, reports Ginnia Cheng.
Written by: Ginnia Cheng
Why is the Met Police using EsDeeKid for ‘copaganda’?
Slop Enforcement — Among the AI slop and ragebait of late-stage social media, newsletter columnist Emma Garland has noticed a jarring trend – London’s police force appropriating criminalised subcultures for engagement purposes.
Written by: Emma Garland
A stark, confronting window into the global cocaine trade
Sangre Blanca — Mads Nissen’s new book is a close-up look at various stages of the drug’s journey, from production to consumption, and the violence that follows wherever it goes.
Written by: Isaac Muk