Multiple award-winning photographer, Jerry Ghionis is one of the most influential photographers of the 21st century. He is the only Australian to be named among the top ten wedding photographers in the world by Microsoft’s magazine, Icon of Imaging. He has won WPPI (Wedding & Portrait Photographers International) Wedding Album of the Year a record six times. A self taught photographer, Jerry is also the founder of the ICE society which educates and guides upcoming photographers.

You quit your photography course within a year of joining. Why?
It was essentially because what I had expected to be taught and what I was actually taught were two very different things. They were teaching me more of the “why” than the “how”. They were teaching so many things that you just don’t [need] in the real world.  I wanted to be more street smart. And I really wanted more on-the-job training.

In your early years, you worked at a studio without pay for over a year. How much did this help you in furthering your career?
At the very first wedding that I assisted, I probably learned more than what I did in all six months of my school. And that was because I was getting on the job, real world training. At that first wedding I was taught about the direction of light, how to use flash, interacting with clients, working under pressure and working under time constraints. I literally just carried bags and assisted a photographer for a year and half with no pay while I was working at a camera store selling cameras. I did all of that just so I could be involved in the industry. I believe that assisting at weddings is the best training for any photographer and that’s because when you’re photographing a wedding, you’re actually shooting much more than that. You’re shooting wedding, portrait and fashion. You’re shooting photojournalistically, shooting product (all the details that you need to document), landscape and more. So you’re photographing all these different genres under time and weather constraints while dealing with different cultures and personalities. So I truly believe that a really good wedding photographer can pretty much shoot any genre.

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What prompted you to start your own business? Was it something you always intended to do?
I was happy at the studio I was working with. I really had no plans to start my own business at that time, although it was probably inevitable. But the photographer I was working with just lost interest in the business. I learned everything I needed to know very quickly and eventually he just stepped back. So basically I realized that I needed either more inspiration or more money to stay with that studio. I got neither, so I started my own studio in 1997.

To be included on this list along with Pulitzer Prize winners and people whom I have respected and admired on a world stage is amazing.

What attracted you to wedding photography?
Well, like every young male, I wanted to shoot pretty girls. But I soon realized that if I wanted to actually make money with my photographs then wedding photography probably is the obvious avenue to pursue. And once I tried it I really I loved it. I loved the beauty of the bride, the celebration of the day and all the emotions. And it also suited my personality and what I am capable of doing creatively.

What special challenges does wedding photography present?
It’s the ability to work under pressure, think quickly and create the best out of any situation. Bringing the best out of any situation was one thing that I really paid attention to every week when I was presented with less than desirable locations. So I began to wonder how I would differentiate myself from other photographers. I started asking myself, “How do I turn this ordinary situation or location into something extraordinary?”  And that has been my focus over the last several years.

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According to you, what are the most important attributes a wedding photographer must possess to be successful?
One needs to have flair and finesse, the ability to be different, an endearing and attractive personality and the knack to work under pressure while still being technically proficient. Another thing that is very important is to know how to relax and be down to earth at a casual wedding and how to carry yourself professionally when you’re at a high society wedding.

Wedding photographs are meant to last longer. So what printing techniques do you use to make sure they last?
I recommend always using a professional lab with permanent quality and consistency. I use Edge Photo Imaging and I make sure that the monitors my digital artists use for colour correcting are all calibrated consistently.

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Portraiture, wedding, destination or fashion, which of these genres you enjoy the most? Why?
They’re like my children; I love them all the same. It really depends on what stimulates and inspires me. And I’m usually most inspired by the energy of the people I am working with or what I’m shooting.

In 2004 you were conferred with the honorary title of ‘Master of Photography’ by the Australian Institute of Professional Photography (A.I.P.P). Can you share some memories of this special moment?
When I was starting out in the industry, I would see so many established photographers wearing a red ribbon that basically meant they had achieved the master status. You achieve that by incurring a certain number of points every year in competitions. And I remember feeling the day when I would achieve that status was so far away, but finally achieving that goal was great. I felt a sense of belonging to the institute and was very proud of that.

You don’t have to be the best. You just have to be better than last week.

You are the only lensman outside US to be included in the coveted list of 13 photography pioneers of the world. What does this momentous honour mean to you?
It means a lot to me, of course. I think that is probably one of the most prestigious things I have achieved. To be included on this list along with Pulitzer Prize winners and people whom I have respected and admired on a world stage is amazing. I have been recognized by my peers in the industry, but being recognized as an ‘Icon of Imaging’ by Microsoft put me in the spotlight for consumers as well.

Last year, you won the Wedding & Portrait Photographers International (WPPI) Wedding Album of the Year for a record sixth time. Was this achievement more gratifying than your very first title?
Well the first time I won it was very special, but I believe the key to success is consistency and so I am very proud to have achieved that award for a sixth time. It was very special for me personally. Basically, I enter the awards for self development. I feel that I have nothing to prove to anyone other than myself. And that goes along the same lines as one of my mantras: “You don’t have to be the best. You just have to be better than last week.”

How did ICE society come about?
I’ve been teaching now for about 8 or 9 years and with every seminar, every convention and every workshop the number of students I meet continues to grow. Years ago I would get emails every time I did a seminar and the number of emails I would receive daily increased from 10 per day to 30 per day and more until it just became too much. I used to answer every question, every thought and the problem was that it was taking so much time to respond that it started becoming detrimental for my business. The I.C.E. Society was created because of my love for the industry and I wanted to continue educating and helping photographers in this community. Hence the name – I.C.E. Society – which stands for Inspire, Challenge, Educate.

More Photos by Jerry | Fotosocial

What printing equipment would you recommend for wedding photography?
I recommend using a professional lab that has great quality and is consistent. If I do print in house it is on an inkjet, an Epson Pro 3800.

When presenting your work to prospective clients, what techniques work best?
First and foremost when you meet a client face-to-face for the first time, I recommend not placing any albums in front of them as this will distract them from getting to know you and in turn for you to know them. Another tip is to try and plant that seed that will get them to book you right away. You might want to say, “Wouldn’t it be great to walk out of here with one less thing to worry about.” So to reiterate, sell yourself before you sell your photography because that is one thing that no one can take away from you. Also, when you do show your work, it’s always good to tell the story behind the image before you actually show it. For example, if you’re showing an album to a couple, talk to them about the next image before you actually show it to them. After talking about that image, then slowly turn the page and let them see it. And it’s never too early to educate your prospective clients. Even at the first meeting, you can educate them about your process, the way you shoot and why you do it that way.

More Photos by Jerry | Fotosocial

How should a wedding photographer work on his own portfolio to win more clients?
Well, it’s really about shooting for the “wow” factor. So on a wedding day, I always make sure that I end up with at least 5 “hero” shots. So while I normally spend equal amount of time per scene or on each set up, if I see something that is special, I make sure that I take my time and set up a “wow” shot. I know these images will be the ones that the couple will enlarge on their walls. But I also take them so that I can add it to my “legacy” shots, as I call them. These legacy shots are the images that future couples will book you on and the ones that they will remember you for.

	Quick 7: Your Favourite Printer: Epson Pro 3800 Your Favourite Shoot: I haven’t done it yet. Your Preferred Location: It’s not about location – it’s all about the light. But if I had to choose somewhere, anywhere in Italy would be beautiful. Favourite Photographer: I’ve always been a huge fan of Herb Ritts and Patrick Demarchelier Most memorable story: One of my most memorable moments was photographing a six day wedding recently in Rome. Every day found me photographing yet another big event at a venue that was even more beautiful than the last one. I arrived in Rome one day before all the events began and the bride decided on the spot to fly me to Barcelona with all the girls for the bachelorette party. The evening before the formal events began, saw me having dinner with the bride’s family at this amazing restaurant with Leonardo di Caprio dining at the table next to us. And with each event, the gowns became more and more spectacular, the venues become more and more breathtaking right till the wedding day when the bride wore an Oscar de la Renta gown that was designed and created just for her. The locations were just incredible. I walked into the church on the day of the actual wedding and had to literally hold back the tears because it was just so beautiful. I even took the bride and groom to the Vatican for their engagement session and again on the wedding day for some of their formals. That is when I realized that no wedding hereafter will live up to this one. Current photographers you like: If I was to get married again, I would ask Greg Gibson to photograph my wedding. He has a beautiful blend of photojournalism and fashion style portraiture. Toughest day at work: I was hired to do my first destination wedding in 2001 and I had the Hasselblad XPan with me but I had never photographed with it before. I had left my regular camera in the limo that had dropped me to the bride’s home and the limo driver left and stole my gear. I was forced to photograph the entire wedding completely on the Hasselblad XPan, a rangefinder camera. It also started raining profusely so I had to keep photographing inside and outdoors and while I had a flash, I didn’t have a sync cord or a tripod because they were in my bag that had been stolen. So after spending a day gritting my teeth and smiling to hide my anxiety, the day culminated with me photographing the couple at night in front of Big Ben across the River Thames. I had borrowed a tripod by that point and I set up a beautiful panoramic view of Westminster Palace. As I made my final adjustments, the bells of Big Ben rang signifying the stroke of midnight and as I walked back to my tripod and turned around, all of the lights on Big Ben and on Westminster Palace turned off. Just when I finally thought I was on top after this ridiculously trying day, and after I had travelled all the way to London from Australia with this one shot in mind…all of the lights turned off before I could get it. But I ended up using it to my advantage by making that image look quite gothic and beautifully romantic. So in the end, that situation had a positive ending.