Documentary photographers choose a particular area of human experience with which to frame their work. For some it’s the street, while for others it’s the family, social injustice, or a particular conflict. Bill McCullough is unusual in exploring a ritual activity that is often overlooked or seen as photographically banal. In the process he reveals that wedding photography can be a serious genre of documentary practice. McCullough steps beyond his clients’ need for a formal record of their big day to study the wedding as a laboratory of human behavior.
My background is rooted in science and music, which left me with a deep understanding of patterns and rhythm. I view my surroundings as giant kinetic events; in that compressed atmosphere I am constantly moving because time is finite and the number of interesting situations seemingly infinite. I strive for a pure approach to photography, letting moments play out without my interference. My idea of a great photograph is one that transcends its context and allows for many different interpretations. My intent is not to compartmentalize life and art, but to find some space that links the two together.