Being as chronically online as most people are, we’ve been privy to many a few celebrity weddings. A grand party that somehow isn’t quite contained to its esteemed invitees but instead, the rest of the world gets awarded a peek into the fairytale—oft one enshrined with luxury and plenty of splendour. However, the buzz of a famous wedding can only be attained through the medium of photography. Which is where most of the time, German Larkin comes in.
By now, the Milan-based society and fashion photographer is a household name. Beyond his engagements at Fashion Week, he’s renowned for capturing some of the most famed weddings of this zeitgeist—from Sofia Richie, Paris Hilton to the Brunei royals and most recently, at the Ambani festivities. As today’s most sought after wedding photographer in Hollywood, Larkin speaks to Vogue Singapore about the beginnings of his career, the most memorable weddings he’s captured and how fashion has influenced his work.
How did your career in photography begin?
I’ve always loved photography. When I was 15, I asked my father to give me a Polaroid camera as a present, and from that moment, I was always drawn to photography. It became my hobby, an expression of my vision, and a tool to connect with people and places, allowing me to explore and understand the world. I never formally learned photography; I’m entirely self-trained. I only began pursuing it professionally less than 10 years ago.
At the outset, I was already a blogger and journalist, writing about fashion and social events with my first Leica camera. I needed images to accompany my articles, so I sought advice from a photographer friend on the best setup for photographing people.
He suggested, “Why not use this small Leica camera and shoot black and white portraits?” Taking his advice marked the beginning of my journey, coinciding with the rise of social media around 2009-2010, when I started capturing portraits regularly. Soon after, photography became my primary focus, prompting me to shift away from writing. It was during this time that I had the opportunity to meet Alessia Glaviano, who was then the visual director of Vogue Italia and is now Head of Global PhotoVogue and Director of the Photo Vogue Festival.
Was there ever a defining moment for you at any point in time—one that led to your success?
A big break in my career? Definitely when I met Alessia, she noticed my rather unusual style and rather unusual approach to photographing a scene. Alessia instantly proposed for me to shoot for Vogue Italia, and that’s how I started to do even more parties and cover more shows. That was the moment I started to work with fashion brands.
How would you describe your style as a photographer?
It’s definitely fashion photography. Fashion can be put on models; it can be photographed in a studio, in a location, and in real-time. Even at parties, dinners, or weddings, I’d never say I do reportage, it’s always fashion photography.
I approach every shot like it’s a fashion shot, and it’s this style of mine that has made my images so desirable and viral. This is why my wedding images are so different from other photographers’, my work has this ‘glam’ feel that only fashion can boast. It’s social fashion photography, the style is spontaneous, glamorous and meaningful.
What would you say is your pièce de résistance in your repertoire? What sets you apart?
People call me “the king of pretty pictures.” When I met editors like Edward Enninful and Emanuele Farneti, they pointed out that people look perfectly good in my pictures, the way they want to see themselves. That’s exactly my strength—the ability to catch the perfect look of a particular person, to capture the moment of maximum glam, of utmost beauty—it’s what I’m good at.
You’ve shot some of the biggest celebrity weddings in the world. In your personal opinion, which wedding would be one for the books?
I think every beautiful wedding I’ve ever shot was the result of a fashion statement mixed with stardom. One of the first ones was Kitty Spencer’s wedding, where she wore a full Dolce&Gabbana Alta Moda look. Actually, four looks! It was incredible; the wedding was in Rome, and it was a fusion of British traditions with an Italian flare. That wedding was a spectacular example of how a modern wedding should look.
How do you fuel yourself on shoot days?
A wedding day is definitely the hardest task for a photographer (and also for the bride and the groom, I guess). We start getting ready at three in the afternoon and finish the shoot at three in the morning. It’s literally 12 hours on foot, working, being attentive, and focusing on many details and special moments. Considering how meticulously I look for (and find) the moments of utmost beauty and glam for the bride, I need to be alert the whole time.
It is a very difficult day physically, yes. You need to be well prepared, get your meals in advance, and assemble your own look and make sure you don’t wear anything too hot (I usually wear a tuxedo). It’s quite a challenge, but what truly fulfils me is the beauty of the bride. Once you see your model glowing in front of you, you forget about everything else, including food and drinks. You can eat and drink the next day.
What’s the secret to capturing those candid moments and raw emotions so beautifully at weddings?
The most important thing is to stay alert all the time and know exactly what you want to see and show. There are many things going on, but I select and focus on just a few of them. This is what makes a difference in the vision of each photographer and artist. Ask five people to shoot the same scene, and you will have five different photos!
When I work with the bride, I keep my eyes wide open and I imagine what a perfect picture of this person would be, and I find it in reality. You also have to stay alert all the time, because the most beautiful shots can happen at the end of the ceremony or at the end of the night. You might find the moment that perfectly represents the whole evening and the whole event.
Do you have a go-to camera that you love shooting with?
I love two cameras and I only use two cameras. In my work, I use a Leica Q system camera, which is a very sharp, versatile, and powerful tool with its flash. It’s perfect for candid shots because of its small size. However, it’s limited to portrait photography and isn’t ideal for longer distances.
For ceremonies, where I need to be stationed in one part of the room while the subject is in another corner, I use my Canon R system, which I also love. It’s very reliable with longer lenses, and my personal favourite is the 85mm lens.
A piece of advice for aspiring photographers that are looking to break into the scene.
First of all, find your tool. Find your camera, the one you are comfortable with. Then find your subject, which you love to shoot. It’s important to take pictures of things you love–that’s how you change the game and change the perspective. Once you get your camera and find who and what to shoot, don’t stop. Do it, protect your vision, and push your vision.
When you start, if your vision is new and different, it might be rejected or criticised for its newness. It happened to me when I started; people said, “Oh, your images look so different.” But now, my approach has become mainstream, and many people try to shoot the same way. I’m very happy for all the guys who are now making their way to success by photographing people. But I think the most difficult job on Earth is to produce a good portrait of someone.
So please, just go forward, continue to do it, and don’t stop—with love, lots and lots of love.
1 / 6
Sofia Richie in Chanel
2 / 6
Nicola Peltz in Valentino haute couture with Brooklyn Beckham
3 / 6
Kimberly Hammerstroem in Galvan
4 / 6
Paris Hilton in Oscar de la Renta with Kim Kardashian
5 / 6
Celina Locks in Armani Privé
6 / 6
