Bin would
approach a wedding in the same way a child arrives a
playground the first Sunday of the week. After shooting numerous weddings,
he still relies on finding, geared to discover the very essence of the couple’s
wedding day. In a time when weddings have become formulated and every
portion has a name to its own and every spot in a room or a hall has its
reservation of function, including the spot for a photographer if not the range
of movement, Bin's photography keeps de-formulating itself. He'd
arrive with fresh sense, an open mind and a keen photographer’s eye; examining
the day in fine layers, searching for the pulse of the event, looking for
transitory moments that will become elevating. His essay has intricate texture, his sequences sweeping, his compositions always retain pictorial elegance. Ordinary elements are made to transpire and become inseparable; the bench seats in a church, a curb side, a large piece of sky, a raised arm constructing to a foreground framework, a young boy’s crew-cut head, none escapes Bin’s camera and puts toward constructing his photo essay.
Bin is thrilled when the subject he is photographing moves or bounces, in fact, he much prefers them not to stay still, in turn, he would snatch moments from within moments of the not-noticeable. He wants to see the couple as natural as they are without intrusion from the photographer. "He is very observing, we don't recall he twists our arms. We find him very easy to work with." Group shoots are one rare occasion, given the need of coordination, where Bin would pose his subject but to the minimum. Portraits of the couple are photographed fresh in various ways weighing on interaction, joy and laughter.