David Murray ’75

By Laurie Morrissey

As a photojournalist, Dave Murray witnessed some of the world’s most influential and tragic events. He photographed the American invasion of Grenada; election-day violence in Haiti; and the funeral of Princess Di. He snapped presidents, popes and dictators; baseball legends, fashion models and tennis champs. His work appeared in national newspapers and magazines, including the New York Times and LIFE.

But after 20 years in the world’s hot spots, he’s had enough. Now, he’s more likely to have rice in his hair than bullets whizzing by his head. And instead of Pulitzer Prize nominations, he gets hugs and kisses from brides.

Murray’s main business is high-end, “boutique” wedding photography (also called wedding photojournalism). Based in Kennebunk, Maine, he shoots about 30 weddings a year, from formal church ceremonies to elopements.

Wedding photojournalism—a hybrid of traditional wedding photography and news photography—has become popular in the last 20 years, according to Murray. “My job is to document what goes on in a bride and groom’s day, focusing on what will make them happy. I’m not going to take someone fainting at the altar or tripping on the dance floor. I used to fight for those pictures when I was in editorial.”

The skills of a news photographer are perfect for the kind of unposed photographs he takes. “My spot news training allows me to see the potential of a photo in a second. I react to what’s going on in the moment,” he says.

The moment might be a father’s first glimpse of his daughter in her wedding dress; a bridesmaid buttoning  the back of her friend’s gown; or the bride sharing a hamburger with her dad—while dressed in gym shorts, a tee shirt, and a lace veil. It might be the best man adjusting the groom’s tie before a beach wedding—next to a sign reading “All Dogs Must Be On Leashes.”

Shot mostly with natural available light, Murray’s photos are not typical altar shots and group portraits. He wants the bride to tell him, ‘that’s exactly how I remember the day.’

A French major, Murray took an introductory course in photography and “was totally blown away by the magic” of photography. The darkroom was in the attic of his dorm, and he was often there until 3 a.m. After graduating, he worked in the photo lab at the Palm Beach Post . “It was like my own master’s program,” he recalls.

Majoring in French turned out to be key to his career. At the Fort Lauderdale News/Sun-Sentinel, most of the Haiti assignments came to him since he was the only French speaker on staff. In 1982, he was a finalist in the Pulitzer Prize spot news photography category for his work there. He has also received a Robert F. Kennedy Journalism citation and first place for spot news from the National Press Photographers. Always prepared for the unexpected, he once got a shot of a yacht in flames—with the name “Lifesabitch” painted on the stern. The photo was printed full-page in LIFE Magazine.

Now that Murray’s work has gone from front-page news to wedding albums, he occasionally finds himself back at his alma mater. Kate Dunn ’99 found Murray on the Internet and “was so awed by his work,” she hired him for her June 11 Abbey Church wedding (above)—unaware that he was a fellow Anselmian.

Two hours before the ceremony, Murray arrived at the hotel where Dunn was staying with her wedding party. Dressed in black, giving no instructions to anyone, he was clearly comfortable with chaos. Stepping around suitcases and clothes, he photographed the emotion, the friendship, the nervousness, and the joy.