07:40
Morning
Dresses on doors, robes and prosecco in one room, a groom losing to his tie in another. Usually the most honest hour of the day.
Coverage starts 2–3 hrs before the ceremony
Portfolio & my approach
My approach is centred on how the day feels. I work calmly and unobtrusively, allowing moments to happen without interruption, while staying close enough to anticipate what's coming next.
You won't be constantly pulled aside or asked to repeat moments for the camera. Instead, I focus on the natural rhythm of the day — stepping in only when it genuinely adds something, and stepping back when it doesn't.
Style & approach
The 95 / 4 / 1 philosophy
95%
Documentary
Observing quietly, anticipating moments, responding to what's happening rather than controlling it.
4%
Couple portraits
A short, intentional pause in good light. No pressure to perform, no stiff posing.
1%
Group photos
A few key combinations, worked through quickly and with a bit of humour.
What a full day looks like
Keep scrolling — the day runs sideways
95% documentary4% portraits1% groups
13:15
Ceremony
Shot from the back and the edges with long glass. No stepping into the aisle, no flash in a church, nobody's view blocked.
The 1% — groups, done quickly
14:02
Confetti
Happens once, lasts about half a minute, and there is no second take. The clearest test of whether your photographer is ready.
Three weddings, same thirty seconds
16:30
The long afternoon
The stretch where nothing is scheduled and everything actually happens. This is where the 95% lives.
Speeches, drinks, and whoever's holding court
20:30
Last light
The four percent. I'll find you when the sun drops, we walk, you talk to each other, and I stay back with a long lens.
Twenty minutes, once-a-year light
23:40
The party
Standard coverage runs to around 10pm, but if your evening has something in it, I'm happy to stay on. Dancefloors are dark, fast and unrepeatable.
Long exposures, no apology
—
And the bits
nobody asks for
Six frames of a pair of shoes hanging in a doorway, turning in the draught. Nobody requested this photograph. It's just what was there while everyone else was busy.
This is what documentary actually means
How I edit
Colour with restraint. Not so processed that it dates, not so literal that it goes flat. Never judge a photograph on its own either — one is often worth keeping because of the one beside it.
I believe in the elegance of Colour.
- Natural, true-to-life colour
- A filmic, organic feel — nothing flat, nothing cartoony
- Contrast, colour work, exposure, and subtle dodging and burning on every image
- Small distractions tidied — a blemish, an exit sign — while keeping everything recognisably you
If this is your sort of thing
Tell me what you’re planning.
You don’t need to have it all worked out. A rough idea and a date is plenty to start with.