A wedding photographed on Hasselblad medium format and Leica 35mm. No second photographer unless the day requires one. The kind of pictures you'll print and put in a book your grandchildren will hold.
I will not stage a "first look." I will not pull you out of the reception to chase golden hour. I will be a quiet presence with a quiet camera and the photographs will be of your day, the actual one.
Three recent weddings, three very different days. Each is in the archive in full; here are the frames I most often return to.
A wedding in San Quirico d'Orcia, October light, sixty guests, all of whom seemed to know each other from a slightly different angle. Three days: welcome dinner Friday, ceremony Saturday afternoon, long lunch Sunday at noon.
I don't know how to put this lightly: she made our wedding day quieter than it actually was. The pictures are calmer than I remember the day feeling, and that is exactly correct.
A New York elopement in late October. The rental was a five-floor walkup the size of a bedroom. The bride's mother cooked dinner on a hot plate. The bouquet came from the deli across Bowery and cost eight dollars. It was perfect.
Margot photographed the back of my neck while I was crying laughing. I did not know she was there. It is the best photograph anyone has ever made of me.
An April wedding at Henrik's family farm in the Hudson Valley. A tent in the orchard, ninety guests, a dance floor that warped in the afternoon rain. The light, when it came back at six, was the best I've shot in three years.
She moved through our day so quietly I forgot she was there. Then the gallery arrived. Every photograph was the day, exactly as it had felt.
Some things never change. Whether it's a half-day elopement or a three-day weekend in Italy, every wedding receives the items below. It's the floor, not the ceiling.
A thirty-minute video call about the day — light, location, family dynamics, the photographs you don't want made. Most of my best wedding photographs come out of what I learned in the planning call.
I shoot every wedding myself. I do not send associates. The Whole Weekend collection includes a senior assist for the larger days, but I am the eyes behind every frame.
Every roll developed and scanned at Richard Photo Lab, Los Angeles. You receive the full digital scans, every frame, no proof culling — only blurry-out-of-focus rejects removed.
A private password-protected gallery for sharing with family. Half-day galleries live for one year; Full-day three years; Whole Weekend in perpetuity. Family can download originals.
Hand-bound 8×10 proof print box of the 100 frames I love most from your day. Comes wrapped in muslin, in linen-bound box, by the eighth week after your wedding.
A second video call after the gallery has lived for a few weeks, to talk about an album if you'd like one. No pressure; about half of the couples I work with end up making one.
I arrive earlier than the call sheet says. Often before hair and makeup. I sit in the room with you, drink coffee, take the early frames before anyone is "ready."
I shoot ceremonies from the back of the room and the side. Two cameras around my neck, both silent. I will not ask you to do anything during the ceremony itself.
Twenty minutes, total. Just the two of you, no posed lineups. We walk somewhere quiet, you talk to each other, I make pictures.
I work the room slowly. Long lenses for the speeches; flash for the dance floor only after about 9pm. I do not pull anyone away from the reception.
Last frames of the night usually come from the lobby, the back door, or the cab line. I leave when the photographs leave.
What I love most is that it never felt like there was a photographer in the room. And then the gallery arrived and every quiet moment of our day was somehow already a photograph.
I take a maximum of forty weddings a year. 2026 has six dates remaining; 2027 is open. Two business days to a real reply, even if it's only to say my date is taken.
Inquire about your date → See the three collections →