I don't direct the day — I follow the light.

I photograph weddings, and have for long enough to know what's worth keeping and what isn't. After seven hundred of them, the things I'm still drawn to are small — the moments between the ceremony and the toasts, the hour the light goes amber, the second before someone laughs.

My mode is cinematic documentary: available light when I can, sequences over staged portraits, no over-direction. The photographs should feel like the day actually felt — emotional, elegant, accurate. Not photographs that try to sell it.

If we end up working together: I'll spend the day close enough to catch the small things and out of the way enough that you forget I'm there. Galleries arrive within three weeks — color-graded, sequenced like a story, the kind of work that holds up years from now. After that we keep talking. I always want to know how the photographs feel a few months later, when the noise of the day has settled.