High country, late summer, the light going soft over the peaks. We walked out into the wildflowers for ten minutes between the ceremony and dinner and let them have the mountain to themselves.Colorado gives you scenery no studio can build. The trick is not to let it swallow the couple, so we keep them close, keep them moving, and let the range do the rest.

A couple walking out through the wildflowers with the Rockies behind them.

Mountain Meadow

The last half hour of light is worth protecting on any timeline, and it is the one thing we will ask you to hold in the schedule.Nothing here is posed beyond where to stand. We put them in the good light, give them something to do, and stay out of the way until it happens.

Backlit blossom, a green velvet tuxedo, and the last of the sun.

Golden Hour

Not every wedding wants a mountain. This one wanted the city it actually lives in, so we went looking for colour a few streets from the reception and found a warehouse wall and an old pump.A dress that goes from white to sunset deserves a background with some nerve.

An ombre gown against a teal warehouse wall.

Mile High

Twenty seconds of privacy in a courtyard, which on a wedding day is a genuine luxury. She laughed before we had the camera up, which is usually the frame worth keeping.We shoot a lot of these in the gap most couples do not know they have, between the photographs everyone expects and the party starting.

A kiss on the cheek in a courtyard full of green.

Flower Crown

Bridal portraits go one of two ways. Either you get a held expression and a straight back, or you get someone actually enjoying the best day of their year.We aim for the second one, which mostly means talking rather than directing, and being ready when the pose falls apart.

Pearls, lace, and a red barn out of focus behind.

The Laugh

Winter weddings in Colorado are a gamble that keeps paying off. Snow flattens the light, quiets the background, and turns an ordinary treeline into something you could not book if you tried.Warm boots to the spot, heels on for four minutes, and back inside before anyone loses feeling in their hands.

A winter bride between the pines, snow still falling.

First Snow

Grooms tend to get about four minutes and a corridor. We think that is a waste, so we build a proper stop into the timeline for them too.Good window light, a wall worth standing against, and enough time that the smile is real by the time we are done.

A calla lily, a bow tie, and a minute to himself.

Black Tie

While everyone else watches the aisle, the front row is quietly doing something better. This is the reason we work the ceremony with a second photographer facing the other way.Ten years from now this is the frame the family fights over.

The smallest guest, entirely unbothered by the occasion.

Front Pew

Ceremonies do not repeat and they do not wait, so we shoot them quietly, on long lenses, from wherever we agreed with your officiant beforehand.No interruptions, no reshoots, no photographer stepping into the aisle in front of your guests.

The Veil

It rained. They danced anyway, and it became the photograph of the whole wedding.Weather is not a problem to be managed so much as a gift you did not order. We carry the lights to handle it, and we will never be the reason you stay indoors.

A first dance in the rain, inside a ring of lanterns.

Rain Dance

The last hour is loud, sweaty and completely unposed, and it is where a wedding stops performing and starts being a party.We stay on the floor for it rather than shooting it from the edge of the room.

The end of the night, everybody shouting the words.

Last Song

Ring shots on a windowsill are fine. Ring shots that say something about the two people are better, and this pair are campers.We ask what you actually do together, then build the detail photographs out of that instead of a stock list.

The ring, photographed on the only thing that made sense.

S'more

Getting ready is where the day is quietest and where most of the feeling lives. Someone who has known you your whole life puts the last piece in place, and nobody says much.We have photographed enough of these to know the order things happen in, so we are already in position when they do.

The Dupatta

Group photographs have a reputation for eating an hour and everybody knows it. They do not have to.We build the list with you in advance, keep a name on every shot, and get the wedding party done in about twenty minutes so you can get back to your own party.

Ring Bearer

The engagement session is really a rehearsal. An hour in front of a camera before the wedding is the single best thing you can do to stop feeling strange in front of one on the day.It is also how we work out what you are like together, which makes everything we shoot later better.

An engagement session against a wall of painted flowers.

Mural

Cold morning, warm wall, two people who had stopped noticing the camera about ten minutes in.That is the whole aim of a session like this, and it is the point at which we start getting the pictures you will actually keep.