Available light first
Flash is a tool, not a house style. Most of what you will see was lit by a window, a low sun, or the candles somebody already lit.
Wedding Photography & Film
The day, exactly as it felt.
We photograph the long, unglamorous middle of a wedding day as carefully as the vows — the quiet hour before anyone is ready, the aunt who cries at the wrong moment, the light going gold over the last of the toasts.
Check your date
Selected work
Eight frames, out of forty thousand
A season's worth of days, edited down to the moments we would hang on our own wall.
Coverage
Built around your day, not around a package
Everything below moves the shape of the coverage — and therefore the number. Nothing is compulsory, and the short list is a perfectly good answer.
- Photography, film, or both
- A lead artist for the stills; a small cinema team when there is a film. Booked together, they work as one crew and stay out of each other's frames.
- Hours of coverage
- Four hours or sixteen. This is the number everything else moves around — a ceremony and portraits, or the whole arc from the first quiet coffee.
- A second shooter
- Two angles on a single moment: the walk down the aisle, and the faces watching it. Hard to add afterwards; impossible to regret.
- Albums, prints, and the gallery
- A digital gallery always. Beyond that, a print credit, fine-art prints, or the full heirloom box — mounted, hand-wrapped, made to outlive us.
- Aerial and drone
- For the days where the landscape is half the story — a headland, a long drive, a barn at the end of a field.
- An engagement session
- An hour together beforehand, so that on the day nobody is meeting a stranger holding a camera.
- A same-day edit
- A short film cut quietly during dinner and played before the last dance. It is a small piece of theatre and it works every time.
- Travel
- Destinations welcome. Beyond a few hours from home we build travel into the package rather than surprising you with it later.
We do not publish package prices, because a four-hour elopement and a three-location wedding with a film crew are not the same trade. Answer a handful of questions instead and you will have a real number — yours, not a starting-from.
Our approach
Documentary, mostly. Direction, when it helps.
We spend the day trying not to be the story. No shot lists read aloud, no crowd herded into rows — just two people paying very close attention, and stepping in only when a room needs a little light or a little order.
Two of us, quietly
A lead artist and a second pair of hands on full days. You should notice the photographs afterwards, not the photographers during.
Edited, not filtered
Colour work by hand, frame by frame, in a register that will still look like the day in twenty years rather than like this year.
Availability
Autumn Saturdays go first, and they go early
Peak-season weekends tend to be spoken for something like eleven months ahead; midweek, winter and smaller ceremonies stay open far longer. If your season is already decided it is worth a look now. If it is not, tell us the months you are weighing and we will say which ones are still quiet — there is no hurry in that, and nothing to sign.
Get in touch
Tell us about the day
Describe it however it lives in your head — the season, the number of people, whether there is a film in it. The form reads what you write, works out which questions you have already answered, and asks only about the rest before giving you a real coverage estimate. It opens on its own in a moment — or use the Check your date button in the corner.