Available light · Weddings, portraits, editorial
Quiet pictures of loud days.
I photograph the hour nobody plans — the pause before the doors open, a grandmother fixing a collar, the long walk back when the music has stopped. No posing sequences, no flash towers. Just daylight, a short lens, and a lot of patience.
Recent work
Three days, photographed end to end
Every commission is covered as one continuous story rather than a shot list. These are unedited selections from recent full-day bookings.
The vows, uninterrupted
Covered from the back of the aisle with a single lens so nobody turns to look at a camera.
Clifftop ceremony · 4pm light
Twenty minutes, just the two of you
Pulled out of the day once, late, while the light drops. Walking, talking, almost no direction.
Field behind the barn · golden hour
The room before anyone sits
Details are photographed once, quickly, before service begins — never while guests are waiting.
Reception hall · 6pmCommissions
Three ways to work together
Each commission is a fixed scope with an agreed coverage window, so you know exactly who is in the room, for how long, and what arrives afterwards.
-
Full-day wedding
Ten to twelve hours of continuous coverage, from the quiet of getting ready through to the first hour of dancing. One photographer, working alone unless the guest count or venue layout genuinely needs a second pair of hands.
- On the day
- A walk of the venue on arrival, a loose written timeline agreed in advance, and one short portrait window held back for the best light.
- You receive
- A private online gallery of edited high-resolution files with print permission, plus a smaller web-sized set for sharing.
-
Portrait sitting
Ninety minutes for individuals, couples or families, shot outdoors or in a borrowed room with good windows. Useful for anniversaries, new babies, graduations, or simply because the last decent picture of everyone is a decade old.
- On the day
- Two outfit changes if you want them, and plenty of moving around — children are never asked to sit still for more than a minute.
- You receive
- Thirty to fifty edited frames, with the option to add a hand-bound print set after you have seen the gallery.
-
Editorial & brand
Half or full days for magazines, makers and small studios who need honest pictures of people at work. I shoot the process rather than a styled set, and I am comfortable working around a live workshop, kitchen or shop floor.
- On the day
- A shared shot list signed off beforehand, then room to chase whatever actually happens once the work starts.
- You receive
- Selects within five working days for press deadlines, with the full edit and a written usage licence to follow.
How it runs
From first note to final gallery
Four steps, no surprises. Most clients have never hired a photographer before, so here is the whole process written down.
-
Step one
Send your date
Tell me when and roughly where. I reply within two working days with availability and a plain-language outline of cost.
-
Step two
Talk it through
A relaxed call to hear what the day actually looks like. I will ask about light, timings, and the people who matter most.
-
Step three
Hold the date
A written agreement and a deposit reserve the date. After that I plan the timeline with you and your venue as needed.
-
Step four
Receive the gallery
A short preview set arrives within one week. The complete edited gallery follows within five weeks, yours to download and print.
Selected frames
A range of faces and light
Portrait work from the past two seasons, shot in the conditions that were there on the day.
Field notes
Things worth knowing before the shutter opens
The three questions I am asked most often, answered properly. Read these and your pictures will be better regardless of who takes them.
-
What to wear
Choose texture over pattern — linen, wool and denim hold light far better than fine stripes or small prints, which can shimmer oddly in digital files. Keep the group within two or three tones rather than matching exactly, and wear shoes you can actually walk a field in.
-
When the light works
The best two windows are the hour after sunrise and the ninety minutes before sunset. Harsh midday sun is workable in open shade, under trees or indoors near a large window. If your ceremony falls at noon, we plan the portraits for later and the day runs better for it.
-
How locations get chosen
I look for one good wall, one patch of open shade and one wide space with a horizon — nothing more. A plain car park with the right light beats a famous garden at the wrong hour, so I will often suggest somewhere unremarkable and close by.
Questions
The practical details
If something you need is not covered here, write it in the enquiry form and I will answer it directly.
How far ahead should we book a date?
What happens if it rains all day?
When do the photographs arrive, and in what form?
Do you make albums and prints?
Will you travel, and how is that handled?
Can we have the unedited or raw files?
Enquire
Check a date
Send the date and a line or two about the day. No contact details beyond an email address are needed to get an answer.
- Reply within two working daysIncluding availability and an honest outline of cost.
- No obligationNothing is held until you have seen the written agreement.
- Flexible on scopeIf a full day is more than you need, say so and we will shape something smaller.