Eight hours of coverage is my starting point and works beautifully for most wedding days. It gives us enough time to document the meaningful parts of the day without requiring you to build your entire timeline around photography.

If you need a little more time, additional hours can be added à la carte to extend your coverage where it matters most.

For couples who want the story documented more fully—from the quieter beginning of the day through the energy of the celebration—I also offer an all-day collection with up to twelve hours of coverage. It includes four additional hours at a reduced rate compared with adding the same coverage à la carte, making it the better fit when you know you want me there for substantially more of the day.

We’ll talk through your plans together, and I can help you determine which amount of coverage makes the most sense for the wedding you’re creating.

Once your agreement is signed and your retainer is paid, your date is officially reserved. From there, you’ll have access to your client portal, planning resources, questionnaires, and everything we’ll use throughout the process.

As your wedding gets closer, we’ll work together on your timeline, priorities, family photographs, and the people and moments that matter most to you. I also begin developing the creative direction for your wedding well before I ever arrive with a camera, so I’m walking into the day already understanding what deserves my attention.

Absolutely. Timeline planning is a major part of my process.

We’ll build a photography timeline together that gives us the time we need without turning your wedding into a photoshoot. I’ll help determine when portraits make the most sense, how much time we realistically need for family photographs, where light and location should factor into the plan, and where we can intentionally leave breathing room.

The goal is a timeline that supports the photographs and allows you to actually experience your wedding.

Completely. Most of my couples tell me some version of this before we work together.

You don’t need to know how to pose or what to do with your hands. When direction is helpful, I’ll give it. When something is already happening naturally, I’ll get out of the way.

My approach is a balance of thoughtful direction and observation, which means your gallery can include beautiful, intentional portraits without your entire wedding feeling staged for the camera.

I treat each medium as a different tool for telling the same story rather than as separate pieces of your coverage.

Digital gives me flexibility and reliability throughout the day. 35mm and medium-format film bring a tactile, imperfect quality that works beautifully for portraits, atmosphere, movement, and quieter moments. Super 8 adds motion, sound, and nostalgia in a way still photographs simply can’t.

When your collection includes multiple formats, I decide when to reach for each one based on the light, moment, environment, and what will serve the final story best.

Film is an intentional part of how I photograph a wedding—not an effect added afterward. Throughout the day, I move between digital, 35mm, and medium format depending on the light, the moment, and the way I want something to feel.

For the fellow film nerds: I photograph 35mm primarily on my Canon Elan 7E, and medium format on my Pentax 67, along with a few other cameras I’ll occasionally bring into the mix. Super 8 is captured on my Canon 514XL.

And the process doesn’t end when I leave your wedding. I develop and scan much of my own film in-house, which gives me another level of involvement in the final images—from choosing the film stock and exposing each frame to developing, scanning, color work, and ultimately deciding how those photographs live alongside the digital images in your finished gallery.

There’s something I love about being involved in the photograph from the moment I press the shutter all the way through seeing the negative come to life. It’s slower, more tactile, and a little imperfect—which is exactly why I love it.