He literally asked us to run out into the rain... why not?

Wedding photography is a cross between Art and Psychology.

One of the few industries where you can change your product slightly and the ripples from that change will affect not only the experience of the day itself but the actual memories themselves. Your camera becomes a time machine, a paint brush, a magic wand. It is more important that you learn how to read and understand your clients on a personal level than it is for them to understand what you want to give them. what you can offer is limitless if you understand what they want.


The psychology of an image and the way it tells the story of a moment...


LIGHT AND PLAYFUL TOGETHER

This is still one of my favorite images. After a long walk from where the limo was allowed to park to the St. Louis arch, Alyssa's feet were killing her. Her and Zeid were not afraid to have a little fun even for a second. When he scooped her up and carried her up the street I couldn't help but fall in love with the moment and more than anything - Alyssa's reaction. These moments can happen anywhere and I use whatever lens I have to make sure I don't miss it. 14mm, 24mm, 35mm, 50mm, 85mm, 105mm, 70-200mm. The best lens for the job is the one you can get to quickly. 

This is still one of my favorite images. After a long walk from where the limo was allowed to park to the St. Louis arch, Alyssa's feet were killing her. Her and Zeid were not afraid to have a little fun even for a second. When he scooped her up and carried her up the street I couldn't help but fall in love with the moment and more than anything - Alyssa's reaction. These moments can happen anywhere and I use whatever lens I have to make sure I don't miss it. 14mm, 24mm, 35mm, 50mm, 85mm, 105mm, 70-200mm. The best lens for the job is the one you can get to quickly. 

DEEP AND ROMANTIC TOGETHER

These few moments completely changed the way I shoot weddings. Delyn and Megan wanted a few minutes at the end of their first look to just pray together. I was asked to help find them a place that was pretty private. I didn't pose them because of this shot. I simply let them be and found the shot that told the story of the moment. Often I make sure that I help the little moments come together so that I can find an authentic way to tell the story of what's really important. Real, authentic, deep moments require you to check out as a photographer. Put on a 105 or 70-200 and walk quietly.

These few moments completely changed the way I shoot weddings. Delyn and Megan wanted a few minutes at the end of their first look to just pray together. I was asked to help find them a place that was pretty private. I didn't pose them because of this shot. I simply let them be and found the shot that told the story of the moment. Often I make sure that I help the little moments come together so that I can find an authentic way to tell the story of what's really important. Real, authentic, deep moments require you to check out as a photographer. Put on a 105 or 70-200 and walk quietly.

FUN MEMORIES

I think every bride hopes for this moment. Where the reality of how amazing his future wife looks just overwhelms him. When my assistant Max took this shot it was one of those shots that was clutch in every sense. The truth is, half of Hayden's surprise here is that he didn't know Haley was behind him. In fact, when we do first looks, we often orchestrate a complete surprise for the couple. That way the emotions are real and a split second after he turns to see her he takes off running towards her (also some pretty amazing photos). This moment is authentic but it was planned. Shooting memories has to happen quickly and often from a distance. I've found the best glass for me to cover these moments is an 85mm or 70-200mm.

I think every bride hopes for this moment. Where the reality of how amazing his future wife looks just overwhelms him. When my assistant Max took this shot it was one of those shots that was clutch in every sense. The truth is, half of Hayden's surprise here is that he didn't know Haley was behind him. In fact, when we do first looks, we often orchestrate a complete surprise for the couple. That way the emotions are real and a split second after he turns to see her he takes off running towards her (also some pretty amazing photos). This moment is authentic but it was planned. Shooting memories has to happen quickly and often from a distance. I've found the best glass for me to cover these moments is an 85mm or 70-200mm.

GROUP DYNAMICS

Spend about 5 minutes around me on a wedding day and you'll hear me say how much I hate the fake laugh. On a day so packed with emotional highs and lows, photographers who ask their clients to laugh aren't plugged in enough. These moments when our bridesmaids laugh are real, the reactions are real, the emotions are real. Group dynamics can be tricky because every group is pretty unique. The key is the same, find the alpha, connect with them, and then poke fun just a little. The group will relax when they realize you're willing to get involved on their level. Group shots can have a variety of looks so I carry a lot of lens options with me when shooting them. 35mm, 50mm, 85mm, 70-200mm.

Spend about 5 minutes around me on a wedding day and you'll hear me say how much I hate the fake laugh. On a day so packed with emotional highs and lows, photographers who ask their clients to laugh aren't plugged in enough. These moments when our bridesmaids laugh are real, the reactions are real, the emotions are real. Group dynamics can be tricky because every group is pretty unique. The key is the same, find the alpha, connect with them, and then poke fun just a little. The group will relax when they realize you're willing to get involved on their level. Group shots can have a variety of looks so I carry a lot of lens options with me when shooting them. 35mm, 50mm, 85mm, 70-200mm.

DETAIL

There's an element of uniqueness to every wedding. Rings, shoes, veils, earrings, flowers - these are things that are at almost every wedding. What they say about the couple is often fairly important to the overall story.  We spend a little time shooting each element from a stylistic approach as much as possible with a complete emphasis on an editorial look. Even after we check off these "details", our attention to the little things never stops. There are two essential lenses to shoot when it comes to detail - 50mm, 105mm

There's an element of uniqueness to every wedding. Rings, shoes, veils, earrings, flowers - these are things that are at almost every wedding. What they say about the couple is often fairly important to the overall story.  We spend a little time shooting each element from a stylistic approach as much as possible with a complete emphasis on an editorial look. Even after we check off these "details", our attention to the little things never stops. There are two essential lenses to shoot when it comes to detail - 50mm, 105mm

DECOR

These days decor is done with perfection in mind. You have to come into shooting decor with an almost surgical precision. Lighting, framing, and composition all have to be considered for every shot. We take vertical and horizontal shots from every corner, stepping in two or three steps each time until we get to the center of the room. This ensures we catch every angle and get every element that is unique to the day. There are three fairly essential lenses to use to shoot decor like we do - 24 (or 28) mm, 50mm, 105mm.

These days decor is done with perfection in mind. You have to come into shooting decor with an almost surgical precision. Lighting, framing, and composition all have to be considered for every shot. We take vertical and horizontal shots from every corner, stepping in two or three steps each time until we get to the center of the room. This ensures we catch every angle and get every element that is unique to the day. There are three fairly essential lenses to use to shoot decor like we do - 24 (or 28) mm, 50mm, 105mm.

TRADITIONAL MOMENTS

Every moment can't be overly artistic. Sometimes you just have to tell the story. These little guys tend to make it down an aisle pretty quickly. We often we have to bump up our ISO to make sure we prioritize getting the image sharp. This image is shot at 5000 iso at f1.8 in a dark ceremony but the action is frozen. Because we are moving quickly and there is often very little light (and because I hate using flash during a ceremony), I usually carry fast prime lenses for these moments. 24mm 1.4, 50mm 1.4, 85mm 1.8 

Every moment can't be overly artistic. Sometimes you just have to tell the story. These little guys tend to make it down an aisle pretty quickly. We often we have to bump up our ISO to make sure we prioritize getting the image sharp. This image is shot at 5000 iso at f1.8 in a dark ceremony but the action is frozen. Because we are moving quickly and there is often very little light (and because I hate using flash during a ceremony), I usually carry fast prime lenses for these moments. 24mm 1.4, 50mm 1.4, 85mm 1.8 

CANDID MEMORIES

I'm a huge fan of shooting in the light I have. Our minds have a way of associating light with memory and the minute you start manipulating candid moments you've lost some of the authenticity. This shot was just seconds before the ceremony started and is actually Shelby (the bride) giving her dad a pep talk (instead of the other way around). This family is incredibly tight nit and images like this of mom and dad together in the frame can carry a lot of emotional power. I'm almost always carrying a 50mm or 85mm for this kind of work because I want the speed of a prime and just a little bit of distance so that I don't interrupt. 

I'm a huge fan of shooting in the light I have. Our minds have a way of associating light with memory and the minute you start manipulating candid moments you've lost some of the authenticity. This shot was just seconds before the ceremony started and is actually Shelby (the bride) giving her dad a pep talk (instead of the other way around). This family is incredibly tight nit and images like this of mom and dad together in the frame can carry a lot of emotional power. I'm almost always carrying a 50mm or 85mm for this kind of work because I want the speed of a prime and just a little bit of distance so that I don't interrupt. 


BACK STORY ON THE FEATURED WEDDING

Because we shoot every wedding with the direct intent of pleasing our clients, editors, social fans, and bloggers; the reach for a single event is enormous. Over 45,000 interactions on Instagram alone came from two images from this wedding. It was published in a 4 page feature in a wedding magazine in New England, blogged by one of the largest wedding blogs in the world, featured numerous times including by the dress designer and Kleinfeld, and directly lead to at least 6 other new wedding clients in less than 8 months.