Gabby, in her mother’s veil.
Passed down through generations, her mother, her grandmother, now her, held in something quiet and lasting. I photographed this on film because the piece carries history and needed to be met with the same weight, not cleaned or modernized. The grain holds that age, instead of erasing it.

I shot this on medium format to hold the depth of the space and the warmth of the lights as they started to take over at sunset. The clear tent, layered guests, and lanterns all working together to make the room feel full and alive without losing the feeling of the sky above.
Cooper Hewitt Museum, NY

It was December in New York, so the red curtains and espresso martini already held the mood. I used off camera flash to give it a sharper, more fashion forward feel and make it read as a moment, not just a detail.
Pearl Box Soho, NY

The night before the wedding, when everyone is seeing each other for the first time, always carries this energy. Old friends, new introductions, everything starting to come together. I love this part because it sets the tone for the entire weekend, where it stops being separate people and starts feeling like something shared.
Crane Club, NY

The rehearsal dinner in the south of France felt grounded in simplicity, one long table beneath the trees, nothing overdone. The design led the image, so I stepped back and let the space speak, the scale of the trees, the line of the table, the stillness of it all.
Domaine Rocabella, France

It’s simple, just dinner conversation, but it’s the most universal part of a wedding. I’m always curious about what’s being said, how they know each other, how they’re connected to the couple. I shot it low and close so it feels like you’re sitting there with them, because capturing that curiosity, that quiet connection, is the work.
Cooper Hewitt Museum, NY

We were about to leave for the ceremony when I saw her in this light and stopped everything for a quick portrait. I grabbed the veil, placed it on her, and took a quick handful of photos. It’s a reminder to trust your instinct and take the photo when you feel it, not later.
New York City

The father of the bride. And 40 years of friendship.
Hood River, OR

I stayed inside and shot through the window as guests arrived, letting the raindrops on the glass pull the rain forward. It made the moment feel more intense, a little wild, instead of something to hide from.
Hood River, OR

Mother of the bride.
San Francisco

I had one frame left on my medium format camera as the light dropped. The drapery installation sat in the distance like an art piece, with guests still at cocktail hour, aware of it, anticipating what was coming next. The low light introduced this softness, blurring the edges in a way that echoed the drapery itself, and the way it cuts through the center of the frame gave it that sense of structure. It holds both moments at once, where they are and what is about to begin.
Santa Ynez, CA

Shot on film in lower light, which introduced this unexpected blur, but it ended up carrying the feeling of the moment. Less about sharpness, more about the energy of everyone coming together.
Hood River, CA

As we were shooting this at Filoli, the sprinklers started going off in the distance and I chose to keep them in instead of working around them. They created this soft haze behind him, something you don’t immediately understand, almost like rain but not quite. I kept him grounded and still against it, letting that contrast carry the image, something controlled set against something unpredictable.
Filoli Gardens, CA

An iconic moment when Jack Harlow gave an honorary maid of honor speech at Taylor Rooks welcome dinner in NYC.
Crane Club, NY

Sometimes magic just happens. They were walking out of their ceremony, everything at its peak, and the veil moved in front of me for a split second. I kept shooting without thinking. When I looked back later, it had turned into this, her emotion still clear, but softened and held inside the veil in a way I couldn’t have planned.
Santa Ynez, CA

We talked about not wanting family photos to feel staged, just a real sense of the people and the moment. I placed them on the stairs in their home, letting the setting carry that quiet, timeless feeling. I shot in between while everyone was still settling, before attention shifted toward the camera, and that’s where it came to life, something that feels like it could be found years later and still hold.
Upper East Side, NY

A Michelin star pastry chef created this hyper real, sculptural dessert designed to look like lemons but made entirely of cake. I used off camera flash to mirror that same sense of illusion, letting the light sharpen it into something that feels just slightly unreal.
Domaine Rocabella, France

The bride wanted something completely different, every table layered with its own colors, textures, and details. As the night got darker, the light pulled everything inward, isolating the center of the table and letting it glow. I shot this over the shoulder of a guest waiting for the next course, using that foreground to build depth and contrast between the light at the table and the darkness surrounding it, giving the whole scene a sense of focus and intention.
Cooper Hewitt Museum, NY

I shot the entire wedding on film, which let me stay present and trust what I was seeing. Her first dance with her dad, framed over the shoulder of the groom’s mom waiting to go next, held a different kind of weight for me. Some photographers see this moment through the bride, but I see it through the parent, the years that led here, the quiet knowing of what it means as it happens.
Hood River, OR

There is so much depth, so much intention, so many stories. Yours will be yours alone. My job is to discover them and hold them for you.