I picked up a camera at thirteen and never really put it down. What drew me to photography then is what draws me to it now: the ability to be fully present in a moment and bring something back from it.

My approach to wedding photography is rooted in the documentary tradition — photographers who worked quietly in crowds, who found composition without interference, who let the subject live inside the frame rather than perform for it. That's what I try to do.

I started shooting weddings professionally in 2011 and have covered ceremonies across the UK, France, Scotland, and beyond — civil ceremonies, religious ceremonies, large-scale celebrations and quiet, intimate ones. I've photographed couples from a wide range of cultural backgrounds and I take that responsibility seriously.

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That's my wife and me, photographing a wedding at Scone Palace in Scotland.

Before going independent, I worked in visual media at Monocle magazine and Pact Coffee, where I developed a feel for restraint and craft. I'm self-taught, which means the instincts are hard-won.

Alongside weddings, I work commercially — shooting portraits of senior executives, producing testimonial films, covering events for organisations like Softbank, Bank of America, and Norton Rose Fulbright. That work has taught me how to photograph people who are busy, self-conscious, or simply not interested in being photographed. How to read someone quickly. How to create ease without performing it. How to get a genuine expression from a person who doesn't naturally give one. On a wedding day, those skills are usually invisible — most couples don't need them. But when they do, they're there.

More than anything: I show up early, I'm calm on the day, and your images arrive promptly. It's a privilege to be trusted with this, and I don't treat it lightly.