The experience
From the first call to the finished album
Six chapters, in the order you will live them. Everything below is decided before your date rather than on it, which is the entire point of writing it down.
Before anything
A call, not a pitch
I want to know what the day is for before I know what it looks like. Whose blessing matters. Which room holds the weight. Whether the ceremony is the centre of it or the part everyone endures before dinner.
Twenty minutes, and by the end of it I can tell you which collection is honest for your day rather than which one I would prefer to sell. Sometimes that answer is that I am wrong for you, and I would rather say it on a call than in a gallery.
Months out
The timeline gets built backwards
Sunset is the only fixed point in a wedding day; in Canada it moves by nearly six hours between June and December. We set the portrait window first and build everything else around it.
Then the parts that always run late get planned for rather than hoped about: hair and makeup, the family-photo list capped and given to one loud relative from each side, and a single deliberate block of slack before the ceremony that absorbs the whole morning's drift.
The session
An hour to stop performing
An engagement session is included in every collection. It is the hour I recommend most often, and it is not really for the photographs.
It is for the hour where you stop performing for the camera and I learn how the two of you actually stand next to each other. Couples who have done it are noticeably different at 4pm on the wedding day, and it shows in the frames.
The day
Quiet, then deliberate, then quiet again
I arrive early and I stay out of the way. I will not interrupt a blessing to reposition someone, and I will not ask you to walk back up the aisle for a better angle. A ceremony interrupted for a better photograph is a worse ceremony and usually a worse photograph.
Then there are twenty minutes of real direction for the portraits, in a place I have already looked at, in the light we planned for. And then I disappear again for the rest of the night.
The film and the prints
Something in their hands that night
Every collection includes vertical social reels sent in the first week, and film prints handed to your guests on the night, so people leave your wedding holding a photograph from it rather than waiting weeks for a link. It is the single most commented-on thing I do.
A colour-graded feature film follows on Signature and Legacy, one minute and three minutes respectively, and Photo + Film returns a three to five minute piece shot by a dedicated filmmaker. So does a preview of stills, next day on Signature and Photo + Film and within 24 hours on Legacy, while the day is still in your head.
The return
The whole day, in order
The full gallery arrives within three weeks, and the date is in the contract rather than in an email. It comes back as the day happened, start to finish, including the quiet parts a highlight reel leaves out.
The top two collections carry a real album rather than a credit toward one: the 10×10 Signature album, on Legacy and on Photo + Film, with the 12×12 in full-grain leather available as an upgrade. A hard drive is not an heirloom, and nobody has ever taken a folder of JPEGs off a shelf to show someone.
And what it costs
Three collections, one price anywhere
The same figure wherever the wedding happens. Travel stays separate, uses early-booked low-cost routes and drops when regional dates can be grouped.