My kind of wedding photography

I love photographing weddings, but I neither pretend nor aspire to be a specialist wedding photographer.

The specialists usually photograph only weddings. Shoots at the agreed locations are planned to the last detail, often based on a portfolio of previous photos, or of ones that their clients have found online – the sunset kiss, the dress, the rings, the bouquet toss, and so on. They may bring stylists and lighting assistants. In case of doubt, they will get the couple and their guests to ‘do another take’, replaying the moment until they’re sure they have the perfect, Instagram-worthy image. They charge a lot.

If that’s what they are into, good luck to them. Some make a very good living, I’m told. And good luck to their clients, if that’s the kind of wedding photos they want.

AI-generated wedding photos, anyone?

But sorry, it isn’t my thing at all. And if a couple comes to me and I sense that’s what they are looking for, I politely suggest they find someone else. For me, living a wedding ought to take priority over photographing it. And I really believe that the only wedding photographs of true, lasting value are ones that capture fleeting moments of spontaneous emotion, rather than those that conform to a preconceived idea. I mean, why not go all the way, and get AI to produce the wedding album without the bother of having an actual ceremony at all?

Three weddings, no funeral

This summer, I photographed three absolutely lovely weddings. All three couples assured me that what they really wanted was images that caught the feelings of the event, produced by the unpredictable chemistry between the friends and family members present. Two of them, in fact, told me that my street photography was a key factor in their decision to work with me. Of course, in each case, we did make some posed group photos. And of course I took care to get nice shots during the exchange of vows, and the exchange of rings.

But if I look back at the images from those three wonderful wedding days, the ones that best meet the clients’ briefs were unplanned – could not have been planned, as a matter of fact.

I, too, lived those days intensely. I took a lot of photos, as I always do. And from time to time what I saw through my viewfinder was genuine, no-kidding magic.

2025 Calendar

As I do each year, I’ve produced a calendar with some of my favourite images from the past 12 months.

Cover

The 11th-century abbey of Saint-Martin-du-Canigou, in the Pyrenees of French Catalonia, September 2024.
RICOH GR III, 28mm equivalent lens, 1/200 sec at f/8.0, ISO 160

January

Sheltering from a downpour in the doorway of a bookshop, Paris, May 2024.
Leica Q2 Monochrom, 28mm lens, 1/250 sec at f/4.0, ISO 400

February

Brussels Pride Parade, May 2024.
Nikon Z 9, 24mm f/1.8 S lens, 1/640 sec at f/6.3, ISO 400

March

Kaito Winse performing for Muziekpublique at La Signare in Brussels’ Matonge district as part of the Look@Matongé festival, June 2024.
Nikon Z 9, 85mm f/1.8 S lens, 1/250 sec at f/3.5, ISO 3200

April

Street scene, Castillon-la-Bataille, south-west France, August 2024.
RICOH GR III, 28mm equivalent lens, 1/200 sec at f/8.0, ISO 160

May

Making pizza outdoors in Parc Saint-François, Saint-Josse-ten-Noode, July 2024.
Nikon Z 9, 50mm f/1.8 S lens, 1/250 sec at f/2.8, ISO 200

June

Neighbours’ children during our co-housing’s weekend away in the country, April 2024.
Leica Q2 Monochrom, 28mm lens, 1/125 sec at f/2.8, ISO 200

July

Café during the annual Foire du Midi, Boulevard du Midi, Brussels, August 2024.
RICOH GR III, 28mm equivalent lens, 1/60 sec at f/8.0, ISO 800

August

Daniel Dzidzonu of The Pan-African Brothers in performance at Pianofabriek, Brussels, March 2024.
Nikon Z 9, 85mm f/1.8 S lens, 1/250 sec at f/2.2, ISO 1600

September

Painting in Parc Saint-François, Saint-Josse-ten-Noode, July 2024.
Nikon Z 9, 24mm f/1.8 S lens, 1/320 sec at f/3.5, ISO 200

October

Jeroen Baert playing with Sara Salverius at Paraplufabrique, as part of Muziekpublique’s Hide & Seek Festival, August 2024.
Nikon Z 9, 300mm f/2.8G lens, 1/300 sec at f/3.5, ISO 1600

November

On the bridge at the entrance to the fortified town of Villefranche-de-Conflent, in the French Pyrenees, September 2004.
RICOH GR III, 28mm equivalent lens, 1/200 sec at f/8.0, ISO 500

December

Suspended dancers, Résidence Brusilia, Schaerbeek, September 2024.
Nikon Z 9, 85mm f/1.8 S lens, 1/500 sec at f/5.0, ISO 400