skip to Main Content


Each marriage Is a unique narrative, a story to be told through the lens.
My approach to the wedding photo shoot has always been creativity-oriented, as art is my lifelong companion, and I feel fulfilled only when an image manages to surprise me, when a particular creative level is reached.
This dedication is reflected in the end result for my clients. No image will ever be trite, repetitive or out of place, as it uniquely reflects my often rigorous selection criteria. Many clients appreciate this approach, especially those who understand the essence of photography and its creative component.
My passion for film, particularly film and fixed lenses, has shaped my photographic aesthetic.
For this reason, I chose to shoot the wedding photo shoots exclusively with fixed optics, without the aid of zooms. I love the particular softness in the definition of these lenses and the shallow depth of field which gives a bokeh effect badge.
The lenses that make up my current kit are 14 mm f2.8, 35 mm f1.4, 50 mm f1.2, 85 mm f1.2. I started by placing the 50 mm side by side with the 16/35 and the 24/70; later I bought the 35 mm and the 85 mm, and eventually the 14 mm, gradually eliminating the two zooms from the kit.
I chose the 35 mm than the 28 mm or the 24 mm because it is the optics that I think have the right mix to achieve set portraits. As far as I'm concerned, it has the right angle of view for most shots in a ceremony. It is undoubtedly not an easy optic; the 24 or 28 mm gives more confidence in the shot, but I think the performance of the 35 is better for thecompositional balance and that it gives a particular harmony in the shots. And then it is the reference optics for the cinema and the photojournalistic reportage.
The 50 mm was chosen from the heart, a decision based on analog and SLR history. The 50 mm is a fantastic lens, very creative but also very complex to handle if you are a beginner. The cut of the 50 mm is very decisive and decisive must be who you shoot with this lens.
L'85 mm is a gift to myself, it's an amazing lens; when you shoot with this lens, the portrait is born almost on its own. It is so beautiful and exciting to admire the photos that this optic can take; the bokeh is absolutely sublime, the facial forms of the subjects render excellently. It is a unique optic.
I left the 14 mm last because I think it is the least important optic in this outfit, in the sense that I use this optic only in cases of necessity for a wide shooting angle, although some shots have their why in the context of a wedding photo shoot.
The sequence of using these lenses during services results in choreographic harmony:
- Preparation and leaving home: 35 and 50 create the visual prelude.
- Ceremony: A dance of 14, 35, 50 and 85 that is woven into the sacred ritual.
- Exit from the church: 14 and 35 paint the joy of the new path.
- Photoservice: The dance continues with 14, 35, 50 and 85, weaving the essence of each moment.
- Reception aperitif: 50 and 85 create vibrant portraits in the festive atmosphere.
- Reception tables: From the wide angle of 14 to the intimate detail of 85, each table is a chapter of history.
- Cutting the cake: 35 captures the sweetness of the culminating event.
- Throwing the bouquet: The 14th opens the door to the exciting anticipation of the launch.
The weight and the difficulty at the constant changing of lenses can be considered the only downside of fixed lenses, besides, of course, the cost of them. However, once you get used to it, theincomparable aesthetics they give makes it impossible to go back.
Each shot is aartwork, a tribute to the combination of passion And creative vision.

This Post Has 0 Comments

Leave a Reply

Your email address will not be published. Required fields are marked *

Back To Top