The moment the doors open and everybody outside has been waiting with a handful of confetti. Nothing here was set up or asked for a second time.Coverage of the ceremony exit is part of every collection, from the two hour ceremony package upwards.

Lifted off the step mid kiss, with the confetti still falling.

The Lift

Twenty minutes of couple portraits away from the party is usually all it takes. This one was a short walk from the register office, against the brick and the red box that make it unmistakably London.

Ten minutes away from the guests, on a quiet brick street.

Callbox

Kew is one of the loveliest places in London to photograph a couple, and the spiral stair under the glass is the reason why. Available light only, no flash brought into the house.

Cast iron, palm leaves and low sun under the glass at Kew.

Glasshouse

London town halls give you one shot at this. The couple come through the door, the confetti goes up, and it is over in about four seconds.

Down the steps and straight into it, hand in hand.

Confetti

Preparations are covered on the half day collection and above. It is the calmest part of the day and often where the best portraits come from, because nobody is performing yet.

The last quiet half hour, shoes and flowers and nowhere to be yet.

Getting Ready

Chelsea Old Town Hall is one of the venues I photograph most, along with Marylebone, Islington and Hackney. Knowing the building means knowing where the light will be at four in the afternoon.

A few steps ahead of everybody else, still holding hands.

Chelsea

Wide enough to take in the whole dome and the ironwork, with the couple left small inside it. A frame worth waiting for the room to clear.

A pause at the top of the stair, a moment before the room fills.

Rotunda

Guest transport that doubles as a backdrop. Worth two minutes of everybody standing still before the bus fills up.

The blind wound round to Just Married, and a bouquet held up to it.

Routemaster

Shot from low and close, in among the guests rather than from across the street. It is the reaction that matters here, not the architecture.

Family on both sides, both hands full, and no way through except laughing.

Petals

Ten minutes in the room before the doors open is enough to photograph the flowers, the table and the light while it is all still perfect.

Laid and waiting, before anybody sits down.

The Table

Church ceremonies are photographed quietly and from a distance, usually on a longer lens, so nothing gets in the way of the service itself.

Back down the aisle, married, with the rose window burning out behind.

Recessional

Very little direction beyond where to stand. The rest is left alone, which is what keeps a portrait looking like the two people in it.

Held close, turned to camera, with the garden going soft behind.

First Look

Georgian plasterwork, a wide lens and one instruction. Rooms like this do most of the work if you give them the space.

A kiss on the landing, the whole rotunda arching over them.