Wedding photography for the parts you felt most.

Recent work

A glimpse of recent Gulf Coast weddings

A small edit pulled from full galleries — the kind of frames we are watching for while the day is still happening.

Where the Gulf Coast actually gets married

The coast reads as one place from a distance and four different shoots up close. A ballroom evening at 5eleven Palafox in downtown Pensacola lives on warm interior light and the architecture of the room, so we photograph for shape and reflection rather than sun. Live Oak Plantation gives you canopy and long shadow under the trees, which flatters portraits but asks for careful exposure where dappled light falls across faces. Sowell Farms, out in Milton, is open sky and pine — clean backdrops, big weather, golden hour that arrives without anything in the way. And a barefoot ceremony on the sand near Pensacola Beach or the white quartz of 30A is almost entirely about timing: the same dune is harsh at two o'clock and quiet gold at seven. We plan the day around which of these you've chosen, because the venue decides far more of the look than any preset does.

How a wedding day runs on the coast

Summer here is humid and bright, and the sun sits high and direct through early afternoon. The honest move is to build the timeline around the light instead of fighting it — open-shade portraits at midday, then the real warmth held for the last hour before sunset. We talk this through with you and your planner early, so the schedule already protects the moments you'll want most.

Beach work carries its own fine print, and it's worth knowing before you commit. Most public beaches along the Gulf Coast require a permit for a ceremony with chairs, an arch, or a vendor setup, and gulf-front communities like the 30A towns layer their own rules on top. Many couples sidestep the question entirely by marrying at a venue or a rental home with private beach access. None of this changes how we shoot; it changes what we tell you to confirm before the date is locked.

What one team for photo and film looks like

We are two people — Shawn and Tina — and the same two of us shoot both your photographs and your film. That isn't a detail; it's the whole reason the gallery and the wedding video feel like one story rather than two crews remembering different days. There's no second company to coordinate, no pair of shooters quietly competing for the same angle during your vows, no contradiction between the still and the moving frame.

In practice it means we move differently. One of us can hold a wide, patient frame while the other steps in close, and because we've worked weddings side by side for years, neither of us has to ask. It also means we take a limited number of weddings a year on purpose. Fewer dates is the only way two people can give a full day the attention it actually needs.

What you're left holding

A good gallery should let you walk back into the day. We photograph atmosphere as deliberately as faces — the salt haze over the water at a Pensacola Beach ceremony, condensation on a glass during toasts, the particular gold the light turns at a 30A reception once the wind drops. The film carries the sound and movement those frames can only suggest. Together they're meant to hold the parts you actually felt, not a tidy checklist of poses.

Questions, answered