This wedding is built from three kinds of light: soft window light in the morning, the cool glow of a marble staircase under a chandelier, and warm afternoon light on the water. Below are the frames I would show first, along with what I would plan for if you want a wedding with this much architecture.

You can see the full set in the wedding gallery.

The window, before anything else

The day began at a tall window with sheer curtains and heavy brown drapes. Window light does most of the work in a room like this, so I kept the couple close to it and let the curtains soften everything around them. The bride fastened her sandal on the sill in a long veil; the groom stood looking out with his hands in his pockets.

Black and white photograph of a bride sitting on a window sill in a long veil, fastening her sandal beside sheer curtains
Getting ready on the window sill, in black and white.
Groom in a black tuxedo with a bow tie and cummerbund looking out of a tall window with his hands in his pockets, a brown curtain beside him
The groom at the window.
Groom in a black tuxedo and bride in a strapless satin gown nose to nose at a tall window with sheer curtains and brown drapes, her train spread across the floor
Nose to nose at the window, her train across the floor.

A marble staircase and a chandelier

The staircase was the center of the portraits: a curved marble balustrade, white statues in arched niches, a stained-glass window and a crystal chandelier overhead. A space like this can swallow a couple, so I worked wide first and then moved in until the two of them were the clear subject.

Bride in a strapless gown with a thigh-high slit holding white peonies and groom in a black tuxedo smiling forehead to forehead at a marble balustrade, white statues in arched niches behind them
The couple at the balustrade, between the statues.
Bride seen from behind with a long veil standing at a curved marble balustrade beneath a crystal chandelier, a stained-glass window and a vase of white flowers beyond
The bride beneath the chandelier.
Black and white silhouette of a bride in a long veil leaning on a marble balustrade, facing an arched stained-glass window under a chandelier with statues in niches on both sides
A silhouette against the stained-glass window.

Stairs are also where a long satin train earns its place. In this frame the groom looks back to take her hand as she lifts the fabric.

Black and white photograph from above of a groom looking back and holding the bride's hand as she lifts her long satin train on a marble staircase
Down the marble stairs, hand in hand.

A quiet embrace

In a large, ornate ballroom with only a few guests, the most honest frame was a long hug. I stayed back, shot wide and let the room show how small and close the two of them were.

Black and white photograph of a bride and groom embracing in an ornate ballroom with candle sconces and draped windows, two guests seated to the left
An embrace in the ballroom, in black and white.
Black and white view from behind of a bride in a long veil and satin skirt facing an ornate staircase with carved stone balustrades
The long veil facing the staircase.
Bride seated on an ivory carved sofa holding white peonies, her legs crossed in jeweled sandals and her long satin train spread across a patterned rug, wood paneling behind her
Seated on an ivory sofa with white peonies.

Leaving by car

I like a short, unposed sequence when the couple leaves. Here the groom opened the car door and the bride's train spread across the pavement behind her. Black and white keeps the frame clean and puts the satin and the black car in contrast.

Black and white view from behind of a bride in a corset-back gown with a long train walking toward a black car beside the groom, a bouquet of white flowers in her hand
Walking toward the car, her train behind her.
Black and white photograph of a groom holding open a black car door as the bride steps in, her long train sweeping behind her, a river embankment beyond
The groom opens the door.

On the water

The afternoon moved to a small boat, which changed everything about how we worked. The light was warm, the water gave us movement, and the two of them were relaxed enough to laugh, lean back and take a breath.

Bride in a white satin dress and long crystal earrings leaning back with her arms spread along the seat of a boat, dark rippling water behind her in warm light
Golden light on the water.
Couple in white seated on a cream boat seat, the bride leaning over the groom as they look at each other, water and a distant shoreline behind under a cloudy blue sky
On the water, in white.
Couple nose to nose on a boat seat holding white peonies, a canal lined with historic buildings and a green bridge behind them
White peonies on the canal.
Groom in a black tuxedo jacket and bride in a white satin dress kissing on a boat, a canal embankment and pastel buildings behind them
A kiss on the canal.
Black and white photograph of a couple kissing on a boat, the bride's arm around his neck, a stone bridge and historic buildings behind them
The kiss, in black and white.
Black and white photograph of a couple on a boat in bright light, she looking away with her chin on her hand and he leaning back with his arm stretched out, cranes behind them
In the afternoon light.

Planning a wedding with this much architecture

A few things I would think about before you plan portraits in a space like this:

  • Scout the light inside before the day. Tall windows and pale walls give soft, directional light, and knowing where it falls saves time.
  • Choose a gown with a train you can move in. A long satin train looks beautiful on stairs and on stone, but plan for someone to help lift it.
  • Allow time for both indoor and outdoor portraits. Interiors need slow, quiet frames, and an outdoor session or boat ride moves faster.
  • Bring a simple bouquet. White peonies read clearly against marble, brick and water.
  • Keep a few frames for black and white. Marble, tailoring and satin look timeless without color.

If you are planning a wedding and want editorial portraits in Washington, DC, Northern Virginia or Maryland, get in touch and tell me about the setting you have in mind.