— On the work
Maison Lumière is the practice of a single photographer working with the discretion of a painter and the discipline of a documentarian. Editorial in feel, real in emotion.
— Studio
I started photographing weddings the way some people start writing — to keep close to moments that already felt like memory. The first roll of film I exposed at a wedding came back from the lab with one frame I still keep on my desk: a hand on a shoulder, taken from across the aisle, both faces hidden. It is the most photographed thing in my career and the most quietly true.
Since then, the practice has refined itself around a single belief: the best wedding photographs do not announce themselves. They sit between the picture you remember and the picture you did not know you were inside. We work in close conversation with our clients about everything that matters and nothing that does not — light, geography, the geometry of an embrace, the rhythm of the day itself.
I shoot most weddings alone. I edit every frame myself. I deliver fewer pictures than most photographers and rephotograph nothing. The albums are bound in Italy by hand. The fine art prints are made on a single press in the south of France. The whole operation is the work of one person with a single email address — which is the only way I know how to take a wedding seriously.
— Three pillars
Hand-edited, never automated.
Every frame is colour-graded by hand on a calibrated screen. No actions, no presets, no AI styling — only attention.
A second body, optionally.
Selected weddings include a medium-format film body alongside the digital workflow. The grain is real; the shutter is mechanical; the negatives are scanned in Italy.
Edited like a story, not a shoot.
Albums are sequenced like films — pacing, restraint, occasional silence. We deliver fewer images than most photographers, and the difference is the point.