The 1990s. London and New York, back and forth. Shooting for MTV, the BBC, Jaguar, and others.

Two cities shaped how I see. Bailey's London: irreverent, direct, the swagger of the Sixties still running through everything he touched. You felt that a Bailey photograph was the result of someone who knew exactly what they were doing and didn't particularly care if you noticed. Lindbergh's New York: cinematic, humanist, the fashion shoot that looked like a documentary. He said it himself: you don't photograph the person. You photograph the moment.

Those two ideas never left.

At a wedding, I apply both. Bailey's confidence: make a photograph that couldn't have come from anyone else. Lindbergh's conviction: the moment is the subject, not the dress, not the venue, not the running order. The result is something between the two: fashion photography that doesn't look like fashion photography, documentary that doesn't look accidental.

Not wedding photographs. Photographs of a wedding.

The result doesn't look like your granny's wedding photos. The registrar won't quite know what's happening. Granny will wonder when the rows are coming. They'll both love the photographs.

I live in Guildford, Surrey, next to the River Wey, with my wife and eight-year-old son. Country boots with a London sensibility. Waterloo in 34 minutes.