Dana
Lewis
🇬🇧 The United Kingdom
With us
2 weeks
Fourteen years. Seven hundred weddings. And the thing that still makes me genuinely excited about turning up to work is a message from a couple saying the photos made them fall in love all over again.
Not a trophy. Not a feature. A text from someone saying they can't stop looking at their gallery. That's the whole job.
I shoot 80% documentary, 20% Holy Shit. Most of my day I'm just in it with you, with your bridesmaids, your dad, whoever's doing something brilliant in the corner that nobody else has noticed. The real stuff happens when nobody's performing for a camera, so my job is to be the last person anyone's thinking about.
Then there's the other 20%. One or two frames per wedding that couldn't have existed without me specifically being there, seeing what I saw, and deciding to make something out of it. Not posed. Built.
Everything is true-to-colour. No trends, no filters, nothing that'll look dated in five years. Photos that look like your wedding actually looked, just on its absolute best day.
I cap at 25 weddings a year because I care about doing it properly. Pricing is public, replies are fast, and if you want to chat before booking I'm always up for a coffee. No formal process, no weird questionnaire. Just tell me about your wedding and we'll go from there.
Based in Shropshire, shooting across the UK and beyond.
Winning photos
I’d had a fireworks idea in my head for years. I didn’t want to just do generic fireworks. I wanted something special.
The easy version is the couple stood still, the fireworks doing all the work. But this couple love fireworks, so I wanted to give them something that matched the size of the moment, not just document it.
So I asked for movement. The fireworks were movement, all that chaos and light firing upward, so the couple needed to be moving too, or they’d get swallowed by it. Putting them in a dance meant they held their own in the frame instead of becoming small figures under a big sky. Two kinds of movement, theirs and the fireworks’, meeting in the middle.
One of those frames that only works if you’ve planned it, lit it, and trusted the couple to go for it.
This was a Danish wedding, and this moment is the Brudevals. The Bridal Waltz.
It’s a tradition where, during the couple’s first dance, all the guests close in around them, tighter and tighter, until the couple are completely surrounded. The bride told me about it before the day, so I knew it was coming.
Most photographers would end up stuck in the middle of that crush, shooting elbows. I didn’t want to be enclosed in it. I wanted to show the thing itself, the wall of people folding in around the couple, which you can only really feel from above. So I got up on a chair and shot down into it.
The blur is the crowd moving in. The still point is the kiss at the centre. That’s the whole tradition in one frame, everyone pressing in, and the two of them completely alone in the middle of it
