I’m not looking for perfection.
I’m looking for the intersection of light and truth. The places where a photograph stops being evidence of what happened and starts to feel like the way it felt to be there.
Before the weddings, the assignments and the places, there was simply the habit of looking closely.
A wedding is not something to polish.
Weddings are often described as perfect. But anyone who has stood inside one knows that isn’t true.
A wedding is movement. Nerves. Family history. Relief. Silence before vows. Laughter that erupts without warning.
I’m not there to manufacture a smoother version of it. I’m there to witness it.
Both matter.
Pay attention long enough and something reveals itself.
That is usually where the photograph begins.
Three things I keep returning to.
The style changes with the place and the people. These three ideas don’t.
Presence
Knowing when not to interfere.
Most of the photographs I care about happen because nobody was asked to create them. I watch the room, the relationships, the changes in energy and the things happening just outside the obvious moment. The hug matters. So do the four seconds after the hug.
Direction, when it helps
Documentary doesn’t mean careless.
You shouldn’t need to know what to do with your hands or wonder where to stand. When direction makes something easier, I’ll give it. When the moment is already happening, I won’t interrupt it simply because I could make the composition cleaner.
Discernment
Not everything needs a photograph.
Eighteen years of doing this has taught me that photography is as much about deciding when not to press the shutter as when to press it. Digital, 35mm, medium format, Super 8. The tool changes. The question doesn’t: does this deserve to be remembered?
“Chris was such a calm and genuinely nice presence on the wedding day, which mattered a lot because we had some pretty challenging conditions with weather and logistics.”Kelsey & Tucker
I’m Christopher.
I photograph weddings because they contain almost everything that first drew me to photography: people, relationships, anticipation, unpredictability, beauty and the strange little moments that happen when nobody thinks they’re being watched.
I’ve been doing this for more than 18 years, primarily in Costa Rica and now increasingly across Europe from Barcelona.
Most of the couples I photograph have travelled a long way to get married somewhere that means something to them. They’re navigating another country, another climate, unfamiliar distances and often an entirely different rhythm.
So the work begins before I pick up the camera. Part of my job is helping make the unfamiliar feel manageable.
Costa Rica · Barcelona · Worldwide
Weddings are part of how I see.
My background is in documentary, photojournalism and editorial photography.
I studied documentary photography through an intensive programme run by Magnum Photos with the London College of Communication, part of University of the Arts London.
Later I was selected for the VII Photo Masterclass in Arles, led by Stefano De Luigi and Maciek Nabrdalik.
Those experiences didn’t teach me a wedding style. They sharpened the thing I use at every wedding: patience. The photograph worth keeping is often the one just after the moment everyone is watching.
The practice behind the instinct.
Training matters to me because it changes how you pay attention, not because it gives you another line for a biography.
Photography degree · UTN
Formal photographic training before weddings became the centre of the work.
Magnum Photos / LCC
Intensive documentary photography programme with London College of Communication, University of the Arts London.
VII Photo Masterclass · Arles
Selected for the sixth masterclass, led by Stefano De Luigi and Maciek Nabrdalik.
Weddings, people and places
More than 300 couples photographed across Costa Rica and destination events abroad.
The work has travelled too.
The New York Times
Wedding and elopement feature.
The Times
Costa Rica travel photography with Giles Coren and his family.
Iberia · Ronda
Costa Rican coffee harvest coverage.
HuffPost
Elopement story featuring Crissorama photography.
Fearless Photographers
Recognized among wedding photographers working in Costa Rica.
ISPWP
International Society of Professional Wedding Photographers.
Two places. One family.
I split my life between Costa Rica and Barcelona.
I’m married to a Catalan environmental educator, and together we’re raising our daughter between languages, cultures and two places we love.
I am fluent in English and Spanish, and speak some Catalan, French, and German. Most of my couples are from the US, Canada, the UK, and Europe, so I understand the expectations and styles of North American and European weddings, from the first email to the final gallery delivery.
Becoming a husband and a father changed the way I understand photographs. Family pictures that once seemed ordinary become incredibly important with time.
That probably explains why I pay so much attention to the people around the couple at a wedding. One day, those photographs are going to belong to them too.
There are photographs that reassure.
And there are photographs that reveal.
Digital. 35mm. Medium format. Super 8.
I don’t use film because it looks nostalgic.
It changes the way I photograph.
A roll has limits. Medium format slows everything down. Super 8 records movement imperfectly. Each asks me to pay attention differently.
The medium should follow the moment, not the other way around.
