Two locations, one evening — a satin gown against red sandstone at golden hour, then the same couple under neon after dark.
White, red and burnt orange, start to finish — a monogrammed lapel pin at 9am, a ballgown and a tiara down a petal aisle, and a room that stayed on its feet.
A short white dress, black suspenders, and a pink vintage Cadillac — chapel arches by golden hour, slot machines by dark, and a walk down neon-lit Fremont Street to close it out.
Emerald green from the robes to the groomsmen’s velvet — a courtyard ceremony by the waterfall, portraits on the grand staircase, and a cake cut that turned into a laugh.
Red and white, start to finish — rings buried in roses at 9am, ring security in matching tuxedos, a red carpet aisle at the resort, and rose petals in the air by the water at dusk.
Teal and rust, sneakers under the suit, a garden aisle, and a reception where the dance floor filled before the plates were cleared.
A garden ceremony at Caesars — the groom waiting alone among the columns, an empty aisle at 3pm, and by 4 the whole family out front of the hotel with their arms up.
Two brides, purple and cobalt, and a garden that held the whole day — the first look on the lawn, the ring exchange, and a reception behind marquee letters.
Documentary from the first hour — a haircut by the window, a sign that read “Daddy, it’s time to give Mommy our last name,” and a ceremony that ended barefoot on the sand.
Ten frames, start to end: the first brushstroke of makeup, the dress against the window, the walk down the aisle, and the whole party out on the water’s edge as the light went.
A garden ceremony that ran straight into a ballroom that never sat down — flower girls, a hug that stopped the morning, and sparkler letters on the first dance.
A black gown, a white suit, leis from home, and a fairway that ran out toward the Strip — vows at golden hour, dancing in the ballroom after.
An elopement in the middle of the desert — five people, an orange bouquet, and Red Rock going purple behind them. No aisle, no ballroom, no wasted minute.
Purple everything — a petal-covered aisle, a floral arch against the glass, and a reception that ran until the dance floor was the only thing lit.
Cobalt blue and white against green fairway and red mountains — a draped arch, a groom who walked himself down the aisle, and a recessional the whole crowd stood up for.
Floral robes on the 20th floor in the morning, a pampas grass arch standing alone on a cracked lake bed by afternoon, and nothing between the vows and the mountains.
The whole Strip as one long backdrop — Caesars at midnight, the Bellagio fountains going off behind a kiss, and the Welcome sign at the end of the night.
Vows, then a reception that did not sit down — a groomsmen dance-off, sparkler fountains on the first dance, and a bride who laughed through every toast.
A white tuxedo, a petal-covered lawn, and a dance floor that never emptied — the kind of reception where the photos are mostly other people’s faces.
Deep purple through the whole day — a table set for the ones who couldn’t be there, a garden aisle, and a bride who cried before she laughed.
Burgundy and blush, a petal path across the green, and a ballroom with the lights already up — the party started before anyone sat down.
String lights in the rafters, a concrete dance floor, and a barn that stayed loud until the last table cleared.
A white arch under trees that had just turned, teal bridesmaids, and a run out to the desert while the light was still gold.
Start to finish: the dress hanging in the hallway, the sand ceremony, the first kiss under florals, and golden hour on the course. This is what uninterrupted coverage looks like.
Rings and lace in the morning suite, vows under a string-lit garden colonnade by night, then a ballroom lit up with LOVE letters until the cake was gone.
Satin robes, city windows, designer boxes on the bed, and the rings before anyone was dressed. The quietest hour of the whole day.
Ten minutes carved out of the schedule for the bride alone — a vintage car, a round mirror, a wooden wall, and light that does the rest.
Arches by the water, garden aisles strung with lights, petals on the grass, and one gondola. A cross-section of the venues we shoot most.
The reason people get married here. Neon, marquee lights, carnival rides, and a couple willing to stay out past the reception.
Elopements and desert ceremonies — sandstone, Joshua trees, and a dry lake bed with the whole bridal party out in it.
Couples who shoot an engagement session first are visibly more comfortable on the wedding day — and it is included in the Signature package.
See engagement sessionsBooking 2026–2027. Send us your date and venue and we will tell you what coverage it needs.