
St Mary’s · Melbourne
Church & Cathedral Wedding · City: Melbourne
A black vintage car at the kerb, a red carpet to the door and a round of applause under the old timber roof when Josefa kissed his bride. Naomi and Josefa married at St Mary’s Church, a red brick country church in Lancefield, then headed five minutes up the road to Glen Erin for swings, flying veils and a band on the dance floor. We were with them from the first cufflink to the last song in the Macedon Ranges, and we loved every minute.



















































































































Getting ready at home · Red carpet at St Mary’s Church · Groups on the church lawn · Swings and vines at Glen Erin · Lake jetty at golden hour · Band and dancing
Josefa’s morning began at home with a toast: four glasses raised around the coffee table before a single jacket went on. Then the groomsmen took over, one fixing his cufflinks, another squaring up a jacket in front of the mirror, while Josefa laced his tan shoes. Two older loved ones arrived and the room went quiet for a while, with long hugs we shot close and tight so nothing else crept into the frame. Out in the backyard the boys found their energy, all four dropping into a squat in matching navy, before Josefa sat back with a drink, ready to go.
Across town, Naomi’s gown hung from the pergola beam in the backyard, glowing against the green fence. We like to hang a dress outside when there is a roof overhead: the cover stops harsh sun on the lace and the garden puts colour behind it. Naomi in a white robe and her bridesmaids in blush robes raised a glass beneath it, and Naomi straightened the flower girl’s skirt inside. The invitation sat on the bed with a beaded headpiece, a bracelet and her perfume, and a little later Naomi fastened that bracelet herself.
Our favourite moment of the morning happened in the lounge room. Naomi’s dad turned around, saw her in the off-shoulder lace gown and could not stop smiling. She pinned a white rose to his lapel herself, and when we stood them side by side by the window he laughed out loud. The flower girl joined him on the couch in her tulle skirt. Outside, Naomi shared a moment with each bridesmaid in mauve, a kiss here, a giggle there, while we kept the fence soft behind them. Then the long veil went on, and Naomi dabbed away a happy tear.
A black vintage car pulled up outside St Mary’s Church in Lancefield, and a breeze caught Naomi’s veil the second her dad helped her out onto the red carpet. Inside, guests turned in the timber pews, phones up, as the two of them walked the aisle under the old roof trusses. We work from the front and to one side for the walk in, so we see the bride coming and the groom’s face in the same few seconds. Worth it: Josefa wiped his eyes before she reached him, and Naomi’s dad shook his hand.
At the front, the celebrant held the book while Naomi slid the ring onto Josefa’s finger. The first kiss drew applause from the groomsmen beside them, and a loved one in the pews held her phone up with a huge grin. White walls and a high stained glass window bounce soft light around a church like this, so faces stay clean and bright. After the register was signed, they walked back down the aisle through a wall of cheering guests, then stopped for one more kiss in the arched doorway, a frame we kept in black and white.
Out on the lawn, everyone squeezed in for one big group in front of the red brick church, its steep gable and porch filling the top of the frame. We shoot that one wide and from a little height, so every face shows and the building still reads as St Mary’s. Then we moved the family groups into the shade of the tall hedges and trees beside the church, where the dark green backdrop keeps white lace and skin tones even. Naomi’s dad joined in, and the whole bridal party leant in for a cheeky kiss.
Five minutes up the road at Glen Erin, two black vintage cars waited among the vines, so we started there. Then the groomsmen found the big timber A-frame swing and that was the end of formal posing: one sprawled across the seat while the others hung off the frame. The bridesmaids took their turn more gracefully around Naomi. The boys scooped Naomi up on the vineyard avenue, leapt into the air in a row and huddled up laughing. We gave them room and kept shooting, because the best bridal party frames happen once the posing stops.
Then it was just Naomi and Josefa. We walked them down a grassy avenue between the trees and vines, let them talk, and stepped back. A breeze kept lifting the long veil, so we put it to work: Josefa held her close while the tulle streamed across the frame, and for a quieter moment it fell over both of them for a close, soft portrait. Down at the lake, on the timber jetty in front of the gazebo, the veil took off again. As the sun dropped, they walked hand in hand between the vine rows into warm backlight.
Inside, the reception room glowed with timber walls and exposed brick. Naomi and Josefa cut a white cake trimmed with blush roses, set on a wine barrel, and then the band started up for their first dance, a slow sway with plenty of smiles. Naomi danced with her dad next, and Josefa held a loved one close in a long, tender hug on the floor. After that, nobody stayed seated for long. At night we mix the room’s warm light with a touch of bounced flash, so the dance floor keeps its glow and the moves stay sharp.
Naomi and Josefa’s afternoon split neatly into two places. At St Mary’s, the vintage car stopped at the end of the red carpet, Naomi walked the aisle under the timber trusses, the register was signed at the front, and the two of them paused for a kiss in the arched doorway on the way out. Groups on the church lawn and beside the hedges came next. Then everyone drove up the road to Glen Erin, where the swing, the grassy avenues, the jetty and the vine rows filled the rest of the daylight.
An afternoon ceremony meant strong daylight on the lawn and a gentler glow inside the church, where the white walls and the high stained glass window lifted soft light onto faces at the front. Outside we split the work in two: the whole crowd in the open with the red brick front behind them, then each family group into the deep shade of the hedges. Holding the couple portraits back until Glen Erin meant their walk through the vines happened as the sun dropped low and glowed through the trees.
The red carpet gave a clean, simple arrival, and the breeze there caught the veil right as Naomi stepped out. The arched doorway, with the dim porch behind, framed the kiss beautifully. At Glen Erin, the timber A-frame swing broke the bridal party out of posing in seconds. A round hay bale under a tall tree gave us sun flaring through the leaves, and the timber jetty with the gazebo behind turned a gust of wind into one of our favourite veil frames of the day.
If your day has a long veil and an open country setting, plan to let it move. We kept Naomi’s veil free across the vineyard and used each gust, sometimes streaming across the frame and sometimes falling softly over both of them. Give the bridal party something to play on, too: a swing, a lawn or a long avenue does more for natural frames than any pose we could suggest. And ask your driver to pull up right at the end of the carpet, so the arrival, the step out and the first breeze all happen in one smooth moment.