
InterContinental Sydney Double Bay · 33 Cross St, Double Bay NSW · Sydney
Ballroom Wedding · Cultural & Traditional Wedding · Waterside Wedding · City: Sydney · Venues: InterContinental Double Bay · Mrs Macquarie's Chair · The Connection Rhodes
A carved melon heart bearing their names, an arch of embroidered umbrellas and a drummer setting the pace: Sumaira and James’ evening at The Connection in Rhodes, on the water in Sydney’s inner west, was pure colour. The next afternoon they were back in red and gold for harbour portraits and a reception at InterContinental Sydney Double Bay, where loved ones took turns sitting beside them under a blush floral arch. We loved every minute of both days.













































































































































Golden hour on the Rhodes boardwalk · Umbrella arch at The Connection · Entrances under raised canopies · Sweets and blessings on stage · Dance floor and timber-screen portraits · Mrs Macquarie’s Point, courtyard and ballroom the next day
The first of Sumaira and James’ two celebrations began on the Rhodes waterfront in the late afternoon. Sumaira wore orange and gold with a long coral scarf trailing from her arm, and James was in a navy tunic with white trousers and white sneakers. We walked them along the timber boardwalk beside The Connection, apartment towers across the water, and they could not stop looking at each other. Boardwalks are great for walking frames: the long lines of the planks lead straight to the couple, and the low sun warms everything it touches.
Inside, a long table piled with carved fruit stood ready, with candles, flowers and a melon carved into a heart bearing their names. At the door, guests walked in through an arch of embroidered umbrellas in every colour, and it became the photo stop of the night. James posed under it with two friends in matching bright scarves, then the couple stood there with a group of loved ones in jewel tones. Our tip: put a feature like this where guests arrive, close to window light, and everyone will gladly stop for a portrait.
Before the formalities, a group of women in green, gold, coral and navy danced out across the terrace under the big shade sail, the water glowing behind them. The low sun came straight through the gap, so we shot into it and let it flare softly around their dresses and flying scarves. It looked like the best warm-up in Rhodes. Late sun over water is worth chasing for movement shots like this, because the backlight outlines every swirl of fabric and turns a simple step into something cinematic.
The entrances were loud and joyful. James came in under a length of bright fabric held high by friends, walking beneath the umbrella arch with a huge grin, and Sumaira followed under her own patterned canopy, held up by laughing loved ones while a toddler watched from someone’s arms. Behind them came a procession of women carrying trays of candles, petals and sweets under draped cloths in pink, green and orange. We walked backwards in front of each entrance with a wide lens, so the canopy, the faces and the crowd all fit in one frame.
The stage was a wall of pink, mint and orange drapes, carved gold lanterns and white carved chairs, with dried flowers in warm tones at either end. James and his friends in matching scarves waited there while a drummer beat out a rhythm on a big barrel drum, and Sumaira arrived beside a loved one, smiling under a red veil. Guests gathered at the foot of the stage, where the trays lay on the floor like a garden of colour. A raised stage helps photos enormously, because it lifts the couple clear of the crowd.
Then loved ones came up one at a time. Some fed Sumaira and James a bite of something sweet from a silver tray, some pressed green leaves into their palms, and Sumaira burst out laughing when a guest in blue leaned in close, with James grinning beside her. We worked from the side of the stage at a slight angle, so every face showed and nobody’s back filled the frame. We also kept shooting between visitors, because the reactions afterwards are often better than the moment itself.
In between, we gathered groups on stage around the little table with its striped green and gold cloth: children perched on the carved chairs, friends in their matching scarves and older guests seated beside the couple. A stage set like this makes groups simple, because the chairs fix where people stand and the drapes give every frame the same colourful backdrop. We kept the camera at seated eye level, so the children and the couple share the picture equally and nobody looks small.
Later the lights turned red and violet and the dance floor took over, arms in the air and scarves flying. Sumaira danced with a friend in black lace, then giggled shoulder to shoulder with another in green, and James clapped along beside her. To finish, we stepped out to a timber slat screen with a light glowing behind it and brought them in close, foreheads touching, stripes of light falling across them. One light source and a strong pattern are all a night portrait needs.
The next afternoon we met them again for the second celebration, and this time the palette was red and gold. Our InterContinental Sydney Double Bay wedding photos from that day start on the sandstone shore at Mrs Macquarie’s Point, with the Opera House and the bridge behind them, then move to the hotel’s hedged courtyard for family groups, a balcony above Double Bay and a ballroom arch of blush flowers where the guests came up to sit with them. Seen side by side, the two days carry the same joy.
Sumaira and James’ second celebration began away from the hotel, with portraits on the sandstone shore at Mrs Macquarie’s Point, then came back to Double Bay. Family photos happened in the hotel’s hedged courtyard in front of the white balconied facade, and we took the couple up to a curved balcony for a quiet moment above the leafy hillside. A white sofa by a bright window gave us a few calm seated portraits before the ballroom opened. Inside, the reception centred on a white bench under a blush floral arch, where guests came up in turn to sit with them.
At the harbour the afternoon sun was strong and bright, so the shaded path under the trees suited closer frames, while the open rocks gave wide views with the bridge and the Opera House behind. A breeze off the water lifted Sumaira’s red veil at the rail and gave that portrait movement. Back at the hotel, the courtyard walls had already thrown soft shade across the paving, kind light for a long run of family groups between the clipped hedges. On the balcony, the late light came in low and warm over the hillside homes.
The guest set was the heart of the evening, and it worked because it stayed in one place. The white bench, the arch of pink and peach roses and the panelled white walls behind gave every pair, family and group the same clean background, so the whole set reads as one series. We kept our position fixed and the light even, and simply reframed for each group, seated or standing. When a group grew, a pair of gold stools beside the bench let extra guests sit alongside the couple.
When the celebrations run across two days, a fresh palette helps the photos tell them apart: orange and gold in Rhodes, then red and gold for Double Bay. Doing the harbour first, as Sumaira and James did, means the courtyard groups and the ballroom follow with no more travel. Flat shoes make the walk over the uneven sandstone at the point much easier. And ask one organised friend to call guests to the arch table by table, so the line keeps moving and nobody misses a turn.