Max went to photography school. Sofia has a Master's in Film Studies. That's most of the explanation for why our work looks the way it does.

One of us was trained in how an image gets made — light, lens, the decisions that happen in a quarter of a second. The other was trained in how stories are told through images: what a frame includes, what it leaves out, why a scene reads the way it does.

We earned those degrees in Europe and haven't stopped studying since, including here in New York.

We've been married ten years, and we shoot every wedding together. Both of us, every time — not a lead and an assistant. On the day, one of us is usually on your faces while the other is on the room, the hands, the person crying quietly at the back. It's why the galleries look the way they do, and it's in every package rather than sold as an upgrade.

Between us, over a decade behind cameras, across several countries.

We do all of it ourselves. The shoot, the culling, the color, the retouching, the delivery. Nothing goes to an outside editing service — which is why your gallery looks like our portfolio, and why it arrives in days rather than months.

We don't arrange people into poses. We give direction — walk here, stand there, talk to each other — and photograph what happens in between. Most of the frames worth keeping come from the moment right after someone stops performing.

We grade true to color. No heavy filters, nothing that will look dated in five years.

A wedding photograph isn't documentation of a venue. It's a picture, and it should hold up on a wall without a caption explaining who's in it.

New York does half the work if you let it. The architecture, the light falling between buildings, a subway platform at the right hour — the city is a character in the story, not a backdrop behind it.

We've photographed in enough conditions to handle whatever the day does. Rain, hard noon sun, a dress that arrives four hours late, a ceremony that starts when it starts. None of that is a crisis, and none of it shows up in the gallery. Sofia also trained as a yoga teacher, which turns out to be more relevant to a wedding day than it sounds — staying calm when a schedule collapses is a real part of this job.

But if we think a plan won't get you what you're after — a one o'clock slot that won't photograph the way you're picturing, a location that fights the mood you described — we'll say so before you commit to it. You'll get our honest professional opinion, not a polite yes. That's a large part of what you're paying for.

Sofia speaks four languages (English is her third). She also reads Latin, which hasn't come up on a wedding day yet.

Max’s work as a visual artist has been exhibited in galleries across NYC and nationwide.

Between the two of us, we’ve lived in several countries, which is a big part of why very little on a wedding day surprises us. Our references come far more from indie film, theater, and fine art than from traditional wedding photography—and that’s probably pretty visible in our work.