A film negative is the original image captured on film: a physical strip or sheet where light has been recorded onto a light-sensitive surface. The tones appear inverted (lights look dark, and darks look light), which is why it’s called a “negative.”

From that negative, your final images are created, either as prints in a darkroom or as high-resolution digital scans. There are a few different types of negatives depending on the format. 35mm negatives come in long strips with smaller rectangular frames, while 120 medium format negatives are larger and can be square or rectangular depending on the camera.

Polaroid film is slightly different, as it produces a positive image instantly, but it still relies on a similar chemical process to record light.

No matter the format, the negative is the foundation of the photograph. It’s the closest thing we have to the original moment — light physically preserved in time!

35mm film is your traditional film look. The negatives are 35mm in size (about 1.38 inches) and rectangular. A standard roll of 35mm film typically yields 24–36 exposures (frames), making it versatile for documenting a wide range of moments throughout your day.

120 film is considered medium format. With the cameras that I use (Rolleiflex TLR f/3.5 and Zenza Bronica SQ-A), the negatives are 6×6 cm and square in size—meaning you can enlarge these images beautifully for prints. Larger negatives create incredible depth and detail, making them perfect for portraits and gallery-quality images.

On a 6×6 camera like mine, a roll of 120 film produces 12 frames (images), while a 6×7 format produces around 10 frames. Because there are fewer exposures per roll, each image is captured with even more intention.

Instant film captures the photo and immediately develops the image, without the usual development process.

Technically, most Polaroids (like 600 or i-Type film) are considered medium format due to their larger image area (approximately 3.1 × 3.1 inches for the image itself). This size is comparable to, and sometimes exceeds, traditional medium format frames. Polaroid is a classic add-on for a retro, instant look.

When I include Polaroid images in my packages, I photograph them during your session, take them home to create high-resolution scans for you, and mail back both the original prints and the digital files, so you get the best of both worlds!

Polaroids come in packs of 8, meaning 8 images.

I shoot both color and black-and-white film. My preferred method is shooting in color and editing to black & white, but I’ve photographed fully black & white events before, too! Fun fact: my favorite film stocks are Kodak Portra 400 & 800 and Kodak T-Max 400 (which are now called Kodak Ektacolor Pro and Kodak Ektapan).

With 35mm film, you can expect 24-36 images per roll, and with 120 film, you can expect 10-12 images per roll. Polaroid comes in packs of 8 and is priced as an add-on. On average, I typically shoot a mix of 35mm and 120 medium format film throughout your day, which allows me to capture both candid moments and more intentional portraits (usually about 2-3 rolls of film per hour). I always shoot intentionally rather than overshooting, so your gallery feels really curated and true to the day.

With 2 rolls/hour, I typically shoot a blend of one 120 roll + one 35mm roll, which comes out to about 48 images per hour.

With 3 rolls/hour, it gives me more flexibility to lean into what works best in each moment (for example, more 35mm during the ceremony for fuller coverage, and more 120 during portraits), which brings it closer to about 60–80 images per hour.

Film photography is more expensive because every image is created through a physical process, not just a digital file.

Each roll of film has to be purchased, carefully stored, and used intentionally. Once it’s shot, it’s sent to a professional lab to be developed and scanned, which is where the images are turned into high-resolution digital files you can view and download. This process happens for every single roll, and there’s no “unlimited shooting” like there is with digital.

On top of that, film requires more time, attention, and experience while shooting. Every frame is chosen deliberately — there’s no rapid-fire capturing or fixing things later. The colors, tones, and overall look are created in-camera, using specific film stocks, lighting, and technique.

You’re investing in a slower, more intentional process that results in images with depth, softness, and a timeless quality that’s difficult to replicate digitally. Film is an investment in preserving your memories on a physical medium — captured through light itself, and meant to last.

Using 35mm, medium format, and Polaroid film cameras requires slowing down. Every shot is intentional. Film demands attentiveness: manually adjusting settings, winding the film, and thoughtfully changing rolls. Unlike digital’s fast pace, film encourages presence, creativity, and care. I become a fly on the wall, documenting your day thoughtfully, capturing small gestures, quiet interactions, and unexpected moments.

All film is professionally developed and scanned, then carefully edited to ensure each image is perfect in tone, texture, and color. Galleries are delivered within 6–8 weeks and include a mix of final film scans and high-resolution digital images if applicable.

Yes. All film packages include professional lab development + Pro-level scans from Gelatin Labs, which are perfect for sharing, printing, and keeping forever. If you’re someone who loves extra detail (or you want the biggest, most archival-quality files possible), you’ll also have the option to upgrade:

• Super-Pro Scans: higher resolution files with maximum detail. Adds roughly $30 more per roll

• Contact Sheets: a full “film strip” view of every frame on each roll. Contact sheets range in pricing based on scan quality and size. Adds roughly $26–$38 per roll

• Add-on prices are based on current lab pricing.

Before I send your film off to be developed, I’ll always check in with you to see if you’d like to add Super-Pro scans and/or contact sheets. If you choose an upgrade, I’ll send a quick invoice for the additional cost. These add-ons must be paid for before development so everything can be processed correctly. Exact pricing can shift slightly depending on current lab rates, so I’ll confirm your totals after the shoot before anything is sent out.

You also have the option to receive your original negatives, which can be mailed back to you after processing at the cost of shipping. Negatives are physical film originals that can be preserved for decades, offering a long-term archival record of your images.

Yes! I specialize in photographing small weddings (under 50 guests), intimate elopements, and engagement sessions primarily on 35mm and medium format film. These smaller, more intentional celebrations are actually my favorite to document. Film naturally slows everything down, which pairs beautifully with elopements and intimate weddings where the focus is on presence, emotion, and connection rather than a fast-paced schedule.

The best way to tell if we’re a good match is whether my approach feels like your ✨vibe✨. For each photography session, I show up as your professional friend with a camera. I’m there to observe, keep things calm and comfortable, capture the joy and the in-between moments, and give you breathing room to actually be present and enjoy your day.

We’ll be an excellent match if you want:

• Film-forward, documentary-style photos

• A calm, unhurried experience

• Natural moments over heavy posing

• Small weddings, micro-weddings, and elopements with an intimate feel

Not the best fit if you want:

• A heavily posed, editorial-only shoot

• A fast-paced, “photo list all day” vibe

• Full-day coverage for 150+ guests

A quick note about “Pinterest” photos: The photos I capture are true to you. Nothing can be recreated perfectly, nor should it be. I observe the day and photograph moments as I see them unfold in front of me. If you’d like to send over your Pinterest inspiration boards, I can tell you if I photograph in a similar style. However, the best way to know if you’ll love your final gallery is if you already love the images on this page, the galleries under Recent Work, and the photos in my portfolio.

Yes! Film is incredibly well-suited for elopements and intimate weddings. Because film is slower and more intentional, it naturally encourages you to be present in your day rather than rushing through it. There’s a softness and honesty to film that pairs really beautifully with quiet, emotional, and meaningful celebrations. Elopements especially benefit from film because the entire experience already tends to be more intentional, emotional, and grounded in the moment.

I’m drawn to locations that feel cinematic, nostalgic, and timeless on film. Some of my favorite settings include gardens, greenhouses, historic estates, city halls, museums, libraries, retro hotels, and natural landscapes.

If you’re not sure where to start, I’m always happy to suggest locations based on your vision, the season, and the overall feeling you want your photos to have. Whether it’s something local in Connecticut or a destination location, we can find a place that feels like you.

Check out some places I’d love to photograph your wedding or elopement here!

I continue shooting film throughout the day, including in lower light! I’m very comfortable working in those conditions and actually love the mood it creates.

Before weddings, I did a lot of concert photography where flash wasn’t allowed, so I’m very used to working with available light. It’s a big part of how I approach evening moments now.

I adjust using different film stocks (like higher ISO film), steady shooting techniques, and intentional exposure choices. If needed, I can also use subtle lighting support — like flash or bounce lighting — to maintain quality while keeping everything natural-looking. I may use digital as a supportive tool to ensure nothing important is missed.

Film is always my primary medium, but I do use a digital camera as a secondary tool when needed. Digital is mainly just for reading light in real time and capturing complementary images of key moments, especially in fast-moving or more challenging lighting situations. You’ll always receive film as the heart of your gallery, with digital images available as an add-on if you’d like full hybrid coverage.

I personally choose to incorporate film into every shoot, so if you’re looking for a fully digital-only photographer, I may not be the best fit, and that’s okay! My work is rooted in film, and that’s where my style, storytelling, and the overall experience really come to life.

Film photography takes a bit more time because it’s a fully physical process. After your wedding or session, all film is professionally developed and scanned by a lab. Once I receive your scans, I carefully edit each image to ensure everything feels cohesive and true to your day. Final galleries are typically delivered within 6–8 weeks of receiving the developed and scanned photos from Gelatin Labs.

Yes, I will guide you through all of that. Based on your timeline, location, and what moments matter most to you, I’ll recommend the amount of coverage and film that makes the most sense. My goal is always to make sure your day is fully documented while still keeping the process intentional and not overwhelming.

The film is sent to my lab for professional processing (about 2 weeks). Once developed, everything is carefully scanned and curated. Your full gallery is delivered within 8 weeks total.

My workflow is built around hybrid coverage, meaning nothing essential depends on a single frame or single format. Film and digital work together to ensure complete coverage of your day. I shoot in a photojournalist style, paying attention to the way the day is moving, and documenting what I see.

I shoot on multiple film cameras and always have a digital backup system running in parallel. This redundancy ensures continuity in every lighting condition and moment.

Not when handled professionally. Both film and digital have potential failure points — the difference is in how the system is designed. My hybrid approach is built specifically to remove single points of failure while preserving the artistry of film.

Kind of, but you can never truly replicate it. Editing digital images also requires more correction work, including color grading, contrast adjustments, and retouching to smooth imperfections that are natural in film.

When I edit digital photos, I always add grain and subtle film-like effects to them to try to close the gap between a memory and just an image. This is part of my creative process with digital to ensure the images provided, especially if it’s a collection of both film and digital photography, feel cohesive and blend seamlessly into one larger story of your experience.