Three Rolls. Two Cents. No Room for Mistakes.

Before digital, before presets, before anyone talked about "the film look" — I was shooting actual film. Three rolls for an entire wedding. Around 100 frames to cover a full day, from getting ready to the last dance. Every frame had to count. I wrote down the settings for every single shot — aperture, shutter speed, flash distance — in a notebook, because film was expensive and mistakes meant losing moments that couldn't be repeated. I shot whole rolls just to learn how fill flash worked on my camera. That kind of discipline teaches you to see differently. You stop spraying and hoping. You learn to wait, to read light, to anticipate the moment before it happens. That's still how I photograph today. The camera changed. The eye didn't. 

Film is Back — But Not the Way Most People Are Doing It.

The 90s are back. Retro is cool. Grain is fashionable. And a lot of photographers are selling imperfection — misfocus, light leaks, blown highlights — as aesthetic. I understand why it looks interesting. But real film isn't about errors. Real film, shot well, is warm and precise and beautifully composed. When I shot on film nobody could afford to sell mistakes as art. We had to get it right. So when I offer film today — Kodak Portra 400, Kodak Gold, Ilford HP5 — what you get is actual film, shot with the same care and intention I learned in the 90s. Not a preset. Not a filter. Real grain, real warmth, real light. Developed and scanned, imperfections included where they're natural — not manufactured. My digital photography looks the same way. No heavy Lightroom presets, no artificial skies, no skin tones from another planet. It looks like film because it was trained on film. What you see in my portfolio is what comes out of the camera — I just choose the right light and the right moment. Film add-ons available: Kodak Portra 400 · Kodak Gold 200 · Ilford HP5 .

Ask about adding analog coverage and digital packages.

Why I Photograph Here — and Why That Matters for You. 

I'm not a visiting photographer who flies in for the season. I'm from here. I grew up on this coast, I know the light in every month, I know which terrace on Vis catches the sunset from which angle in July, I know when the morning ferry gets into Hvar Town and how much time that leaves us before the crowds arrive. Northern Italy, where the same Adriatic light follows you across the water. Friuli, Trieste, the Dolomites. Each place has its own character, its own light, its own rhythm. That local knowledge is what separates a photographer who has been here for years from one following a location guide.

Planning a destination wedding from abroad can feel overwhelming — different time zones, vendors you've never met, a country you may have visited only once. My role goes beyond photography. I help you feel prepared, relaxed, and confident — from the first enquiry to the last image delivered.