Matthew’s preparations were full of small, precise gestures. A tie straightened in front of the mirror, hands at the jacket buttons, one last look before he was ready to leave. I kept the black-and-white portrait alongside the closer frame of his hands. Together they show how much of the morning happens in details you’d easily walk past.

With Catherine, the veil took over the room for a moment. It caught the window light as it was held out between them, almost filling the frame. A few photographs later, it’s the laughter I notice, as someone helps with the dress and Catherine turns towards the camera. I like the contrast between the still portrait with the bouquet and the busy room around her just before it.

St Dominic’s, also known as The Rosary Shrine, has a long view down the nave, with pointed arches and stained glass drawing the eye towards the altar. I wanted a few photographs that gave the building room to speak. The black-and-white frame at the doorway is almost all shadow, with Catherine and her escort picked out by the light outside. The next wide view puts them in the middle of the church, with the guests and the height of the building around them.

At the front, Matthew lifted the veil and the two of them were suddenly very close in the frame. I kept returning to that shift in scale throughout the ceremony. A photograph from the side shows the clergy and the carved wood behind them. From the centre, you can see Catherine and Matthew before the altar, surrounded by stone, glass and light.

There are two versions of the photograph with the veil trailing across the carpet. In colour, the red floor and green carpet draw you into the scene. In black and white, you notice the shape of the veil and the light in the windows. Outside, the stone arch frames a very different scene as the couple walk towards their guests through confetti.

For the portraits, I wanted a little distance from the crowd on the steps. The greenery around the bench makes the photograph feel enclosed, as though the rest of the day has briefly dropped away. In the walking frame, the light is much harder, with long shadows on the pavement. Then there’s the doorway again, where the pale dress and the dark suit sit against the shadow of the stone arch.

There’s something satisfying about arriving on a double-decker at a venue that used to be a bus depot. Inside The Depot, long tables ran through the room under hanging lights. Before it filled up, I photographed the glassware, white flowers and the view down the tables. Then the same space changed completely. The guests took their seats, people turned to watch the couple arrive, and the view from above filled with faces.

Once the evening got going, I worked closer. There’s a small black-and-white portrait of a young guest, then Catherine and Matthew leaning over their cake. On the dance floor, her dress takes on a life of its own as he lifts her and they turn. I like ending on that movement. It takes me back to the veil in the living room, only now the whole room is watching.