I started the day with Pallavi at Grim’s Dyke. The brickwork was still half in shade behind the trees when I photographed the house. Inside, the window was doing nearly all the work for me. It lit the people around Pallavi from one side and left the rest of the room soft and dark. When she turned her head, the outline of her hair came into view.

I stayed near the window while the make-up was finished. At one point a little hand mirror caught just one of Pallavi’s eyes, with an open palette below it. A call on the phone and a final touch from the make-up brush were all part of the same few minutes. They’re the kinds of details you can miss when you’re the one getting ready, and the pictures give them a place in the story.

Outside, the wind caught Pallavi’s veil and sent it sideways across the terrace. I kept two frames from that moment. In colour the veil picks up the warmth of the stone, while in black and white you notice the shape it makes in the air. Then the pictures come in much closer. Pallavi takes the hands of the woman beside her and reaches up to touch her face. The way the two look at each other is what made me stay with that moment.

At Harrow, a sign with both their names stood under the arches. Greg was already inside. His plum jacket looked different in every room, from the darker hallway to the open light in front of the tall windows. I photographed him with two of the men on the staircase, then by himself. Meanwhile Pallavi came through a dark doorway and made her way up the stairs. There’s a lovely sense of two people getting closer even though they’re in separate photographs.

Pallavi came in carrying a bright bouquet. From the doorway I could see the dark timber around her and the daylight waiting on the other side. I like the sequence from her entrance to Greg smiling as he looks towards her. Once they were together at the front, the room opened up in the photographs. You can see the portraits on the walls, the height of the windows and the guests turning towards them.

During the exchange of rings, I moved in for the hands. For the kiss I went wider to keep the people behind Pallavi and Greg in the frame. Afterwards came the quieter business of signing, and then the two of them held up their certificate envelope. The rings would make another appearance later on the steps, when the pair had a few minutes away from the guests.

On the way out I caught the two of them reflected in the long table, then followed them towards the stairs. Pallavi’s train falls over the steps in one of those frames. A little later, under the stone arch, the whole pace changes. Guests close in from both sides and throw confetti as the pair walk through. After the close photographs inside, I wanted the group picture on the steps to show how many people had been waiting to celebrate with them.

There are three different distances in the next few pictures. First there are Pallavi and Greg cutting the tiered cake together. Then there’s the detail of the slice, close enough to see the layers. Finally I pulled back for a black-and-white frame of Greg holding Pallavi with guests just behind them. I wanted to keep that last picture alongside the cake because you can see how close everyone still was to the couple.

We made a few portraits in the shade of the stonework, then went out into the sun. Pallavi and Greg ran across the road holding hands, walked along the edge of the buildings and came towards me through the grounds. Moving between places gave them something to do together, and I could photograph whatever happened in the gaps. In the frame with their rings close to the lens, you can still see how much they’re enjoying themselves behind their hands.

On the steps I kept changing where I stood. From below, the stone façade fills the frame and the pair look small against it. Closer in, you notice the way they look at each other as they come down. In the last photograph they’re holding hands at the bottom and both turn back towards me. That felt like the right place to leave them.