High House Wedding Photographer

What a High House wedding photographer is working with

The barn is the traditional half — beams, chandeliers, the warm low light you want over dinner and speeches. The garden room is the opposite: glass on every side, globe lights overhead, and daylight that holds long after most ceremony rooms have gone flat.

Outside there is a courtyard that takes confetti well, gardens with room to spread out, a pool terrace, and the lake below the lawn. On a clear day the whole site photographs from the air, which is worth knowing when the drone is already in the price.

Two rooms that could not be less alike, and a day that can use both without anyone noticing the join.

The garden room, and why flash matters here

Glass on every side is a gift and a trap. The light is beautiful and there is nothing for flash to bounce off, which is why I do not use any until the dancefloor.

Silent shutter all day means the ceremony belongs to you rather than to the photographer. In a room with that much glass, a shutter is the loudest thing in it.

Since the refurbishment

The venue has had a refurbishment, and the pictures on this page are from after it rather than before. Anything you may have seen of mine from High House a few years ago is a different building in places.

I have photographed here more than once, and these are from Abi and Sam’s day.

A High House wedding photographer’s timeline, hour by hour

Timings move with your ceremony time, but this is the shape of most of the weddings I photograph. Nothing here is a rule — it is simply what tends to work.

The venue, and booking a High House wedding photographer

High House sits in open countryside in Essex, the county I worked for fifteen years before moving home to Cornwall.

I photograph one wedding a day and never book two. If your date is free, £500 holds it and the balance is due thirty days before.