A rose garden wedding, photographed the way it actually unfolded — the bridal party moving across the lawn in deep green, veils lifting in late-afternoon light, portraits taken close and quiet rather than staged. Documentary coverage, one couple, one real afternoon.

Sukhdeep and Harsimran’s portraits were shot beneath blossom trees in full bloom — a spring wedding, close portraits woven between the branches, and one quiet moment with her dupatta lifted like a veil between them. Traditional dress, unposed in-between moments, honest light throughout.

Manjeet and Simar’s day was shot in the mountains on a bare-trees, low-mist afternoon — a path through dry golden grass, a cream shawl passed between them against cloud-covered peaks, and the quiet detail shots — joined hands, a ring catching flat grey light — that carry as much weight as the portraits.

Reenu and Simar’s portraits were photographed on a mountain ridge at dusk — deep blue peaks, pink and violet cloud, and a run of black-and-white frames as the light dropped. A wedding built around the landscape rather than a single backdrop.

Gurleen’s bridal portraits — the getting-ready hour on its own, close on the gold maang tikka, the stacked red chooda bangles, rose petals held in her palms. The kind of detail work that gets rushed on the actual wedding day, given the time it deserves here.

A bride in an ivory lace gown, photographed alone on a tree-lined dirt road, backlit by low golden sun. One frame, one quiet road, the kind of portrait that works because nothing else is competing with it.