Andrea & Federica

The earliest dated evidence of the business is a wedding at Madonna di Costantinopoli near Spoleto, in Umbria, on 25 May 2013: a ceremony at the Church of Santa Maria in Vallo di Nera for a couple named Emanuele and Theresa, later written up by the International Society of Professional Wedding Photographers. Their own blog, under the name Andrea & Federica, carries a copyright date of 2016 and a run of dated posts from 2017 onward. Between those two markers sits a working floor of at least thirteen years, the figure used here rather than any rounder claim found elsewhere.

Both names are used everywhere the studio appears in public, and neither is broken out with a surname anyone can confirm. Every photograph on their blog, going back to the earliest post, carries the same joint credit: all photos by Andrea & Federica. Their 5 Star listing writes about the pair only in the first person plural. Nowhere in the material available is coverage divided into who shot what, or which of the two goes to the bride and which to the groom, the way some two-photographer studios publish it. Two people, one credit line, and no further detail offered.

What the pairing of reportage and editorial means in practice is visible across the portfolio rather than explained on the page. A wedding proposal on the rocks above Vernazza is shot the way a documentary photographer would shoot it: from a distance, natural light, nobody arranged. A portrait against the carved doors of a Florence church is a different register entirely, composed square to the architecture, printed in black and white. Both are credited to the same two photographers. The reportage instinct decides when to stay back. The editorial instinct decides where to stand when they don't.

That analog word is not incidental. Film photography on a wedding day is a deliberate handicap: no instant preview, a limited number of frames per roll, and a cost per shutter click that digital removed two decades ago. Photographers who mix it into a reportage practice are usually doing it for the specific quality of light film holds onto that digital sensors still don't quite replicate, especially at the golden hour that recurs across nearly every one of their outdoor portraits. Whether every wedding gets film or only some is not stated anywhere public, but choosing to advertise it at all is itself a small positioning statement.

The blog itself keeps a habit worth noting: photographing the hour before, not just the day. A florist arranging thistle and blush roses at a London market stall, still bagged in cellophane, appears in the same gallery as a groom in a Victoria Park kitchen making pour-over coffee before an elopement in April 2017. Neither image contains a bride. Both are dated, captioned, and published without hedging by a studio whose stated job is wedding photography. It is the kind of frame most couples never see from their own photographer, because most photographers don't stay long enough before the day starts to take it.

Umbria is the base, on a street called Strada di Contea outside Perugia, but the published work runs well past it. Florence appears repeatedly: an elopement on the Ponte Vecchio, a portrait framed by the Duomo, a couple photographed at the carved doors of a church in black and white. The Cinque Terre shows up twice, once for a proposal at Monterosso al Mare and once for another at Vernazza, the second of which reached the site How He Asked. A separate search listing places their portfolio in Punta Cana, in the Dominican Republic, which is a considerable distance to carry a reportage habit intact.

The most complete single story in the public archive is a London elopement from April 2017, for a couple named Eoghan and Nadia, who married at Victoria Park in the city's East End. The studio's own words for the choice were blunt: eloping removes everything unnecessary from the day. What survives from it besides the ceremony itself is domestic rather than ceremonial, a kitchen, a market stall, which is an unusual set of pictures for two photographers who otherwise travel to the Cinque Terre and Perugia's own countryside for a living.

Their own site markets the work as editorial and analog, language that points toward film alongside digital rather than a purely digital operation, though neither the exact ratio nor a rate card is published anywhere public. A directory profile on MyWed lists an hourly rate with a six-hour minimum, a pricing structure that is unusual for Italian wedding photography and not corroborated by either their own site or their 5 Star listing, so it is treated here as unverified rather than repeated as fact. What a couple will actually pay, in the end, comes back only after asking directly.

One frame from the portfolio, an embrace shot in black and white and printed with a soft, almost overexposed edge, shows only hands and fabric and no faces at all. It is a deliberately incomplete photograph, and the kind a photographer only takes once the rest of the day's obligatory shots, the group photo, the rings, the cake, are already covered. Reportage photographers tend to earn the right to that kind of frame by proving, elsewhere in the same gallery, that they can also deliver the ordinary ones competently. This portfolio does both without appearing to strain at either.

A second wedding survives only through images on their 5 Star listing, unnamed and unlocated, but complete enough to read as a full day: a ceremony under a floral mandap, a family portrait on a villa staircase, a reception lit by string lights glimpsed through a stone archway, fireworks over a candlelit dessert table at night. None of it is captioned with a venue or a couple's name, so none is asserted here, but the range across a single event, ceremony to fireworks, argues for a studio that stays for the whole day rather than the fashionable parts of it.

That sentence, published on their own directory listing, is about as close as the studio comes to an artist's statement, and it tracks with what actually appears in the galleries. Nothing in the published work looks arranged for its own sake. A couple in an olive grove outside Perugia are photographed from behind, mid-conversation, neither one looking at the camera. A bride adjusting flowers in her hair among rose bushes is caught in profile, not posed toward the lens. It is a small, consistent choice, repeated often enough across several separate stories that it stops looking accidental.

Two reviews sit on their 5 Star profile, both dated 23 April 2023, both five stars. Amelia Smith, married at Castello di Montignano in Umbria, wrote that she had expected to fly a photographer out from the UK before finding a studio close enough and creative enough to change her mind, and specifically praised how little she noticed them working through her own day. Lee, a second reviewer, called them true artists and, more usefully, wonderful people, kind, professional and genuine, a set of words that has more to do with twelve hours spent in someone's company than with any single photograph.

In July 2026 the studio uploaded a wedding film for a couple identified only as C and A, just under eleven minutes, to a Vimeo channel that carries their own name and links back to their own website. It is a small, recent, verifiable addition to a public record that otherwise consists mostly of stills, and it suggests video is now a live part of what the studio offers rather than an occasional extra.

What the record does not answer is worth stating plainly. Coverage hours, delivery timelines, and how many of the two are present for a given ceremony are not published anywhere available for this listing, official site included. A couple comparing photographers before booking will have to ask directly rather than compare specifics on a page, which is a real gap next to studios that publish exact hours and delivery windows as a matter of course.

What the published work does show, consistently, across Umbria, Florence, the Cinque Terre, London and at least one Caribbean booking, is a pair of photographers who would rather wait for a wedding to happen than ask it to perform. The bride does not look at the camera. The groom pours his own coffee before he elopes. The fireworks go off whether or not anyone was ready for them, and somebody was there anyway.