Photographs from real weddings and sessions across Lancashire — not a set of borrowed samples.
This is the working portfolio of Alfred Thomas Photography: photographs from real Lancashire weddings and portrait sessions, taken by Tom Carter, who lives in Leyland and covers Preston, Chorley, the Ribble Valley, Garstang, Longridge and the rest of the county. Wedding coverage is £1,063 for a full day or £623 for around four hours, and every fully edited photograph is delivered within six weeks. Nothing below is stock or styled for the website.
The business traded as Johnston Photography until 19 June 2026 — same photographer, new name over the door. There is more about how I work on the about page, and the coverage and add-ons are set out on the wedding photography page.
Most of these frames come from farm conversions, country houses and village churches within about forty minutes of Leyland — walled gardens at the halls, mown fields and machinery sheds at the barns, and hills that turn flat grey one hour and gold the next. A wet morning does not lose you the day; it moves the portraits to a doorway or a covered yard.
A full day starts wherever people are getting ready and finishes after the first dance, with no clock running in the background. In the Ribble Valley, or at a venue like Eaves Hall, the grounds do much of the work; at a Leyland wedding it is more about the walk between church and reception.
Ceremonies are the part of the day I move least during. I shoot from the side and the back, never from the aisle, and I do not ask anyone to repeat anything for the camera. Churches and older halls are usually dark with a bright window behind the couple, so I expose for faces and deal with the window in editing rather than firing a flash during the vows.
What matters afterwards is rarely the wide shot of the room. It is the parent's face two rows back, the hand squeeze before the ring, the walk back down the aisle when the tension goes out of everybody at once.
The portrait walk is short on purpose: twenty minutes, sometimes split between the confetti and the last of the light. Longer and people stiffen up and miss their own drinks reception. I give a direction, then leave a gap, because the frame worth keeping usually lands a second after someone stops posing.
Black and white gets used where colour is doing nothing useful — a grey sky, a dark interior, a moment where the expression is the whole photograph. Ten minutes at golden hour is worth protecting in the timeline whenever the season allows it.
Flowers, shoes, rings and stationery are photographed in the room they belong to, not carried outside and arranged on a windowsill. Same with the venue's own details: a rockery in April, the tractor parked outside the barn, the stone steps everyone walks past. Those are the frames that will tell you which wedding it was.
None of it is charged per photograph. Every frame I keep is edited and included, whichever package you book — the pricing page sets out what that covers.
Weddings are most of the work, not all of it. A pre-wedding shoot is £149, mainly so you get used to a camera before the day that counts. Family sessions run outdoors where possible, about an hour, no matching outfits required. Newborn sessions happen at home in daylight, at the baby's pace.
Documentary means I photograph what happens instead of staging it. Beyond the group shots you ask for — keep that list to six or seven — I am not directing your day.
You get every photograph I keep, fully edited, with no per-image charges and no gallery to buy your way into. A preview set lands within a few days and the complete gallery arrives within six weeks, yours to print and share. Booked couples get 15% off prints and albums. If your date matters more than the reading, send it over and I will tell you if I am free.
The grid above is a selection. Below is the live client gallery system, where whole weddings are published in full — give it a moment to load.
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Send me your date and venue. I will come back the same day with whether I am free and what it would cost.
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