Thibault Maestracci

I became a wedding photographer because storytelling is the one thing that keeps me fully engaged behind a camera.

Weddings are joyful, fast, and unpredictable. They demand observation, patience, intuition, and technical reflexes.

You move through the day documenting what happens, then shift into something slightly editorial when the moment calls for it.

That mix is what I love.

My whole approach comes down to a single idea. I shoot like a guest who just happens to have a camera.

I blend in, I move quietly, and I let people forget I’m working. When something needs direction, I give it lightly. Most of the time, I follow gestures, energy, and light.

My final galleries feel coherent and natural, built from sequences of images that read like small chapters.

I am a natural-light photographer at heart. Flash is only for the evening, when the party has its own rhythm.

A whole wedding weekend means 4,000 to 8,000 frames, and I deliver 600 to 1,000 depending on the coverage. Everything is edited in Adobe Lightroom Classic, and my backup workflow is strict.

I shoot dual-slot RAW, copy to SSD and HDD, sync to pCloud during the editing phase, and keep an offline archive stored separately. I also produce sneak peeks on the wedding day, straight from Lightroom Mobile when needed.

I started with Sony because my first Sony A7 II allowed me to mount vintage lenses.

I learned photography on the SMC Takumar 35mm f/2 and the SMC Takumar 50mm f/1.4. Manual focus taught me anticipation, positioning, and which focal lengths made sense for me.

Today, my gear is minimal but intentional. Every piece has a clear role.

Cameras

Sony A7 IV – My main body. Fast, reliable, discreet, and perfect for the way I work.

Sony A7 III – My second body during the day. Excellent in low light for speeches and quiet moments without flash.

Sony A7 III – Always in the car as my backup. Essential, even if I never want to use it.

Lenses

Sony 24mm f/1.4 GM – For tight interiors, fast action, and dance-floor chaos with flash.

Sony 35mm f/1.4 GM – My documentary anchor. Clean, flexible, unobtrusive.

Sony 50mm f/1.4 GM – My favourite focal length. At least half of the images I deliver come from this lens. It feels natural, intimate, and effortless.

Sony 85mm f/1.8 – Light, sharp, excellent for ceremonies.

Lights and Triggers

Godox TT685II-S – Used only in the evening for atmosphere and movement.

Godox XPro-S – My trigger for the rare off-camera setup.

Bags and Straps

Clever Supply Anchor Camera Harness, Brown – Chosen because it integrates perfectly with Peak Design anchors.

Peak Design Capture Clip 3 – I use two of these. Ideal when I want a minimal or guest-like setup early in the day.

WANDRD PRVKE 21L, Black – My main backpack. Carries everything, including tools, accessories, and my backup body.

Generic 6–8L Sling Bag – For two lenses, SD cards, batteries, and small essentials

Hardware and Software

Adobe Lightroom Classic – My primary editing tool. Lightroom Mobile is used occasionally for same-day sneak peeks.

pCloud – Cloud backup for my working folder during the editing phase.

SSD and HDD backups – Primary backup on SSD, secondary on HDD, plus an offline archive stored separately.

Miscellaneous

Simple, functional items I always keep with me.

FOXHACKLE RFID-Blocking Wallet

KF Concept Air Blower

AirPods Pro 2

Notebook and Bic pen

Eneloop AA batteries

What’s Next in My Kit

Sony A7 IV (second body): for consistent color, identical menus, and unified ergonomics.

New sling bag: I am hesitating between the Peak Design 6L Sling and the WANDRD Rogue 6L Sling V2.

My setup looks minimal, but every item has a purpose. I adapt to couples, to light, and to whatever the day brings.

Some moments are documentary, others lean a bit editorial, but all of them aim to feel authentic and natural, like something that genuinely happened.

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