Just like you —
on the other
side of the lens.

It started at UTSA with a camera Kris probably couldn't afford. He maxed out his credit card for a Nikon N70 and a kit lens — and carried that thing everywhere. Down scenic roadsides, into graveyards, out onto piers at midnight in Port Aransas.

That midnight pier shot — a long exposure down the dock that came out perfect on the first try — got submitted to a photography contest and published twice. His first paying gig followed: $50 for a friend's bridal portraits. The eye was always there.

Then film got expensive, DSLRs were out of reach, and life moved on. The camera went in a closet. For a while.

Kris and Jessica shoot differently — and that's exactly the point. Kris moves around his subjects, taking 5 to 15 frames from every angle, hunting for the one that has the light, the expression, and the moment all at once. Jessica is a sniper: one shot, perfectly posed, perfectly framed.

At weddings, they become something else entirely. Before the ceremony starts, they walk the venue together — scouting positions, mapping movement, deciding who goes where and when. It looks like a coach going over a football play. When the ceremony begins, they move through it like a choreographed team: into the aisle, out of the aisle, switching sides, never in each other's way, never missing a moment.

Clients have called it "running point like a wedding coordinator." They take that as a compliment.