A Riviera Wedding with Bruno Mars, Ellie Goulding, and Loads of Photo Magic from Greg Finck

‘The Backstory’
For these portraits, the couple was already tired of ‘photos’ and eager to join their guests, so I had to move fast. I placed them in soft backlight with an ocean view and had to capture the entire session in just two minutes.

Setting The Scene

There are weddings that tell a story, and then there are weddings that feel like an entire universe unto themselves.

This celebration at Château de la Croix des Gardes, perched above the French Riviera, was one of those rare events. The venue, known for its sweeping views over Cannes and its appearance in classic films, became the backdrop for a weekend that unfolded like a production in itself.

Guests were shuttled up the private, winding drive to the château, a hidden world of gilded architecture, sculpted gardens, and the kind of light that makes you stop mid-step.

Behind the scenes, four photographers covered every angle, moment, and flicker of light, communicating through walkie-talkies to ensure nothing was missed.

Photographer: Greg Finck

The Gear + The Team

Four photographers. Three days. Dozens of lenses and camera bodies. Greg Finck led the team using a mix of Fujifilm GFX 100S II, Leica Q2, and Sony A1, while additional shooters worked with Fujifilm 50R2, Sony A1, and Nikon systems. A DJI Mini Pro 4 handled aerial coverage across the property.

Coverage Spanned:

8 hours at the Welcome Party
14 hours on the Wedding Day
3 hours for the Day-After Brunch

A Circus-Themed Welcome Party

The weekend began with a circus-themed welcome party, complete with fireworks, elaborate set pieces, and immersive performances by Gabriel Rizzi Lab and Ellie Goulding.

“I usually avoid strong contrast and saturated tones, but the theme demanded it. The flash, paired with a large softbox, created a crisp, editorial look that mirrored the energy of the night.”

The Wedding Day

The styling was timeless and grand, the kind of aesthetic that doesn’t need to shout to be noticed. The florals by Tulipina Design brought a sculptural elegance that complemented the château’s scale perfectly. It’s one of those venues that stands on its own, so our approach was to photograph with it, not against it.

This one was captured with the Leica Q2 (28 mm lens). I love this camera for candid moments and always keep it on my shoulder throughout the wedding day, it can truly save the day at any time. I’m especially fond of Leica’s native black-and-white files, so I always set the camera to monochrome mode to avoid being distracted by color. It allows me to stay discreet and capture those genuine, spontaneous moments that unfold naturally.

Two weeks before the wedding, the team met with Lavender & Rose Weddings to map out every detail. We realized early on that we’d need a fourth shooter, not because of the guest count, but because of how much was happening simultaneously. With floor plans, lighting setups, and design mockups in hand, we divided coverage zones to ensure every key moment was captured.

‘Captured on the Fujifilm GFX 100S II’
The ceremony took place early in the afternoon, under very bright and harsh light, with the entire setup exposed to direct sun. Although I had to secure the front angles during the ceremony, I ultimately chose to shoot backlit for better light balance, and this ended up being my favorite photograph of the ceremony décor. The softer tones created by the backlight brought a sense of depth and calm, even in such unforgiving midday light.

“While I focused on the couple, my second shooter moved ahead to the cocktail area to photograph décor and guest arrivals. A third photographer operated the drone, while the fourth covered guest reactions. It was synchronized chaos, the good kind.”

Reception

The reception turned the château into a concert arena: elegant, electric, and technically demanding. Between the stage rigging, concert lighting, and sheer scale of production, every frame required intention. Keeping all technical elements: rigging, cables, and lighting equipment out of my frames, was quite the challenge.

We began at dusk, shooting the soft Riviera light as it shifted into deep, cinematic tones. I alternated between ambient tripod shots, LEDs for speeches, and flash for portraits and key moments.

Then came the Bruno Mars surprise performance… total chaos in the best way. I rushed to the front with my Sony A1, 35mm lens, and a small light setup, not knowing what to expect. Crushed by the crowd, heavy smoke filling the stage, catching the moments was about waiting for the smoke to clear and anticipating what was next.

Shot on the Sony A1 with a 35mm f/1.4 at ISO 800, it became my favorite image of the weekend. By the time DJ Snake took over, the night had transformed completely — from candlelit dinner to full-scale concert under the stars.

The Day After Brunch

If the wedding night was all party and fireworks, the brunch that followed was its serene, sunlit counterpart. Hosted on the villa’s terrace overlooking the Riviera, it felt like the collective exhale after the weekend’s celebration. The mood was soft, unhurried: guests drifting in linen and sunglasses, lingering over espressos and citrus pastries.

Closing Thoughts

“In total, we covered three days of events, but it felt like shooting a feature film. Every hour brought something new: a surprise performance, a new set, a shift in light. It was intense, but deeply rewarding. You can prepare all you want, but moments like these remind you: the best images come from being present, ready, and open to what unfolds.”