About Us

I Didn't Start Out to Become a Wedding Photographer. I Started wanting to Work for Disney.

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Growing up, I wanted to be an artist. Not just any artist — I wanted to create worlds. I wanted to draw people into something so beautiful and immersive that for a moment, they forgot everything else. That dream led me to the University of Utah, where I pursued a Bachelor of Arts degree in Film Studies, convinced that animation was my path.

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Then something happened in a film class that changed everything.

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I picked up a camera.

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I realized I could create art and tell stories in a single frame — something that would have taken me weeks of drawing and animating to achieve. The same instinct that drew me to Disney was suddenly alive in photography. The composition. The light. The emotion frozen in a single moment. I was completely hooked.

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When I graduated in 2003, I made a decision that made perfect sense to me and terrified everyone around me — including my wife. I took out an SBA loan to buy professional camera equipment, told someone getting married that I'd shoot their wedding for free, and got to work.

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That first wedding paid nothing. The second paid $100. From those two weddings I cut a demo reel, signed up for bridal shows, and handed out that demo to hundreds of couples. I booked one wedding. It paid $300. I went home equal parts excited and humbled.

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But I was excellent at one thing above everything else: taking care of people. After that first $300 wedding, a bridesmaid booked me. Then a guest at their wedding booked me. Then someone at that wedding booked me. Five years later I counted thirty weddings that traced directly back to that very first booking. Word of mouth built this business one couple at a time — because from day one, the experience mattered as much as the images.

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Three years after that first free wedding, I was doing this full time. I haven't looked back since.

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Why "Forevermore"

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When it came time to name the business, I knew two things. First, I didn't want it to be "Brad Winegar Photography" — because the vision was always bigger than one person. Creating work at the level I wanted required a team. A brand. A shared commitment to something greater than any single wedding day.

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Second, I wanted the name to capture what this work actually is. These aren't just photographs or videos. They're the things you look at on your wall every single day for the rest of your life. They're what your children will find in a box someday and feel something profound about. When you watch an old home movie, you don't just see the day — you remember how it felt. You can almost smell the flowers. You remember the feeling in your chest.

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That's what we're making. Memories that last forever. So the name had to be Forevermore.

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The Work Is an Addiction

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I'll be honest with you: I love this work in a way that borders on obsession. Every session, every wedding, every sunset — I'm chasing that moment. The one where I look at the back of my camera and I know. We got something extraordinary.

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When that happens I can't help myself. I run over to the couple and show them right there, on the camera screen, unedited. I want them to feel what I feel in that moment. I want their eyes to go wide. I want them to understand that what just happened is something they'll treasure forever.

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This matters more than people realize. When a couple sees their photos on the camera and feels that rush of excitement, something shifts. They trust you completely. So when the light turns golden during the reception and I lean over and say "there's an incredible sunset — five minutes, let's go get something amazing and then come straight back" — they don't hesitate. They know what's coming. They've already seen it.

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I show my raw, unedited files without hesitation. If you're exposing your images correctly — capturing detail in both the shadows and the highlights, not blowing everything to white because it looks "clean" — you have nothing to hide. The images look great the moment you take it.

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The Philosophy Behind Every Image

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Utah is full of wedding photographers. So much talent and each have their strengths and weaknesses. Many of them shoot in what's called a "light and airy" style — images so bright and overexposed that the sky disappears, the detail is lost, and everything merges into a soft white haze. It looks fine on Instagram. It's trendy right now.

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It won't look timeless in twenty years.

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I was trained as an artist before I was trained as a photographer, and I think about light the way a painter does. Shadows create depth. Contrast creates drama. Properly exposed highlights and shadows together create an image that feels real — that pulls you into the scene rather than washing it away.

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My approach is what I call posed photojournalism. I stay out of the way. I'm looking for the tears, the laughter, the father's face when he sees his daughter in her dress for the first time. I don't manufacture emotion — I position myself to capture it when it happens.

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But I also bring an artistic eye to everything I see. When the bride is getting ready, I'm not going to stand quietly in the corner and let her get ready in terrible light with bags and dresses piled everywhere in the background. I'll simply suggest — how about you get ready here, by this window, and we clear a little space? She gets her moment. I get the shot. Nobody feels directed or stiff. That's posed photojournalism.

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Every wedding I shoot follows what I call The Three S's:

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Staple Shots — The images every couple expects and deserves. Walking down the aisle. First kiss. First dance. Getting ready details. These are sacred and I will always have them.

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Storytelling — The images that show what the day actually felt like. A wide shot of the ceremony with the mountains in the background. A guest quietly wiping a tear. The groom's face before he sees his bride. These are the photos that make you feel the whole day, not just the moments.

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Signature Shots — The work of art. The image that stops people from scrolling. For these I'll shoot through foreground elements, add off-camera flash to transform a scene, use a slower shutter speed for movement and drama. This is where the Disney kid in me comes fully alive.

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Every couple receives all of it — the staples, the stories, and the signature. Plus black and white versions of everything, because some images are simply better in monochrome. Every couples gets at least one fully signature-edited image, finished to the standard of a fine art gallery print. Something worthy of your wall for the rest of your life.

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Recognition

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With over twenty years, the work has been recognized in ways I'm genuinely proud of — not because of who voted for me, but because of what a panel of world-class photographers saw when they evaluated the images.

• #2 Wedding Photographer in the World — out of 13,000 photographers across 178 countries

• IPPA Photographer of the Year — Intermountain Professional Photographers Association, Utah

• Portrait Masters Winner — internationally judged fine art portraiture recognition

• WPPI Award Winner — Wedding & Portrait Photographers International, the world's largest wedding photography competition

• Utah's Best Wedding Photographer 2021 — Professional Photographers of America

Featured in People Magazine, Entertainment Weekly, CBS, NBC, ABC, FOX, The CW, Rocky Mountain Bride, Utah Valley Bride, The Knot, Junebug Weddings, 100 Layer Cake, Green Wedding Shoes, and Ruffled Blog.

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I also teach. Photographers come from across the country to attend workshops, because they've seen the work and want to understand how it's made. Teaching has made me a better photographer. Having to articulate why you make every decision forces a level of intentionality that changes how you see and process everything.

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What I Want for You

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Every couple I work with — I want the same thing. I want you to look back on your wedding day and have nothing but joy. Not stress about whether we got the shot. Not anxiety about whether we were running out of time. Just pure, uncomplicated happiness about one of the greatest days of your life.

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I don't work with hourly limits or restrictions. I don't want either of us watching a clock. I want to be there as long as the day needs me, fully present, fully committed to creating something extraordinary. I want us both in the moment and to enjoy it.

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Your wedding photographs will hang on your wall every day for the rest of your life. They'll outlast the flowers, the cake, and the dress. They deserve to be made by someone who treats them with that kind of weight.

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"I'm not there to just capture your wedding. I'm there to create it."

I'd be honored to create yours.

 

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