Family session in Thailand


Winter holidays in Thailand

It is our annual tradition to go on winter holidays abroad. And the only thing we normally wish for is that it has to be somewhere warm and sunny. We are desperate to charge our batteries after a whole wedding season spent getting from point A to point B all over Europe, waiting at the airports, or editing pictures in front of the computer screen. We simply have to set off to explore new places.

Last year we changed our attitude slightly. We chose places that fit in with our personal projects. Japan, Vietnam, Nepal, Sri Lanka. Japan and Vietnam can be two totally different worlds, especially since we chose to visit Tokyo and Hanoi. Nepal, Kathmandu in particular, is the smog capital of Asia. Sri Lanka was to cater for our need to bask in the warmth of the sun. Unexpectedly, though, Thailand came up on our list, a country we both love to the bits. Open, welcoming locals, delicious food and deserted beaches if you know where to find them. This time we chose Koh Samui to do a family session with Marta, Maciek, and their wonderful kids at Christmas time. It couldn’t get any better!

A family session in the rain

As we were landing in Koh Samui, we were planning the session assuming it was going to be scorching hot and sunny, as usual. We were working on different scenarios in case the kids prefered to sit in the shade to hide from the sun. We can definitely say we were well prepared, although we were slightly worried about the hordes of tourists, since Koh Samui is known for being crowded. Luckily, we found a quiet nook on a beautiful beach, far from the tourist-infested centre of the island. The only thing we had in mind was to find quiet beaches, have a break after the intensity of Hanoi and get ready for the session.

The reality turned out to be slightly different. We did find empty beaches. But clouds covered the sky on the very first day and it did start pouring down with rain. Oh well.

It didn’t really discourage us. We were in Thailand after all, which meant it had to be sunny. Undeterred, we just explored the island on a scooter and we stuffed our faces with seafood. And then came the session day!

We cannot find words to describe it. Have a look below ;) We wish more of our sessions were equally crazy! Marta, Maciek and their kids were totally unfazed by the weather. We had a whale of a time with them! Cheers, guys!




Monika and Andrzej’s party was yet another wedding we had the pleasure of photographing at the Old Orangery in Warsaw. Because of all the unexpected situations that we were witnesses to on that day, we started looking at the place from a totally different angle, which perfectly aligned with our philosophy. There is nothing worse than photographers who limit themselves to copying their own work. However beautiful the venue may be, it is only a backdrop against which we photograph people who are always the most important. We couldn’t care less about all the details if they weren’t part of the energy created by all the people involved in our clients’ most special day, namely their wedding. It does not mean we don’t take pictures of details. We do, but we don’t think they are a vital part of our material. Therefore, we decided, perversely, not to include any pictures of details in the selection below. There are a few exceptional facts to take note of here, namely the scorching heat we still remember to this day, helicopter landing on the parking lot, or the first dance which broke all the stereotypes. Monika and Andrzej are a couple with amazing energy, which we can still feel. We’re not trying to be nice here. It is a fact.
A technical curiosity: the whole material was shot with the Leica Q and Nikon d810. Guess which year it was ;)


We often get asked: ‘Do I need two photographers at my wedding?.’ And we always give the same answer: ‘It depends. Let’s meet and talk.’ There is no one answer. If you are planning a 200-300 guest wedding reception with a lot of attractions, then it is rather obvious that you should have the whole WhiteSmoke team on board.

On the other hand, though, there are more and more couples who want us to photograph their small, intimate ceremonies, full of supportive family members, dedicated friends, heart-warming speeches, and electrifying dance moves til the crack of the dawn. What is also typical of such ceremonies is that they usually take place at one venue, there’s time for everything and the whole day goes smoothly. We must say that our couples often benefit from all the advice and ideas we share with them during consultations. We have been to hundreds of weddings so we think we can give ourselves some credit for our expertise in this area!

Gosia and Riccardo’s wedding is a perfect example of an intimate wedding which was photographed by Michał. Feel more than welcome to check out some frames from the wedding below.  Here you will find the engagement shoot photographed in Naples.

Thanks, Gosia and Riccardo. And congratulations again!

Here is the message we got from our Bride right after she’d seen the pictures:

"We couldn’t have asked for a more perfect memory of our wedding than Michal’s photos. He has truly captured all the emotions and joy of our big day by somehow always being at the right place at the right time. The photos themselves - a display of Michal’s trademark creativity. His clever juxtapositions and mastery of light & shade made for artful and striking images that we can’t wait to frame.

Michal has been a true pleasure to get to know and spend time with. Apart from the professional side, his impeccable taste, sense of humour and easygoing approach made even my camera-shy husband enjoy our photo session! Grazie di cuore, Gosia & Riccardo"

Gosia, Riccardo. Congratulations again! You are a fantastic couple! Thanks for your trust in me and your openness to all my ideas!

naples engagement session




The engagement shoot photographed in Naples. By the way, it was the first time it had rained the whole time in Italy;)
But it didn’t stop Michał or the couple from having a good time.

The full reportage from Gosia and Riccardo’s wedding is available here.





Piotr Biegaj has recently come up to me and said: You know, Warda, you’re the best wedding photographer among street photographers and the best street photographer among the wedding ones. The immediate reaction can be: Wow, this is a proper compliment. Warda must be really talented.
On the other hand, though, most of the street photographers I know take horrible wedding photos and numerous wedding photographers do brilliant street photography. However, we treat street photography as a hobby, as a way to develop our photographic eye, and not as our life mission. So, what Biegaj said was not a compliment after all.
So, what’s all this fuss about? Let’s start from wedding photography.



At the beginning of our careers we were determined to fight an uphill battle and prove that wedding photography does not necessarily need to be naff or mediocre. It can simply be great photography in its own right. At some point there is no need to prove anything anymore, as your photos and achievements speak for themselves. For some obscure reason, though, what we do triggers a negative response among some reporters and street photographers. Not only do they lack respect for our industry, but they also don’t mince words and say wedding photography is crap and wedding photographers are worth nothing. Most of the people I am talking about believe that we are not able to do any other kind of photography. And that we should definitely not or, even worse, we don’t have the right to do any commercial work, street or documentary photography. Simply because we are wedding photographers.
Is it some kind of mental paralysis, pure hate, bitter jealousy, envy or simply stupidity? It turns out that WhiteSmoke Studio street photography workshops organised with Leica Camera Poland caused serious, monthslong heartburn in some people who had no problem spreading online hate directed at us. We believe there is space for everyone, even those who can’t do weddings or who are not humble enough to accept feedback they themselves asked for.
When you hear ‘wedding photography’, the first image you see is probably the exchange of wedding rings, putting the garter on, the first dance, cutting the cake or a tipsy uncle pinching the bridesmaids. A few pictures at a wedding. What’s the big deal? Anyone can do it, especially someone who’s been doing street photography, someone who’s as fast as lightning when pressing the trigger, someone as good at connecting dots as a special forces soldier.
Stereotypes around wedding photography have been reinforced for years and even though it has changed dramatically for the last 12 years, since we started WhiteSmoke Studio, the phrase wedding photographer still carries negative connotations and is often said with contempt. As Dorota has recently mentioned in one of her blog entries, we often get cringy questions, such as: ‘Are you able to do any other kind of photography, rather than weddings?’



So, what’s the deal with weddings? They can be quite interesting. And not that easy. The range of competences a typical wedding photographer must display is really extensive. Of course, everything depends on a photographer’s style, if he or she has one at all. It is ridiculously easy to copy someone else. To create something unique it is not. So, now I’d like to delve into what constitutes our unique WhiteSmoke style.
At each wedding we create a consistent reportage, enriched by the couple’s portraits. What we deliver is unique for every single couple. We don’t follow patterns. What counts is the emotions, the moment, the light. Enframed in classical, timeless compositions. We use flash lamps in a very creative way. We mix intimate frames with Dorota’s rich, multilayered compositions and my slightly ironical vertical images taken with flash. The energy on the dance floor and an atmospheric ceremony. Multigenerational emotions, group photos with great composition and studio lighting. Portraits of guests and the great vibe lurking in. Single-image anecdotes by the coffee table, pictures of details, architecture, human landscape, and deadpan images. Everything is surprisingly consistent, sometimes even for us.
The gear plays a vital role in all of it. In some situations it’s much better to use the Leica M with an 28mm Elmarit lens, sometimes a Canon with a bright 50mm 1.2L lens. We take portraits in a classical way, which means using a medium format camera with a digital back. And during the reception we can even take out a compact camera like Ricoh GR and take simple snaps with flash. Sometimes, the only thing we use is a fast 28mm lens and AF, just like in the Leica Q. Every camera-lens combination gives us a different kind of aesthetics which we need to skillfully juggle.
Editing and postprocessing are next secret ingredients. We need to make sure all the pieces in the puzzle fall into place. The starting point for us is the look one can find in good lifestyle sessions. The only difference is that we have very little control over the light conditions we find ourselves in and that we work under time pressure.

Custom Coffee Table Photo Books

Custom Coffee Table Photo Books

Next come photo books. We create dozens of them for our clients every year. We can’t always be as creative in designing them as in the case of Carl de Keyzer’s book. But we always listen to our clients and are open to their suggestions. Our clients prefer big albums with minimalistic design, which makes us truly happy. Do you want a photo book in ink on baryta paper? No problem at all.
It goes without saying that everything comes with a price tag. The experience, expertise, gear. And enormous involvement. Higher rates result in our clients’ high expectations and there is no room for mistakes here. You cannot replay anything. We have to deliver several dozen perfect images and several hundred really good ones. Despite appearances, the number of pictures to be delivered from a reception with several hundred guests is not daunting at all. You can tell the story of a wedding in 12 frames, but there are much more moments worth remembering.


And now time for the wedding itself. Sometimes we’re invited to small, intimate ceremonies, and sometimes it’s big budget weddings. At times we work wearing jeans or chinos and sneakers, and sometimes we’ll wear dinner suits. We also have to fit in at a country barn wedding reception close to Warsaw or a black tie party in Venice. Sometimes our clients will be very clear about their expectations when it comes to the work we deliver and sometimes we have to try and squeeze information out for a few months before the wedding. The variety in our photography is rather wide, so we either rely on the classical documentary style or we get inspired by Parr’s photography and allow ourselves to interpret it in our own way.
There’s quite a few things to take care of, right? What’s more, weddings only constitute 30 to 35% of our work. All the admin work, getting new commissions, and other photography not related to weddings take a bit of our time, too. Did you know that we do architecture, industrial, and corporate photography? We’re not talking about our private projects, but we don’t want to make a distinction between commercial and artistic work.
And that’s why we only smile when we hear someone talking about our work with contempt. Or pity. But what do haters know? Let them try and see the results of their work. It’s so easy to spread hate. Everyone can do it. One photographer, an ambassador of an international brand whose numerous clients are wedding photographers, many of whom extremely talented ones, has recently said: “To cut the story short, wedding photography is one big crap. That’s all I can say. It doesn’t matter whether photos are taken with a Leica or a Canon. They are banal, trashy, cliché. One needs to make a living, I get it. Everyone has to do it sometimes. But let’s not make street photography or art out of it.”


It’s no use beating a dead horse about this lofty analysis of his. I believe he shows a lack of any propriety. But I would like to encourage everyone to say it to your friends ambassadors at the next reunion or clients at workshops. Face to face. Remember, there are wedding photographers in both groups.
Or you can say it to the Bride’s grandfather who’s proud to show you his own wedding portrait from 60 years ago. Tell him the photo is simply crap. Or you can tell the couple that a wedding photo of them and their parents is crap. I can just go on with similar examples. Photographs taken at important family events will hang on the walls. Maybe not at art galleries, which is actually not impossible, but at people’s homes. You cannot deny the social value of wedding photography. The depiction of a culture and tradition would not be complete without it. I can already see comments which say that most wedding photos are just trash and kitsch. Maybe. Just like 99% of images whose authors call them street. Repeatable motifs, predictable frames.



But luckily, street photography is multifaceted, too. To tell you the truth, street photography is actually a bit of an empty phrase to us. You can call some photographers street photographers, even though they themselves would have never done it. Half of the Magnum photographers are street photographers, but they have been simply photographing life for decades. They observe social mechanisms and chronicle them, just like Martin Parr. They delve into human relationships, just like Gilden in his recent projects, and they create human stories full of emotions, like Sobol. I am not even going to mention Bresson. Or beautiful stories about places by Webb. Or Harvey’s ‘don’t shoot what it looks like, shoot what it feels like.’ This kind of vision of photography has always been a great source of inspiration for us.
How do street photographers see it themselves? We used to see it as an end, and not as a means to an end. The way to tell a story about the world around us in one ideal frame. With fantastic colours and amazing composition. Surrealism blending into the reality. Cynicism mixed with irony that go well with black humour. With time, collecting those random images gave way to seeing weddings in the same manner. We thought the street approach was ideal. We used to treat weddings the same way many others did, so a mix of street cynicism and humour with a dash of surrealism was a perfect choice. But we soon began to treat weddings as something unique, a chance to learn about family stories, local traditions, or simply a story of two people. And it turned out that we can tap into everything we’d learnt and thought before. We are still on the lookout for single images and an amusing situation. But it is much more about balance and the resonance of the whole material we are going to deliver, rather than flexing our street muscles.






Wedding photographers are beginning to be recognised all over the world. Jeff Ascough was Canon’s Ambassador, Sony had Mike Colon, Fuji - Kevin Mullins among others. Hasselblad, Nikon - you can find wedding photographers everywhere. Even Leica Italy organised Master Class with Carlo Carletti. During the Magnum workshop in Bangkok David Alan Harvey mentioned that wedding photographers are one of the best trained and versatile groups of photographers. Wedding as a subject matter is so fascinating that you can find quite a collection of wedding photographs taken by Martin Parr or Guy Le Querrec in the Magnum Photos collection. In one of his workshops, Martin Parr said that wedding photography is a perfect way to make a living and work on private projects. It’s high time wedding photographers were appreciated in Poland!

Street is street. At the moment it looks like a quest for the most twisted frame. There’s less and less storytelling about people, the way the Old Masters did. It is more about street for street’s sake. Is it bad? No, not at all. The eye has to be developed. And we love to do it, but it’s not our major focus. We are beginning to sit among people and listen instead of catching frames. We soak in the atmosphere. We look for a subject we are not going to glide over. We play with convention at times, and sometimes we create our own impression of a place.

Without rigid rules, divisions or classifications.

Let us know what you think in comments. Let’s talk;)


Wedding reportage and timing

My love for weekends and photo commissions can only be compared with my hate for Mondays. I am sure you know the feeling when you sit in your office on a Monday morning and the only thing you are capable of doing is reading your daily papers, even though you were really determined to catch up on your admin work when you got up? Oh well. Mondays don’t belong to the ‘Productive Day’ category. They just don’t.
While I was happily clicking away today, I decided to sort out my email box. Since our Asian trip, we’ve received quite a bit of spam, so I dug deep and bumped into a mail from Justyna and Marcin which was actually sent in autumn last year:

“Once again, thank you very much! All of our guests admitted that they had never seen such hard-working photographers who were always at the right place at the right time;)”

So it turns out that that today is not going to be a complete waste of time. An ideal balance between sorting out our email box and finding something useful, namely a subject which often pops up in conversations with our clients. ‘How do you manage to be at the right place at the right time?’ Magic. Let’s call it ‘timing’ for now.

Those who say that the magic potion is the right mix of talent, a lot of hard work and experience, and a pinch of good luck, are probably right. Of course, you can, or, I should rather say, you have to make your own luck. The right attitude, focus, gear which you know in and out, and the ability to predict what’s going to happen next. We wrote a bit more about being a wedding photographer in the article called Wedding and Street Photography which you will find here.

How can you get it always right at a wedding? Do you need to be a WhiteSmoke born with a silver spoon in your mouth or is it enough to #KeepMovingKeepShooting? Or maybe we are just lucky to be invited to fantastic parties? This helps, of course, but one thing is certain - we would not get great results if we did not practise photographing on a daily basis. You have to be totally committed to your passion. You need to photograph with your heart, while your rational thinking can kick in while you’re editing. Plus a few tricks, which we are going to cover during our next workshop.

Wedding reportage and numbers

Justyna and Marcin’s wedding was certainly one of those weddings which one cannot just get bored at. The day was full of sun, music and amazing light. A fun fact is that this wedding was full of different records. For example, we had the highest number of images with central framing out of all our 2017 weddings. The highest number of images shot with a 50mm lens. And the highest number of sensors we used - ranging from APS-C to medium format. And one of the reportages we delivered the fastest in 2017 - two weeks after the wedding. Scroll down and enjoy!


Leica M9 London Street Photography



We have our annual roundups in winter. We refresh our wedding photography site, we have our equipment serviced, we catch up with friends and look for new challenges. We usually have a bit more time for that but we are also less immune to a variety of temptations. As it’s no secret that I suffer from G.A.S, so I am even more susceptible to temptations than Dorota is. To cut it short, I simply need to test every single camera, lens or flash. It can be quite tiring, I admit. But there’s a bright side to it, too. We stay up-to-date and adapt new solutions all the time. Even though we have been working mostly with Leica for the last few years, we do not limit ourselves to it.

Sony A7r2 + Summarit 35mm


Last year brought a few interesting options, like the new Nikon D850, Sony A7rIII or Leica CL. This means one thing - huge discounts on previous models, which makes acquiring new gear less painful. Yeeey! So I bought an almost brand new Sony A7r2 at a lower price than the new Fuji X-pro2. What’s so amazing about it? A7r2 is a full frame body with an amazing sensor. If you use it with the Summarit 35mm, the tonal range and the amount of detail is at least as good as in Leica M9, if not better. You don’t get the analogue vibe, but it’s more than enough for commercial work. One thing is sure, it has got a better dynamic range and ISO. The only fault is that instead of a rangefinder it’s got an electronic viewfinder which is much worse than the one in Leica Q or SL. I have no idea how AF works with native lenses as I don’t have one. It works quite ok with Canon L lenses used with the Sigma MC-11 adapter. Good enough for it to be used at a gig or a wedding. And this is how we get to the core of everything.



Sony has very recently announced that they are launching a new ‘basic model,’ Sony A7III. After the first glance at the camera specifications, it is clear that it is probably the most advanced mirrorless camera at an affordable price. Its launch can be compared with the revolution caused by Nikon D750 or Canon 5d.In the wedding industry it’s going to be one of the main candidates if you’re thinking about new gear. Fast and reliable AF, excellent high ISO performance, new sensor stabilisation, 15Ev dynamic range and, most importantly, two SD card slots. What’s more, it’s dust and moisture resistant. So, if it is at least 90 per cent as durable as A7r2 (and it most probably is), then it’s gonna be a very interesting piece of gear.
There’s one thing though. Does a photographer really need all those features to do commissions? Do we need ISO12800 to be sure we can deliver a great story? Is the ultra fast AF a guarantee that we are going to have great frames?
I have to disappoint you. It is absolutely not.



Can technology make our lives easier? Of course, it can. That was the reason we decided to buy Leica M10. Higher ISO, slightly improved ergonomics, and LV which can come in handy with exotic lenses such as the old Planar 50mm attached with an adapter. Sony A7II did not pass the test. I felt like I was taking pictures with a computer. The electronic viewfinder, which was supposed to be an asset, was not precise with manual focus on. We sold it without any regrets.
Getting back to the nitty gritty. For the last 7 years I have taken most of my successful and award-winning wedding photos, personal projects or simply snaps with Leica M9 using Elmarit 28mm f2.8, Summarit 35mm f2.5 and Planar zm 50mm f2. See that these lenses are quite dark considering the standards. The only light lens I have had and sold twice was Nokton 35mm/1.2. Although it had nice imaging, its cumbersome size did not quite fit Leica M.
Leica M9. A camera where the most decent upper ISO value is 640. Yes, that’s right. There’s no zero missing here. ISO 640. Ok, ISO 1250 is still ok, if you insist. Why not ISO 800 or ISO 1600? In the native M9, the one which is not digitally pumped up, there is a base ISO of 160. So if we multiply it by 2, we get ISO 320, 640 and so on. Quite similar to negatives.



Getting back to M9. There is no AF, but a rangefinder instead, which means that there’s only manual focus. The buffer fills up after 3 to 5 pictures depending on whether the camera writes images in DNG or DNG+JPG. Leica M9 likes to freeze for no reason sometimes and the LCD screen can only be used for the exposure view.

However, Leica M9 has something other cameras don’t. A soul. This is the first and the only digital Leica M so far which feels exactly like Leica M4 or M6. I cannot even get this feeling with Leica M10. You can either love or hate M9, but one thing is for sure - there is no other body that can take such ‘analogue’ pictures. The tonal depth, detail and structure. They are unrivaled. Some people say Kodachrome is hidden in the camera. Magic happens under the right conditions. The CCD sensor absorbs the light in a totally different way. It turns out that we rarely need very high ISO values when working with the camera.
Today’s obsession with ISO is actually quite an interesting phenomenon. Kodachrome 64 used to be iconic. Yes, ISO 64. Another zero dropped. Alex Webb’s and David Alan Harvey’s most famous images were taken with a Leica, low ISO slides, and an amazing eye. This is the secret to photography - the ability to see, and not the gear. The equipment you shoot with is not supposed to hinder you in any way. It is supposed to be transparent. But this is a subject for a separate post.


So, do we really need to get new gear every year?

Do we have to chase the rabbit? Try and get the smoothest, sharpest images? The new Sony A7III is definitely a step in an fascinating direction. It leaves almost no space for improvement and it definitely is a competent tool. But is it going to make our clients happier with our pictures? Am I going to become a better photographer?

Let me know what you think in comments. Let’s talk;)




As you know, we often publish our photos on social media: Instagram and Facebook. One of the comments we receive most often is the following sentence: ‘It makes sense to get married again just to get those pictures! ;)’ We’re very pleased to hear that our photos have such a positive impact on our clients. What you need to know, though, is that there are many other ways to meet our lenses’ eye. One of them is a portrait or a lifestyle photo shoot.


This family session was Peter's 40th birthday present from Joanna. They are both passionate about photography. And we'd had the chance to meet Joanna, the author of  a blog called My Point of View, at our workshop. It really is motivating when you get commissioned by other photographers.
We arranged to meet Joanna and Peter for a family session at Plakatówka Café in Wilanow, Warsaw, where we managed to catch gorgeous light. The moment the youngest member of the crew started frolicking, we went to Joanna and Peter's place for a series of portraits.

This time we used a mix of Leica M9 and Fuji XT2 and Mamiya Leaf back with a 55mm lens.The lighting we used to shoot the portraits was a portable Hensel with Elinchrome modifier – Rotalux deep octa 100cm.

If you liked the session and you want us to spend a day with you and your family, drop us a line!
You will find our latest photos on our INSTAGRAM and FACEBOOK.

Family Session



This is the most accurate saying when it comes to photographers’ attitude to photos. We are no exception. We absolutely love watching unusual family sessions and tell each other every year that it’s high time we ourselves had a family session done. But there’s always something much more important that comes our way. And yet all the joy, happiness, or simply everyday moments need to be kept alive. So what better way to enjoy those moments again than to photograph them and have them in print?
We know the choice of the right photographer is vital, especially when we have to face our self-image during a session. The photographer perceives simple situations in a particular way. When we are on the other side of the lens, it is rather hard to relax and let go. It is almost impossible not to think about the light, the focal length, or other parameters. It is hard to trust the photographer we have chosen and let him or her simply do their job.
We get therefore even more chuffed when photographers get in touch with us and want to have a photo session. We must admit it is always a challenge. During a photo session we will sometimes hear someone asking: ‘Isn’t it better to do it with a 50mm lens?’ under their breath. But most often we understand each other without words and we all have a whale of a time.


We arranged to meet the Bujaks at Warsaw’s Nowy Teatr on a gorgeous June afternoon. Without any specific plan for the session, without a brief. This is how we like to work the most. When we can react spontaneously and come up with new frames on the spot. Of course, we can decide in advance that we’re going to have a ‘day in the life’ session, where we accompany the family throughout the day and catch fleeting moments in the pure reportage form, not interfering with anything at all. Another option is we can have a classic portrait session with additional lighting. Or there’s a lifestyle session where we agree on the general atmosphere and location while the script unfolds with the help of the creative photographer;). During the session with the Bujaks we picked bits from all the sessions mentioned above and we’re very, very happy with the end results. And the message we got from Ewa and Józek only shows that we are’re not the only ones;)


“Everyone thinks that we must have loads of family photos, since we are photographers. Yes, it is true. We do have photos on different external discs, on our mobiles, but we have never selected or edited them. We have simply neglected them. Other sessions seem to be more important. And there’s always someone missing in our photographs - the photographer. Ok, most of our pictures are of Sonia and Kacper (the dog). We have hardly any pictures of ourselves. We didn’t know the Smokes personally, but we’ve admired their work for years. They’ve got what we think is the vital thing in photography: moments, emotions, the truth … and those colours ❤. And there’s a cinematic feel to them, as someone has recently said. Yet their images are not corny at all. We were unanimous - we had to have our first family session done by the Smokes! We had never met Michal before. We met at Nowy Teatr. The moment we shook hands, we heard the first shutter click and this is how it went until the very end. Michal did not miss one moment, gesture or look. He did not miss either Kacper’s paws or his too short tail. We felt quite ok on the other side of the lens although we thought we were too stiff and still considering our nature. Until Michal sent us the link to the photos. Yes, this is totally us;) In love and happy, with our edentulous Sonia going crazy on her roller skates and Kacper totally freaked out by the city. It’s worth preserving such moments. Make sure you and your family treat yourselves! Michal, thank you very much. We knew it would be good, we just didn’t know it would be THAT good. See you at our next session. We just have to do it again! The Bujak Studio.”

If you liked the session and you want us to spend a day with you and your family, drop us a line!
You will find our latest photos on our INSTAGRAM and FACEBOOK.
Technical info: During the session we used LeicaM10 with Zeiss ZM Biogon 35mm 2.8 lens and Phase One with Mamiya Leaf adapter and 80mm 2.8 lens.