From “Who Even Am I?” to British Vogue
December 27, 2025
Here’s the Part You Didn’t See
There’s a version of success the wedding industry loves to show.
The magazine logo.
The price increase announcement.
The “featured in British Vogue” line tucked neatly into a bio.
What you don’t usually see is everything that came before it.
In our latest episode of What Couples Want, we sat down with Kate Hensley Phillips, an Atlanta-based wedding photographer whose work has been featured everywhere from Green Wedding Shoes to British Vogue. And instead of asking her for highlight-reel advice, we asked her for the truth.
What actually happens between “Who even am I?” and being published by one of the most iconic magazines in the world?
The answer is not overnight success.
It’s not luck.
And it’s definitely not passive.
British Vogue Was the Highlight, Not the Starting Line
One of the most important moments in this conversation came when Kate shared something the industry rarely says out loud.
Her British Vogue feature was an invited, paid feature.
Not a scam.
Not a random submission.
Not a shortcut.
An invitation that came after years of showing up, submitting work, building relationships, and positioning her brand clearly enough that editors already knew who she was.
This distinction matters.
Because publishing is still selective. Editors are not opening the doors to just anyone with a credit card. The invitation only comes after you have proven that your work, your eye, and your consistency belong in that room.
British Vogue didn’t create Kate’s credibility.
It reflected it.
Publishing Is a System, Not a Lottery
One of the biggest myths we unpacked in this episode is the idea that getting published is about being chosen.
In reality, it’s about being prepared.
Kate shared that some of her most impactful early features came from understanding what editors actually want:
- A clear storyline
- Cultural relevance
- Timing
- And work that feels different, not just pretty
She talked about submitting weddings inspired by Little Women when the film was culturally relevant, and Barbie-inspired work when the movie dominated pop culture. Not because she was chasing trends, but because she understood how editors think.
Editors aren’t just curating beautiful images.
They’re curating stories people want to read right now.
The Year She Submitted Almost Everything
There’s a part of Kate’s journey that doesn’t make it into Instagram captions.
In 2023, she submitted almost every wedding she shot.
It was time-consuming.
It was repetitive.
And it came with a lot of no’s.
Each submission required resizing images, writing story context, listing vendors, and tailoring the pitch to each publication’s aesthetic. It was work on top of work.
But that was also the year everything changed.
That volume of effort compounded. Publications stacked. Her credibility grew. And those features began doing exactly what they are supposed to do when used correctly.
They positioned her.
Why Publishing Impacts Pricing (Whether You Admit It or Not)
Kate also spoke candidly about pricing. Early in her career, she was booking 24 to 27 weddings a year in the $2,500 to $3,000 range. As her work, positioning, and visibility evolved, so did her pricing.
Today, her starting packages begin at $9,000, with plans to move to $10,000.
This didn’t happen because she woke up one day and raised her rates. It happened because her brand began signaling something different.
Publications.
Vendor relationships.
Clear artistic direction.
Business systems.
High-end clients don’t just pay for photos. They pay for confidence. Publishing is one of the many signals that communicates that confidence without you ever having to say it.
Marketing Beyond Instagram Still Matters
Another standout takeaway from this conversation was how much of Kate’s growth had nothing to do with Instagram.
She talked about:
- Reaching out to venues to get on preferred vendor lists
- Building relationships with planners
- Participating in bridal shows early in her career
- DMing and engaging intentionally when she was starting out
None of it was glamorous.
All of it worked.
And it’s a reminder that relying on one platform to build a business is risky. Visibility is strongest when it’s diversified.
The Uncomfortable Middle Is Real
Kate also named something we see constantly working with wedding professionals.
The 4K to 6K pricing range is hard.
You’re often too expensive for budget clients and not yet positioned for luxury ones. It’s an awkward middle that requires patience, clarity, and consistency.
Many people quit here.
Kate didn’t.
She adjusted her market, her location, her messaging, and her systems. And slowly, the work aligned with the clients she wanted to attract.
The Moment It All Felt Real
Toward the end of the episode, Kate shared one of the most defining moments of her career.
It wasn’t British Vogue.
It was an email showing she had officially made more money in her business than she ever did as a nurse. Being able to show that to her dad and her husband was the moment it clicked.
This wasn’t a side hustle anymore.
This was real.
This was sustainable.
What This Episode Is Really About
This conversation isn’t about British Vogue.
It’s about what happens when you:
- Stop waiting to be discovered
- Treat your work like a business
- Put in effort long before there’s applause
- And stay consistent when the results are quiet
British Vogue was the highlight.
The grind was the story.
About Our Guest
Kate Hensley Phillips is an Atlanta-based wedding photographer known for her film-inspired, documentary approach and timeless imagery.
Find Kate:
Website: https://katehensleyphillips.com
Instagram: https://www.instagram.com/katehensphillips
About the Hosts
North + South Agency helps wedding professionals build long-term visibility through SEO, AI visibility, and strategic brand positioning so they can book aligned clients without relying solely on social media.
Website: https://northandsouthagency.com
AI Visibility Report: https://northandsouthagency.com/ai-visibility-report
