The project Now You See Me, Now You Don’t explores marriage through the lens of my own and my wife’s experiences as a newly married couple. Compounding the complexity of a new marriage we are also immigrants who have moved away from our homeland in hope of a better future. The project revolves around photographs of my wife, Kanika. By photographing my wife and elements of our marriage, I aim to make a more general statement about marriage and photography, and how photographers have approached this subject over time. This research paper addresses earlier photographic work where a male photographer has photographed his wife, as well as more recent work on marital relationships. My work aims to create a dialogue with the previous work and asks if it is possible for a male photographer to make images that are not voyeuristic or exploitative, and are, instead, more collaborative in nature. This research paper delves into my thought process and contextualizes the success and limitations of my work. I also discuss themes of immigration and transnational identity to give more context to the particularities of our marriage. This project challenged my photojournalistic approach and I explored how a gallery space can be used to add different layers of meaning to the work. Through this project I have realised that although photography is a valuable tool to understand other people in a better way, it can’t be an all-encompassing method to understand your partner. Photography can help one partner become more sensitive towards the other, but the image making has its limitations.