If you've started researching wedding photographers, you've probably run into two terms again and again: editorial and documentary. Photographers use them constantly, but few couples ever get a clear explanation of what they mean. I'll break it down honestly, including where I think the terminology falls short.
— What "Editorial" Really Means
Strictly speaking, "editorial" photography is work made for editorial use, meaning magazines and print publications. Over time it has also come to describe an aesthetic, one that centers on the subject and leans toward portraiture, sometimes in an environment and sometimes a mix of both.
The wedding industry borrowed the word, and I don't think it's the most accurate fit. But it's the term you'll see, so here's what it usually means at a wedding:
More posed, directed, and staged images
Group shots set up in specific locations
Frequent use of flash and deliberate lighting
A strong focus on details and styling, often the "stuff" of the day more than the emotional moments
The best editorial photographers are artists. There are incredible ones working this way, and they do it very well. It's just a different priority than mine.
— What "Documentary" Really Means
"Documentary" isn't a perfect term either, but for the sake of simplicity, it means capturing moments as they happen. Instead of arranging a scene, the photographer observes and photographs what's already unfolding. Done well, the result is a sequence of images that tells the story of the day, with a beginning, middle, and end.
— So what is it that I do best?
My best work is candid, documentary-style photography. I listen, I observe, and I stay out of the way, and that approach tends to produce more intimate and relaxed images.
I believe the only truly posed time at a wedding should be a few minutes of portraits. Even then, I don't want them to feel forced into some scene that looks like a fashion shoot. I'd rather see two people holding each other and hanging out, being themselves. Some couples love the fashion-shoot look, and that's completely valid. It just isn't my approach.
— The Moments You Can't Direct are in my opinion, the ones worth the most to everyone.
The images I treasure most usually involve the people who matter most to the couple. I look for moments between grandparents and the couple, or quiet exchanges between the parents.
At one wedding, I noticed a father and his brother crying and holding each other in a corner of the room. They didn't see me, and I took the photograph without disturbing the moment. I had no idea what was behind it.
Weeks later, the couple told me the two men had been talking about losing their sister, the bride's aunt, just weeks before the wedding. It was a raw, emotional time for the family. Even with the tears, the couple loved the image because it reminded them of the aunt who couldn't be there that day.
I couldn't have staged that, and I wouldn't want to. If I'd been in directing mode, arranging people and checking my lighting, I would have missed it entirely. That's the strength of the documentary approach: it captures what actually happened, including things you may not fully understand until later.
— When a More Directed Approach Makes Sense, and why sometimes a little posing is actually okay.
I don't think the two styles are enemies. For smaller, intimate weddings, walking around shooting candids can run out of steam. There are only so many moments to capture, and I'd rather offer something extra than keep circling the room.
In those cases, I set up a simple portrait booth with a canvas muslin backdrop and some lighting, in the style of Richard Avedon.
I invite couples, families, and guests to step in for a portrait. The look is clean and simple, and it gives people something fun to do. It's a directed approach, but it still feels honest.
— Great, so how do you know who you want.
Here's the advice I give couples. Start by thinking about the schedule of your day and what matters most to you.
If showcasing the dress, the shoes, and your aesthetic choices is your top priority, there are photographers who specialize in exactly that and do it beautifully.
If you want a wedding focused on time well spent with the people closest to you, a relaxed, documentary approach will likely suit you better.
That's where I come in. I get to know people, talk with your guests and family, and blend into the day. That rapport is how I get photos that feel so personal.
— Questions to Ask When Choosing a Photographer.
When you're looking through portfolios and talking with photographers, consider asking yourself and them:
When I look at this portfolio, do I feel the people or notice the styling first?
How much of the day will be posed, and how much will be captured as it happens?
How does this photographer interact with guests and family?
Does the photographer's approach fit the schedule and size of my wedding?
There's no right or wrong answer.
The goal is to find a photographer whose way of seeing matches what you want to remember, but also most importantly, beyond their style of work is this: Do you like them? Can you get along with them? Can you see them at your wedding hanging around your friends and family?
That’s the most important thing to consider when choosing a photographer.
If you’re interested in learning more, you should contact me, and feel free to ask me anything as well!
