I recently flew to Pennsylvania for an editorial shoot at Elkins Estate, just outside Philadelphia. It was one morning, ten set-ups, and a lot of people working fast and well together. Here’s how the day worked and why I keep saying yes to editorials like this one.
What Is a Shoot Crawl?
This editorial was set up as a “shoot crawl.” Instead of one big styled shoot with everyone crowded around a single scene, the event had 10 different set-ups spread across the property. Each one ran for 30 minutes. Photographers were split into small groups of four to five, and we rotated from set-up to set-up through the morning.
Small groups made a real difference. With only four photographers at each set-up, everyone had room to move, find their own angles, and actually work instead of shooting over someone’s shoulder. Thirty minutes is short, so it also pushed us to be decisive about composition and light.
The Venue: Elkins Estate
Elkins Estate is a 42-acre property in Elkins Park, about 20 minutes from Center City Philadelphia. The main house, Elstowe Manor, was built around 1900 as a private residence, and it has some show stopping detail: marble staircases, terraces, ornate interiors, and large gardens and lawns outside. Between the architecture and the grounds, we had a lot of variety to work with in one place.
I flew in the day before so I wasn’t dealing with travel on the morning of the shoot. It’s the same approach I take for destination weddings. Arriving early takes the pressure off and lets me start the day rested and ready to work.
Why Editorial Shoots Are Worth It
Networking. Everyone at an editorial is working toward the same goal. Planners, florists, designers, hair and makeup artists, rental companies, and other photographers all end up in one place for a morning. Those conversations turn into referrals, collaborations, and friendships with people I’d want on a wedding team.
Portfolio growth. An editorial lets me build work I don’t always get at a wedding: styled tablescapes, designed ceremony set-ups, and portraits with plenty of time and good light. It also lets me show couples a specific look or style before they book.
Testing new gear. I used this shoot to try a new camera, in a setting where nothing was at stake. At a wedding, you get one chance. At an editorial, I can test how a camera handles different light, how fast it focuses, and how the files edit, with no pressure. I’d rather learn that now than on someone’s wedding day.
Practice working fast. Thirty minutes per set-up is a good exercise in finding the strongest frames quickly. That skill carries over to wedding days, where good moments don’t wait.
Creative freedom. No timeline, no family formals, no schedule to protect. It’s a good reset and a way to try new ideas.
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