Some of my very first weddings on Salt Spring Island were photographed alongside Stasia Garraway. Before Folklore Weddings had a name or a website, there was Stasia and I, cameras in hand, moving through ceremonies and receptions together, learning each other’s rhythms and quietly witnessing how the other saw light, people, and place. Those early days shaped so much of how I understand collaboration and trust on a wedding day.
So when we started Folklore Wedding Company, Stasia was one of the first people I reached out to about joining our team. It felt like the most natural thing in the world to invite her into this evolving collective. Having Stasia Garraway offering her weddings through Folklore has been such a gift for our couples, for our creative community, and for me personally.
In this conversation, I sit down with Stasia to talk about how her background in dance, poetry, and fine art shows up in her work today, how she supports couples who feel nervous in front of the camera, and what she loves about weddings on Salt Spring Island and across the West Coast. Throughout, you’ll hear her speak about photography as both craft and relationship, rooted in trust, breath, and a quiet reverence for the moments that become family history.
In you havenot already, make sure to check out Stasia’s Folklore Wedding Profile, as well as her website.
“I am attuned to those big moments, but also the quiet ebbs.”
Q: Your bio mentions that your world once revolved around dance and poetry, and that you later studied composition, palette, light, and the history of image-making at Emily Carr University. How do those early passions and formal studies affect the way you make photographs today?
Stasia Garraway:
Thanks for such a fun question to contemplate, Syd. I think my initial dedication to dance gave me a real sense of discipline and commitment, so when I take something on, I want to develop it with the same focus I brought to dance. I learned early on that hard work can really add up to something, and that the result of grace, within the arts, often comes from hours and hours of attending to technique.
Dance also taught me how to notice potent moments, the precise second that carries an exalted quality. How would I explain this… Let’s say a dancer is at the height of a leap with toes pointed and for a split second people might think, “Wow, perfection.” There are those kind of moments, but there are also all the moves leading to those expressive moments that also have a more subtle kind of specialness. I am attuned to those big moments, but I am also seeking something in the quiet ebbs that bring us to those kind of moments.
At Emily Carr, I studied drawing and painting. I spent a lot of time doing studies of the human figure, and I find that many of the qualities you look for in a life-drawing pose also apply to photography. That history of drawing tunes me into things like what someone’s posture conveys and how to direct people into natural, harmonious shapes that coordinate with their environment.
In life drawing, you learn to notice composition and light in a slow, methodical, attentive way, and that trains the eye to measure those things quickly when making a photo. I always know where the light is coming from; I always know where it’s going. I am aware of the shapes behind and around people because those elements contribute to the mathematics of the image. Even if people haven’t been trained to look at visual images, I think most of us instinctively notice when something distracts, or when there is an element that feels magically unexpected.
Studying and writing poetry influences me as well, especially through haiku, which is about direct perception, simplicity, and a juxtaposition of two parts that create a new way of seeing. In photography, the person is one part and the landscape is the other. Together they create a special, unrepeatable moment, and I am always looking to share that relationship in a beautiful and interesting way.
All of my art disciplines have added different contemplations and skills to the way I make photographs, but ultimately they are just the quiet influences that I arrive with. The essence for me, in each session, is to be as present as possible with the person, the landscape, or the atmosphere that I am trying to represent in a natural, but also artful way.
“I always hope to shift how it feels to be photographed.”
Q: You’ve said you feel honoured when people decide to befriend your camera. What does that relationship feel like for you on a wedding day?
Stasia Garraway:
Honestly, it is a beautiful feeling to have people happy to stand in front of the camera, and to smile at me through it. Even if they are not smiling, and they are just sharing a quiet gaze, it gives me the same kind of appreciation. There is a sense of trust and empathy in such moments, and I have learned to treat that as something really valuable.
I try to come to all of my photo sessions with a clear mind, but also with joy, and I think people respond well to that. They get a sense that I love what I am doing, and that I am going to do my best to make photos that we will all be proud of, and that they will treasure.
On a wedding day I actually find it quite easy to make connections through my camera because everyone is already in the flow of celebration, and there is a special energy that happens when friends and families get together. Everyone has put time and care into how they show up, and hearts are full as they gather to acknowledge and build a community around love.
The couple getting married knows that these photos will be a document of one of the most significant days of their relationship, and guests know that the photos will help remind the couple of the love and support that surrounds them. This creates an encouraging atmosphere, so many people, even those that don’t usually like to be photographed, seem to be able to override any discomfort they might have had about being photographed. Beautiful smiles, deep emotions and genuine expressions are usually quite natural and abundant on a wedding day.
That said, it is good for couples to know that I do have 17 years of building a toolkit of cues and considerations for people who are open to a little coaching. I am grateful when someone who feels some resistance allows me to guide them into a more relaxed moment. A comment I often get afterwards is that they had no idea being photographed could be fun, or that they learned things that will help them next time they are in front of a camera. That is incredibly rewarding to me. I always hope to deliver photos that people are happy with, and that shift their sense of what it feels like to be photographed.
“Breath is essential for images that feel alive.”
Q: Many couples arrive with stories about how they think they always look awkward in photos. What do you suggest they consider or practice before their wedding day?
Stasia Garraway:
When helping a couple prepare for their wedding photos, there are endless approaches depending on who they are and how much time they want to invest in preparation.
Some people like to create image boards, which can be helpful for all of us. I can get a sense of the kind of settings they are drawn to, and the colours that they prefer, but even more importantly I can understand the mood that they are hoping for.
While we work, I can show them some of the postures and positions from their references so we do not recreate the images, but capture the feeling that drew them to the images that they liked. This is a great process for those who like to start visualizing options in advance, and warming up to the idea of creating similar things with me.
For people who enjoy social media, there are many posing guides online. It never hurts to watch a few to get basic ideas. If someone sees something they want to try I am always happy to collaborate and to experiment with ideas. If people do not have time, or are not really into these kind of preparations, I am super happy and adept to create beauty with exactly what the moment provides.
Before starting to photograph people I usually introduce a couple of concepts. The first thing I usually talk about is breathing. Breath is essential for images that feel alive. When people start holding their breath the image can look static. Throughout the day I will usually check in, “Are you breathing?” and about 90 percent of the time people say no, and then we laugh, and they start breathing again.
The second thing I mention is that I may not say much at the beginning of a session. I am observing, ensuring my settings are exact, and once I see the potential shot, I give subtle cues. When people realize that they are in the hands of someone who cares deeply about how they look, but also how they are feeling in the photo, someone seeking beautiful light, flattering poses, and a feeling of co-creativity, they tend to put their fears down naturally. I see it in the progression of the photos.
I had a bride this past summer who had warned me that she was very uncomfortable with cameras, and it took about ten minutes for her nervousness to completely disappear. After we talked about it, and worked through it, the rest of the day was completely sublime. It makes me really happy that she now has a whole series of images where she looks relaxed, confident and stunning.
“I create a little pie chart of the day in my mind.”
Q: On a wedding day, how do you balance the structure of portraits and details with the unfolding candid story moments?
Stasia Garraway:
When it comes to structuring the wedding day I definitely want to get a feel for the couple in advance, so I know what is most important to them. Some want to make sure they have photos of all the guests who traveled to be there; some want still-life images of rings, paper, fabrics, and flowers that reflect their history or their aesthetics; some prefer mostly candid images of all the nuanced poetic moments; others have longer lists of more traditional family portraits, and some let me know that the dance floor photos are very important to them.
Some want to spend a good amount of time on the first-look photos or on a creative set of sunset photos. I listen to their priorities and then create a pie chart for the day, so I know how to best utilize my time. Leading up to the wedding, I share what I think is possible within their timeline, and sometimes suggest subtle adjustments to ensure a smooth experience. The narrative of the day is very important to me, so I try to honor their hopes and visions while positioning myself to also capture beauties they may not have envisioned.
Creating a poetic series of images of the couple is high on my personal list, something iconic or romantic that edges into the realm of art. I hope these images will be printed and displayed somewhere special. Sometimes, if the venue allows, we can create these images in 25 to 30 minutes; other times, couples are happy to take longer and travel to a coastline or vista for about an hour.
“We can time it around the best light of the day.”
Q: More couples are booking time outside the wedding day for portraits that focus just on the two of them. What do you enjoy about those sessions?
Stasia Garraway:
Actually, it is becoming more common for couples to book those more artful or editorial images on a separate day, and there are definitely some benefits to that. It means we can take our time, we can potentially travel to a location that would be too far to visit on the wedding day, and we can time it around the best light of the day.
I loved that you and I had a chance to do that for a couple this past summer. They had guests traveling from Central and South America all the way to Victoria, and they knew how precious it was to make the most of each moment with their guests, so we met on Mount Tolmie the night before, for some truly inspiring photos. The summer wind was blowing, the golden grass was swaying, and the sun was setting behind the mountains. The two grooms had capes and they were dancing with this incredible landscape and view. I adore those photos.
I equally love photographing in places meaningful to the couple, or sharing landscapes I treasure that might become meaningful to them in the future. In this case, Mount Tolmie was already a place they often visited, and now they have this precious set of images of them there. Yay.
“I live a life aligned with growth, meaning and spark.”
Q: Many artists in the Folklore community, including you, have multiple creative outlets beyond weddings. How do your other practices feed your work as a wedding photographer?
Stasia Garraway:
Being someone who has many creative outlets and disciplines means I live a life aligned with growth, meaning and spark. I am singing in a band now, and I am sure that will start to influence things in a new way too. I think the main thing is that I cultivate inspiration, and that flows over into my work as a photographer, for portraits, and for weddings.
It is pretty special to bring that energy to a collective like Folklore Weddings, where I am in the company of creatives who excel not only in photography but in many mediums. I deeply respect our team. One benefit of working with us is that we treat each wedding as something very special, maybe because many of us are not shooting weddings every single weekend.
While we all have extensive wedding experience, we are also constantly refining our craft through creative and intimate portraiture, narrative branding, and editorial work. We are all fluent in visual storytelling, as well as being professionals in communication and delivery, but we also maintain active art practices that bring fresh techniques and ideas. It might feel like a bold choice to hire photographers who do not only shoot weddings, but I believe there is gold in that. We arrive with our creativity lit.
I personally take about 8 to 10 larger weddings a year, which lets me get to know my couples well, and I have gained many friends through this work. People often tell me they chose me not only for my wedding images but for my wider body of work, and because they sense that they will enjoy having me at their wedding. That matters.
The photographer spends the most time with the couple on the wedding day. It is essential that they trust the photographer, not only their work, but their ability to bring stability, peace, and joy into all their interactions. I strive to be not only a good photographer but a kind and stable presence the couple can lean on.
“Weddings became part of how I honour love and legacy.”
Q: Could you share a little about how you got into photography, then weddings, and eventually into Folklore?
Stasia Garraway:
When I was at Emily Carr, a friend of mine who runs a prestigious gallery asked if I had ever considered taking photography seriously, saying I had a knack for lighting, timing, and composition. I had been thinking about it, and his words encouraged me to buy a good camera and to begin learning everything I could, technically, historically, and philosophically, about image-making.
Within a few months people were hiring me for author photos and album covers. My practice has been steadily growing for the last 17 years. After returning full-time to Salt Spring, Billie Woods, a superb photographer, asked if I wanted to help with weddings. She was expecting her daughter, and she needed an extra hand that summer. She was also incredibly busy and was hoping to have someone she could refer people to when she was already booked.
I had already photographed a few weddings for friends, but I assisted her with six or seven that summer, and I realized I had a soft spot for weddings. The ceremony, the gathering of generations, the acknowledgement of commitment, the gestures of love between partners and within community, the sensory details, and the dancing. Weddings remain one of the few occasions that bring people together in such a meaningful way. I have been a romantic since childhood, so celebrating love feels warm, life affirming and important. I also love that the photographs become part of family archives and legacy.
It has been wonderful to develop my work on an island where creativity is esteemed and cultivated. Being part of the Folklore community reflects those values and matters deeply to me, particularly because it was founded by you, Syd. I already admired you as an artist. You constantly push your knowledge in both analogue and digital mediums and you are truly a multidimensional talent and tastemaker.
When you and your beloved, Taryn, started Folklore, I was honored to be included because I trusted your vision. You both have inspiring aesthetics and deeply lived experience. Seeing who you have invited into Folklore has affirmed my early sense of what you were creating. I admire the artists you have gathered, and a major benefit is that even though I have never missed a wedding, it brings me peace to know that if something ever happened, there are people I trust who would bring the same level of care I would. That is precious.
Being part of a collective where we celebrate and uplift each other’s work is nourishing. Whether people hire us individually or as a team, they are getting people who love working together, who support one another, and who help each other excel. Whether it is two photographers or a photographer and videographer, the client receives a true collaborative team.
“The community is what keeps me dedicated to life here.”
Q: I would love to hear you wax poetic about Salt Spring Island as a place to live and to host a wedding. And maybe speak a bit about the community of wedding vendors here and along the coast.
Stasia Garraway:
If I were to wax poetic about life and weddings on Salt Spring Island, I would say that the community is what keeps me dedicated to building a beautiful life here. The hands on, artisan, sustainable approach that infuses our crafts, markets, arts, and farmstands translates directly into the wedding vendors and venues. There is meticulous care in the food, flowers, and fields that make up the Salt Spring wedding experience.
We have some truly exemplary creatives on island, and there are links on our website to find quite a few of these dedicated vendors who aim to infuse weddings with their particular magic. If you need one of the best cakes in the world, you have also chosen the right island.
What I hear most from couples is how special it feels to share Salt Spring with family and friends. Guests often stay for the weekend, exploring the Saturday Market, visiting vineyards and cideries, and stopping into artist studios. There are viewpoints, forest walks, and many quiet coastlines. It feels like a place that is easy to step away from distractions. You want to look at the sheep, the arbutus, the pines, and indulge your senses in being present. The pace is slower, leaving people relaxed and grounded.
I feel this across all the Gulf Islands. I know Galiano, Saturna, Mayne, and Pender quite well, and have photographed weddings on many of the nearby islands. I also love traveling to Tofino, Bamfield, Quadra, Cortes, Hornby, and other stunning places on the West Coast. I have a van and often visit these places for work and play, discovering special spots in each.
Even though I adore Salt Spring weddings for the sense of community and familiarity, I am equally thrilled to travel for weddings. I am really glad that even though Folklore is Salt Spring based, we are making connections with venues and vendors all along the west coast, and prioritizing places that have similar principles of care to the ones that we have here. We are supporting our own community and also extending the sense of community and that feels really great.
“I merge the finesse of editorial with the authenticity of documentary.”
Q: When you talk to couples about photography styles, how do you explain the difference between documentary and editorial approaches?
Stasia Garraway:
When people discuss wedding photography, yes, they often mention documentary versus editorial approaches. I consider documentary photography the art of not getting in the way. In documentary mode, I try to be a gentle, almost invisible observer, capturing moments like a child blowing bubbles, a grandfather holding his wife’s hand, or sisters quietly talking. These small moments unfold around me, and I move discreetly to avoid disrupting them.
In scientific studies they say the observer can change the experiment. In candid photography, I aim not to do that. I try to be a non invasive witness with an eye tuned to subtle poetry.
Editorial work usually involves more direction. Editorial images are often planned in advance, but during a wedding day my approach is more intuitive. I stay attentive to the light and the environment around me. Maybe there is a window where the light is falling perfectly, and a few items need to be moved for composition. Then, perhaps the bride sits and turns in a certain direction, and suddenly you have an image with the satisfaction of a Vermeer painting.
When I shift into editorial mode, I am thinking about paintings and cinema. I am looking for mood and finesse, and I give more guidance on how to inhabit that mood naturally. To decide how much to lean into direction, it helps to know the couple’s tastes, their favorite films, art, magazines, designers, or even their hobbies. Maybe they love Wes Anderson, Jim Jarmusch, Hockney, graffiti, land art, skiing, or cycling. Maybe they are drawn to a certain era. These influences can shape the images I make and also the choices I make while editing, affecting the color palette, whether I keep things clean and minimal, or more nostalgic, adding grain and warmth to the images.
Ultimately, documentary and editorial approaches weave together throughout the day, overlapping constantly. Documentary photos can still have a subtle editorial quality through attention to light and composition, and editorial images can carry the naturalness of documentary work. One of my goals in a good image is to merge the finesse of editorial with the authenticity of documentary.
Closing Thoughts: The Quiet Strength of Stasia Garraway
Spending time in conversation with Stasia Garraway makes it clear how much quiet thoughtfulness sits behind each image she creates. Her work is shaped by years of dance, drawing, poetry, and music, but on a wedding day, all of that distills into something simple: presence, care, and an attunement to the fleeting moments that become a couple’s shared mythology.
For couples drawn to poetic, grounded, and artful storytelling, where documentary honesty meets editorial finesse, Stasia Garraway offers not just photographs, but a calming, creative presence to lean into.
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