Fashion Shoot EPK

Working any shoot - video/film or photography - can be about as unglamorous as any job you can imagine. The end result of what is captured in the frame is usually only a very small part of the reality created for the shoot; it's the point of the needle that everything is focused towards. Sets are often dirty and hot, lights cooking everything beneath them, people running back and forth to make sure everything is ready for the shot (photography) or take (video/film). You have two types of environments you'll work in - and both can present a wide variety of differences from shoot to shoot. Studio Sets are specifically designed to house productions. They look like large warehouses or industrial buildings (in many cases they are and have been converted). Think of them as "blank canvases" that a set designer/builder can use to create an artificial reality for the shoot. Location Sets are real-world places that are utilized for a shoot. These types of locations provide instant credibility to your production, but often pose a myriad of obstacles that have to be overcome for the shoot to be successful. I enjoy both environments for different reasons. I do a fair amount of controlled environment studio shoots. I go into each shoot with a master plan of what needs to be accomplished. My cinematography training was vital in establishing good shooting habits. Film/Video shoots are always planned down to the finest detail. Approaching photography shoots with the same preparedness helps save time and frustration even if the shoot is relatively small. Then there are times when you go into a shoot (I'm talking about photography - not video or film) where you want to let the creatively flow once you arrive at the location and see the variables in play. The photos for the shoot with Misty - in the photos attached to this card - were a mixture of playing off the shooting location and having an open discussion with the model about the ultimate purpose for the shoot. From there each new pose/shot was born from discussing what had already been shot and what could be done to keep the shoot moving in the desired direction. Collaboration is a great thing. In this case there were 5 people on this shoot, myself and my assistant - Misty (the model), and a hair/makeup artist and wardrobe specialist. Everyone gave some input at one point or another and I feel that it was all valuable in successfully executing the model's wishes (this shoot was for her portfolio).

I'm a director of photography (cinema), commercial illustrator, & Nikon Professional Photographer. I'm the Founder of - Cyclists Against Coronary Artery Disease.
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