As you can see from our last post on traveling and packing the majority of our traveling burden can be blamed on our lighting equipment. What we choose to bring on any given trip depends on the goals outlined by the story and the shot list (on an editorial shoot) or the creative brief (on a commercial shoot).
The creative brief for this trip included outside sculpted portraits at night with gells and light painting, lit daytime action, product focused environmental lifestyle, and a variety of studio set ups. We’ll break these post down into 4 categories: On hill action, improvised studio, lifestyle, and creative (light painting etc.).
Unfortunately we can’t show any of the final imagery until Spyder’s 2012 product is launched.
Warning: This post may be a bit drier if you’re not interested in photography with some nerdy details and how-to’s for surviving a medium size international catalogue shoot. We also posted a short travelogue of the trip here if that’s of more interest.
There is a ton that goes into successfully executing a location shoot of this scale. We’ve been lucky enough to both shoot and produce photoshoots all over the world and over the next few weeks we will do a series of posts based on the New Zealand shoot highlighting what we’ve learned throughout the years.
Part 1: Packing and Travel
Part 2: Lighting
Part 3: Digital Remote Workflow
Part 4: Planning and Logistics