The Linen campaign was shot against one wall of an old farmhouse. Two days, four looks, one surface.
Why one wall
When everything else is the same, the clothes and the light have to do the work. It forces better choices from everyone on set, including me.
Moving with the sun
We scheduled looks by time of day. Morning for the close portraits, when the light was lowest and warmest. Midday for full length, when the shadows were short and clean.
What we’d change
More time for the details. The best frame of the campaign is a sleeve and a bag, and we found it by accident.
More from the journal
,
light, process
Working with the light a room already has
Why I stopped bringing strobes to most shoots, and what a window can do that a softbox can’t.
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beauty, light
Shooting skin without retouching
What changes when you promise a client that nothing will be smoothed out afterwards.
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commissions, process
What happens after you send an enquiry
The steps from first email to final files, so you know what to expect before we talk.