Just finished shooting another Epson ad for their “Finish Strong” campaign. This one was inspired by the portrait work of Corinne Alavekios, a wonderful shooter, based near Seattle, who embraces the continuous cloud cover and soft light of the Pacific Northwest as a motif for her beautiful, luminous pictures of young women and brides.
The conundrum, or essential difficulty of shooting these is you have to get used to a change up in your thinking. The hopefully dynamic, wonderful shot you create for an ad campaign runs quite small, while the production, BTS shot, or, as it’s referred to on the set, “the shot of the shot,” dominates the real estate of the ad. I shot both ends of this last year for Epson, and got to work with the incredible Anti-Gravity performers, who are a group I’ve had a relationship with for about 20 years now.
But then, having knocked out that relatively complex shot, which ran small, we had to shoot a production shot of doing the shot, which ran huge. This was handled by our own, intrepid Drew Gurian. We shot the ad pic, and then re-staged and blocked out an arrangement for the production image. It being an ad, all the pieces had to fit, puzzle-like, into the art director’s layout, sized and designed for a spread, and a vertical presentation.
For this one, we had responsibility only for the production picture, and left the “shot” up to the magic of Corinne and her team. She writes about our day in the river here, in her blog.
Of course, as always, there were things to solve about this shot as well. As you can see, it was a “fluid” situation. The eye of the exposure needle I had to thread was to light the foreground just a touch, to pull in the details of the sky, but not make that foreground area look too “flashed.” Not a job for small flash! This was big flash all the way, using an Elinchrom Ranger, triggered with Pocket Wizards. The light source was a 74″ Octa Indirect soft box, hoisted on a high roller stand and stabilized with waterproof sandbags. The bigness, and soft quality of the Octa gave me a prayer of matching the overall soft quality of the cloudy day.
And of course, the usual production details abounded. Corinne chose the location, and handled the talent, the hair, makeup and wardrobe, all configured to match her ongoing style of portrait work. (Corinne chose the young ladies well! They were out there in that river in frilly gowns for hours on end. I swear they were direct descendants of Lewis and Clark. Tough Pacific Northwest girls!) On our end, Lynn in our studio had to figure out how to get a dock built. Harder than it sounds. It had to accommodate three people, obviously not sink, be relatively stable in the current, but at the same time be mobile enough rotate into various directions of light and background. It also had to be suitably worn and weathered to look like it had been around since the days of the sailing ships.
Lynn worked her magic and of course found Perfect Docks, in Lake Stevens, Washington. Frank Sovich did an amazing job creating an artistically terrific 600lb. dock for the young ladies to step onto and for us to push around in the muck of the river. And of course there were myriad other details, such as food, RV, travel, permits and insurance. I’m a big fan of guerilla style, just go do it film making, but when you have a crew of 15 people, and a dock and an RV and an Octa on a highboy in the river, you ain’t exactly low profile. This type of thing has to be done by the book.
It was also fun once again working for Epson and the folks from M&C Saatchi. Stephen Reidmiller was terrific as the art director, maintaining a sense of the ad and the placement of the elements even though he was looking at comps in what occasionally was almost chest deep water. And of course we had the redoubtable Mike Grippi out there with us. He hauled the lights, pushed the dock and, at the end of the day, hoisted Corinne for a celebratory shot. He was Flashbus crew, out of Ridgefield, Ct. but now has re-located to Portland, Oregon. Glad he’s out there, as he just jumped in a car and headed up to help us out.
Then of course there were the waders. We all spent a good four or five hours on a cool, cloudy day in a river that at times felt like it was being directly fed by a glacier. Dano Steinhardt of Epson, as usual, was the maestro of events, keeping all of us moving forward and holding steady to idea of the ad, even as the dock was drifting, and the light was changing, and the rain was threatening and everything from our toes to our, well, uh, the, uh, rest of us had gone numb in the river water. The waders really saved us, and of course, everybody took a pair home at the end of the day. Dano, well, he maybe should have left his on location. See below.