What I do is a combination of technical expertise, interesting, clean lighting and editorial story telling. I’ve done 80 pages of intimate apparel in 2006 alone. It’s more interesting (in keeping with the general editorial direction of the magazine) to tell a story within a fashion spread. This same process can be and should be applied when branding a product in advertising or even developing spreads within a catalog. I created the concepts and produced all the editorials on this site and where necessary even built the sets. Some of the stories are original and some variations on a theme. The key phrase here is creating a story and/or exploring a concept. There may be stories seen on this site that are too sexy for some, or not sexy enough for others. Back when I was based in Milan, Italy the Italian editors called the shoots ‘intimissi’ which is the Italian word for intimate. I leave it up to those hiring me to decide how this word is interpreted; my job is to create a visual theater around that interpretation.

I don’t usually separate story telling from the technical aspects, because to me it’s part of the whole package. However in some cases I realize the representation of the product is equal to or more important than the flavor of the shoot, so here is where the technicalities come in. Below is a list of technical attributes as well as other important factors that can make a shoot successful or otherwise.

39 MEGAPIXELS: - for those of you counting… I shoot film of course (crome) but digital makes a lot of sense where you want total control over the image.

RETOUCHING: On ads I prefer to do the postproduction because it gives me more control. Skin has to be perfect. Cotton seldom lays flat and makes wrinkles, which have to be removed, and synthetic products can interface with the digital files to make moiré patterns on the product. Also having shot so many poorly made samples I have learned to correct crooked or even create non-existent seams. Not to mention making sheer or tight fitting garments “G” rated if need be.

DIGITAL MASKING AND SELECTIVE SHARPENING: Areas of the garment are selected such as stitching and made sharper so the quality of the craftsmanship shows through. Also the masking technique can be used in story telling as seen in the onsite story “Living Large” where the model was photographed in the studio and the background shot in Portugal.

POST FILE PREP: It helps to have a complete ICC color compliant workflow and sophisticated CYMK conversion technology and proofing. I have custom color profiles for several Heidelberg offset printers. With digital photography the photographer has assumed the role of the pre-press technician. Sometimes I’m surprised when my clients’ printer calls me for technical info. But I guess it’s just the way it is now.

LIGHTING: It’s important to use light that brings out the details, different fabrics should be lit using different tools. For example, any fabric with Rayon will photograph differently than say 100 % Cotton.

CASTING: Very important. I shoot a lot so I always have up-to-the-minute info on which models are in town, who is up-and-coming and who to avoid. The model persona is a big part of any story telling.

STUDIO: All the studio shoots on this site were shot in my own studio.

Because we live in the age of information and technology it’s important to keep up with the times and specialize. We have total control to say what we want to say and make imagery that is both provocative and informative. To be an affective shooter means knowing something about what you are shooting and why you are shooting it. I hope the information and visuals on this site help bring us to the next level.

Shoot smart.

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