The project was an exercise in creating compelling frames under a number of common production constraints. Myself and a field producer were the only crew on set, with Liam, the agency, and the client joining in from the UK via remote feed. There was a little more than a half day to light and shoot, and we were looking to capture the entire glove-making process (glue takes a minute to dry) along with branded inserts and hero shots of the finished glove.

We opted for a moodier look, while still keeping the image bright enough to view on web and mobile. This played into the drama of the event while also simplifying the lighting setups. I used one or two lights throughout, often mixing sources to create color contrast, and I modified the shop’s practicals quite a bit.

The majority of the day was shot on a macro lens and a dolly. The combination of the two allowed me to capture a healthy amount of energetic material without overcomplicating things.

Liam did an excellent job of directing from afar, which is never an easy thing, especially when we’re so focused on the details. We found the time to try out a lot of fun and unexpected frames, too. Process photography isn’t something that I find myself shooting often, and I’m always surprised by how curious the world looks when you take a closer look.