Rarely do we encounter clients who grasp the significance of our work and grant us the creative freedom to deliver a final product that meets both the client's expectations and the standards we hold dear as creatives. Our approach to any project comes with a creative perspective, not just a business one, but if communication is prioritized, both worlds can coexist to create something beautiful. I must admit that entrusting any media company with creative direction can pose a significant risk and worry for the clients footing the bill for their projects. We've discovered that in such scenarios, fostering a trusting relationship with the client is paramount.

In our case, when we first met Nolan, we started with small lifestyle content for social media, mainly Instagram. Nolan was very verbal about his long-term goals and what we wished to accomplish with us. Again, this is why we prioritized strong planning and communication in the preproduction stages of any project and production, as well as in the social bonds we form with them. We all have dreams, so it’s not about us but how we can serve and help others reach their dreams. I know it sounds corny, but as creatives, we have the power to visualize and manifest the type of art that can change and influence someone’s life.

As we continued to expose our work ethic and the quality that we hold as a standard, the opportunity for bigger projects would be possible. In this case, it is not our first, but I’d say one of the best projects we’ve done together.

The truth about my photography journey is that, in some ways, it is similar to others; with all of the new and increasing competition, it can be tempting to get a little desperate to stand out. It can lead you to take unusual amounts of risk, and that can be good as long as it doesn’t lead to insecurity and codependency. In my case, I wanted to do something different for Nolan, especially when we shoot in a studio. I learned a lot from studying and following the works of Art Streiber, Justin James Muir, Justin Bettman, and Josh Telles, to name a few, and a lot of other great celebrity and portrait photographers in the industry.

For this shoot, I wanted to plan things a little differently; up to this point, I was using a lot of paper backdrops when it came to my studio work. However, even though I got the work done, I got quite bored and lost my motivation. So, I decided I was going to spend more time building sets and investing in hand-painted canvases/backdrops. Gravity backdrops have been a very familiar brand that I kept seeing in most of the work that was displayed on Vanity Fair, so I thought to myself, why not give it a go? The budget allowed it, and up to this day, it was an investment worth making.

For this magazine studio session, we took a unique approach by using gravity backdrops and custom hand-painted canvases, which were integral in creating the distinctive mood and depth of the shoot. Gravity backdrops are renowned for their versatility, offering a seamless way to transform the environment of the shoot with minimal effort. These backdrops added dynamic textures and shadows that allowed the subject to stand out, creating a sense of depth and artistic flair that aligned perfectly with our vision for the session.

The custom hand-painted canvases took things to the next level. Carefully crafted to complement the aesthetic of the shoot, these canvases added a personal, one-of-a-kind touch. The vibrant colors and intricate designs set the tone for each shot, enhancing the visual storytelling. Whether it was the bold, abstract patterns or the softer, more muted tones, the hand-painted canvases gave each image a layer of complexity and personality that standard studio backgrounds simply couldn't match.

The combination of these elements allowed us to build an atmosphere that was both intimate and grand, offering a contrast that brought out the best in Nolan Carroll's natural charisma. From the selection of backdrops to the meticulous design of the canvases, every detail was carefully considered to ensure the final images not only captured Nolan's essence but also told a story in each frame.

Aside from going a different route with the backdrops, I wanted more of a powerhouse when it came to camera equipment. Usually, my Z7 can get the job done, but for quite some time, I’ve been hoping to land a project big enough to rent out a GFX100. The Fujifilm GFX 100 is an excellent choice for studio photography. Its medium-format sensor, high resolution (102 megapixels), and exceptional image quality make it well-suited for capturing intricate details and producing large prints.

Here are some features that make the GFX 100 great for studio work:

1. High Resolution: With its 102-megapixel sensor, the GFX 100 can capture an incredible amount of detail, perfect for studio work where image quality is paramount.

2. Medium Format Sensor: The larger sensor size compared to full-frame cameras allows for better dynamic range, improved low-light performance, and smoother tonal gradations, which can be especially useful in studio environments with controlled lighting.

3. Excellent Color Reproduction: Fujifilm cameras are renowned for their excellent color science, producing pleasing and accurate colors straight out of the camera. This is crucial for studio photography, where color accuracy is often critical.

4. In-Body Image Stabilization (IBIS): The GFX 100 features in-body image stabilization, which helps reduce camera shake

Nolan has been one of those clients who has always been engaged throughout the creative process, but not in the way you might think. We’ve never been micromanaged, which is a rare thing these days. Even in the first shot you see above, it is not every day when you know the client helping to set up, but that’s who he is. This was sort of our Keanu Reeves moment. He’s always helping out during set up and the breakdown, and even during the shoot, he’s always providing feedback, so it makes my job a lot easier, especially when I go edit because he picks out the ones he likes as we shoot and while we make small lighting adjustments we get our close to perfect shots. Given that this won’t always be the case for most of you, I recommend building a relationship where you can get these kinds of interactions from your clients. Something I really like to do is have an extra person with me, sort of a second pair of eyes, helping me pose my subject and hyping them up, whether it’s someone they know, a stylist, or even an assistant with studio experience.

When it comes to lighting models or subjects with darker skin, I’ve noticed that shooting high key gives a more favorable look. Some tips I recommend for photographing people with darker skin tones:

• Lighting

  Avoid shooting against the light, and use diffuse, reflected, or color-contrasting light. You can also try using a hair light, kicker light, or eye light. For group photos, place the person with darker skin closest to the light.

• White balance

  Use a daylight white balance, as a warm white balance can alter skin tones.

• Reflector

  Use a silver or soft silver reflector to fill in shadowy areas of the face.

For lighting gear, I used four Profoto D1 series lights. As my key light, I used a Profoto D1 1000 Monolight with a 26-inch parabolic umbrella and a diffusor almost at a frontal, slightly overhead angle. Then, I used two Profoto D1 500W/s Monolights with small, shallow white umbrellas to slightly lighten up the backdrop. I did have to increase the power for certain concepts when I realized the light was being absorbed when shooting on the darker canvases. My fourth light, a Profoto D1 1000, was set behind the backdrop with a zoom reflector to serve as a hair light.

In some cases, the hair light wasn’t doing much, so occasionally, I would set it up with a 4x5 soft box on his fill side if I was looking for a less dramatic shot with fewer shadows. I know V-Flats come in handy for that, but I didn’t have any available for the shoot, and sometimes it isn’t enough.