Recent Work: Tolv

Back in the studio with the folks from Tolv and we set out to make some more clean images to round out their website. I’ve been quite busy these past few months that I’m just now getting a chance to release these out in to the wild as we shot these over the summer. These images are a bit of a directors cut as well as some outtakes, but I love showing all the things that come out of shoots, so you can let me know which ones you like and see if you can spot the outliers. As always we shot these with an Elinchrom lighting set up that consisted of lots of scrims, flags and some fill here and there.

Recent Work: Holland Preconstruction

Recently, a friend and fellow French Bulldog owner, Matthew Holland of Holland Preconstruction, reached out to us as he was looking to give the launch of their new website a lifestyle look and feel. He wanted to show his company’s personality - to eliminate the corporate wall between the business and the people who make them. The brief was essentially this - Show process in how we do what we do, a fun headshot, be a bit cheeky, and of course, let’s have a picture of Dobby the Frenchie - after all he is the Head of Staff Well-being. Talk about a dream brief.

We met up with Matthew at his office to chat about his company and what could be a very dry and seemingly cold industry. It didn’t take long to see how his ethos of being approachable and collaborative was the key to his new success. We were thrilled to be working with a company that puts as much value into the collaborative process as we do. After a quick coffee, the shoot went on seamlessly and we captured multiple different headshots, documented some process, laid out the tools of the trade, Dobby made a quite dapper appearance, and we let Matthew’s personality shine. It only goes to show the collaborative process leads to really meaningful work. People, take note.

For the photographers, here’s a bit of photonerdery. All of these were shot with a Sony a7iii. I used the Zeiss Batis 85 f1.8 for the headshots, the Sony 28 f2 for some of the overhead shots, and the Zeiss 55 1.8 for some of the detail shots. They were all lit with a Godox ad200 bounced off a white ceiling or through a scrim and balanced with the light coming in through the huge north facing windows.