Interweave Crochet Blog
Tuesday, March 11, 2008
Behind the Scenes of the Spring 2008 Photo Shoot
Did you see that the preview of our Spring 2008 issue has gone live? The issue will hit newsstands on April 1st.
Now that the cat's out of the bag about the issue, I thought I'd blog about our photo shoot and how one of the most important aspects of the magazine comes together. I believe I've mentioned before that the photo shoot is one of my favourite times during the months-long production of an issue. It's when the projects come alive, and when the whole visual tone of the issue is set.
We held the shoot in Vancouver, BC, during the third week of December. Although Vancouver's climate is mild and we rarely get snow, it does stay fairly grey, dark, and wet for most of the winter. It was an exciting challenge to shoot for spring during the darkest week of the year.
On the first day of the shoot I forgot to take out my camera even once. So I'll skip to day two. We started indoors. While the model had her hair and makeup done, assistant editor Toni sat in for her so the photographer could set up her lighting. [Click for larger photos.]
You'll notice that in the preview photos, the model isn't wearing the shirt she's wearing below. We were all in love with this shiny taupe top, but it didn't allow the Tunisian Lace Ascot to shine, so we switched to a matte white cardigan that did its job beautifully. The photo stylist came with several possible outfits for each piece in the shoot to allow for that kind of flexibility. Until we see the piece on the model in the proper setting, we can't be sure the planned outfit will be perfect.
When we were finished shooting the ascot, it was finally light enough to head back to the beach for a springlike setting. (We shot the Geometry Dress and the Raspberry and Lime Purse at the beach the day before. The photo of the dress you see on the preview page is the very first shot we took. Even after shivering her way through that half-hour, the model told us she wanted to learn how to crochet so she could make a dress for herself.) After starting at the water's edge, we decided to move under a tree to shoot the Woodsland Tunic. And thus the name of the garment was born.
Next came the Tolmie Cardi Vest, which we shot only a couple hundred yards from the big tree. Matin, our amazing stylist, was a perfectionist about every detail.
After warming up during lunch, we headed to Quince Fine Florals—our last location, and one perfect for spring.
While Pamela and her assistant set up the lights, Matin and Toni made sure the model's skirt fit perfectly under the China Doll tunic.
We had a great time with the Kathryn in Beauly Dress and Bonnet. If you look closely when the issue comes out, you'll be able to find Sally the sock monkey in a few photographs in the issue. I made her a couple of years ago and thought she'd add some whimsy to the shoot.
We made sure either to move or avoid the Christmas decorations in the shop. I simply adore the classic femininity of the 30th Street Station Skirt.
We planned for the simplest photo to be last, and boy, were we mistaken. We tried every which way to style the Dots Blanket so its playful beauty would shine, and in the end we pulled in a model. It's amazing how much more alive the blanket looks when it's properly covering someone up.
Thanks for indulging my memories of a fun shoot. Have questions? Leave us a comment!
Now that the cat's out of the bag about the issue, I thought I'd blog about our photo shoot and how one of the most important aspects of the magazine comes together. I believe I've mentioned before that the photo shoot is one of my favourite times during the months-long production of an issue. It's when the projects come alive, and when the whole visual tone of the issue is set.
We held the shoot in Vancouver, BC, during the third week of December. Although Vancouver's climate is mild and we rarely get snow, it does stay fairly grey, dark, and wet for most of the winter. It was an exciting challenge to shoot for spring during the darkest week of the year.
On the first day of the shoot I forgot to take out my camera even once. So I'll skip to day two. We started indoors. While the model had her hair and makeup done, assistant editor Toni sat in for her so the photographer could set up her lighting. [Click for larger photos.]
You'll notice that in the preview photos, the model isn't wearing the shirt she's wearing below. We were all in love with this shiny taupe top, but it didn't allow the Tunisian Lace Ascot to shine, so we switched to a matte white cardigan that did its job beautifully. The photo stylist came with several possible outfits for each piece in the shoot to allow for that kind of flexibility. Until we see the piece on the model in the proper setting, we can't be sure the planned outfit will be perfect.
When we were finished shooting the ascot, it was finally light enough to head back to the beach for a springlike setting. (We shot the Geometry Dress and the Raspberry and Lime Purse at the beach the day before. The photo of the dress you see on the preview page is the very first shot we took. Even after shivering her way through that half-hour, the model told us she wanted to learn how to crochet so she could make a dress for herself.) After starting at the water's edge, we decided to move under a tree to shoot the Woodsland Tunic. And thus the name of the garment was born.
Next came the Tolmie Cardi Vest, which we shot only a couple hundred yards from the big tree. Matin, our amazing stylist, was a perfectionist about every detail.
After warming up during lunch, we headed to Quince Fine Florals—our last location, and one perfect for spring.
While Pamela and her assistant set up the lights, Matin and Toni made sure the model's skirt fit perfectly under the China Doll tunic.
We had a great time with the Kathryn in Beauly Dress and Bonnet. If you look closely when the issue comes out, you'll be able to find Sally the sock monkey in a few photographs in the issue. I made her a couple of years ago and thought she'd add some whimsy to the shoot.
We made sure either to move or avoid the Christmas decorations in the shop. I simply adore the classic femininity of the 30th Street Station Skirt.
We planned for the simplest photo to be last, and boy, were we mistaken. We tried every which way to style the Dots Blanket so its playful beauty would shine, and in the end we pulled in a model. It's amazing how much more alive the blanket looks when it's properly covering someone up.
Thanks for indulging my memories of a fun shoot. Have questions? Leave us a comment!
Labels: Photo Shoot, Spring2008
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