Litebook unviels more famous ‘Ooops’ & ‘Oh Yes’ moments... www.garethandrewgatrell.com
IMAGE ANATOMY
“but on the positive side, sometimes things just work...”
‘I was approached by international stills. However, All Saints be praised - stunning pink Cadillac owned by director
music management agency, Profile Ms Lewis was great and ready to go as Ben Foley, and placed into a speaker
Talent, to shoot the single cover soon as she came off the film set. The orientated skyline I constructed with
photography for the dance hit ‘DADDY pressure was mounting to get that various nondescript stills in CS3.
O’, featuring ex All Saint Shaznay Lewis striking capture for the cover and having
and the hard-hitting dance producers, only spent a total of 20 minutes with her The main shot was taken at the
The Wideboys (Garage Jam).” throughout the day, the record label and enormous car set at Bristol’s Imagist
I were concerned we may not have the Studio (www.imagiststudio.com) using
“I’ve worked with The Wideboys on a shot.” two Bowens Gemini 750+ heads fitted
couple of projects and we just seem to with reflectors aimed at the guys, with
click creatively. Their vibe is very an f-stop between them to create a
energetic and punchy, which pairs sense of projection.
beautifully with my style of edgy
composite work - so the guys asked I used the ambient light from the film
if I’d be interested in joining the rig and dragged the camera shutter to
team in Bristol on the video shoot. light the car. Perhaps not the most
Oh yes please. ..what a great appropriate kit - but hey, when there’s
opportunity to widen my creative no mention of a car shot in the brief
orbit.” you’ve gotta adapt and conquer.
“The shoot day was just manic. And AATW were excited by the composite
as for planning, well you’ve got to be as was Shaznay, The Wideboys and
kidding!” Profile Talent. The package went on
sale in music stores across the UK in
“There was no separate studio for May and got regular play on Radio
stills, which meant I could only shoot One.
during down moments of filming, as Litebook: So with limited time at your
my strobes would interfere with filming. disposal, was your decision of a simple One other great composite came from
This greatly reduced my creative flow on set up, the right one? Would it have this shoot quite accidently - the
a practical level. Fortunately I thrive on been more efficient to aim for a awesome solo street dancer Bradley
spontaneity and shifted my focus onto particular theme? Charles, who ‘rocked’ the film crew all
capturing well-lit compositions, knowing day with his endless energy and
I would probably have to create a “If the record label had a specific brief freestyle talent. The image was placed
composite piece for the cover later. regarding the imagery I would have into a conceptual piece.
adapted a more direct and creatively
With this in mind I kept the lighting rig adventurous feel to the lighting, but with It’s a real eye -catcher.”
simple with two Bowen Gemini 750+ no such outline given it was important to
monolights fitted with umbrellas and set record clean, crisp frames, especially
at opposing angles off the speedily put- when a composite may be required -
together backdrop. which was the case. The final image was
used as the cover.
With a hectic film schedule and umpteen
clothing changes accompanied by a The shot selected (as shown here) by All
multitude of complex dance moves to Around The World Records (AATW),
record, there was little time given for comprised the music trio in front of a
for more info visit:
www.garethandrewgatrell.com
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