SARA WINTER SHOOT: Behind The Scenes with Ljubenka
Recently we shot SARA winter in Sydney, Australia.
Anyone who lives in Sydney can tell you how much rain we’ve had these last few weeks, it’s any wonder we managed to get our location shots done! It was touch and go the entire time and the crew and I experienced wind, rain, sun and heat almost simultaneously if that’s even possible.
Fortunately, there were studio days too that always seem so much easier, regardless of the shot count. The team can control the environment so much better in studio than when on location.
Our photographer’s assistant Oliver, is meticulously setting up for a new background colour. It’s a very quiet studio and set when everyone scuttles away to their respective stations or tables in-between shots. There’s also a lot of expensive equipment set up so the crew has to walk carefully around the studio.A studio day with Juli our photographer and Annette, my hair & make-up artist directing the wind machine to lift my hair off the clothes I’m wearing. That way, the customer gets to see the neckline and all the garments details. I really like this outfit I’ve got on. The pants are a little rock n’ roll and are extremely comfortable. The booties are super cute and comfort is key for me.I captured a happy Juli on set making sure the lights are repositioned correctly. Oliver our photographer’s assistant has just changed the colour of our backdrop so the equipment needs to be readjusted and set up again. We don’t start shooting our next outfit until this is done. You’ll notice a few different coloured backdrops in the next catalogue!Whilst Juli is shooting my next pretty outfit on set, Deni our art director looks at the shots coming through on the monitor/screen. Deni ensures the clothes and I look good and ‘calls the shot’ once we have it. Shannon our digi tech makes sure the lighting is correct and that all things image related are perfect for the client. It’s Shannon’s job to ensure the images are labelled and filed correctly and most importantly, saved.Our location day was at Barangaroo and our 7 o’clock start had everyone holding their breath and praying. The skies were grey, it was raining and there was a lot of wind to add to the days weather mix. Mitch, the second photographer’s assistant can be seen above, holding down one of the ring flash lights which are certainly expensive and would create serious problems trying to replace it or finding another one whilst on location. The crew has sunscreen, hats, raincoats and umbrellas on hand. It’s four seasons in one day today.By mid-morning, our location at Barangaroo is sunny. We have to be mindful and aware of the people walking, riding bikes and jogging in the background of the shots. Sometimes, we just have to wait it out and be patient, especially around lunchtimes and other busy periods. The producer of any shoot has to always apply and pay for a permit when on location. The City Council has to approve any permit before a crew can start shooting or filming.Andrew our stylist and Danielle, the stylist’s assistant make sure the clothes are ready, prepped, in order for the shot count and looking their best. They hang the outfits on a clothes rack that they wheel around so the clothes don’t wrinkle or get dirty. I get changed into my many different outfits in a change tent for privacy and convenience. I have changed this way on all location shoots and I’m really grateful to have one.By lunchtime at Barangaroo, it’s back to grey and windy skies. Annette has no choice but to tuck my hair behind my ears so it doesn’t fly around my head (which it was doing at different times of the day). Sometimes, there is nothing to do but simply wait the weather out. We have a job to do and there are no excuses when it’s not done.Our last shot of the day and shoot is the one above with the Sydney Harbour Bridge as the backdrop. Sydney is showing us just how beautiful she is! Mitch and Oliver use a ‘scrim’ to take the harsh light off me and the clothes. If they didn’t use the scrim, it would be very difficult for me to open my eyes and see. It’s like using a window screen to filter or buffer the light and the fabric can vary in thickness, depending on what is needed and the desired effect of the art director and photographer.
