About

Rain is a lighting condition, not a cancellation. We carry covers for the bodies and a second set of glass, and we scout an indoor fallback within walking distance of every outdoor location before the day. If the forecast turns genuinely dangerous — lightning, high wind on an exposed site — we move the shoot at no cost, and you keep the deposit against the new date. In practice overcast skies give a softer, more even light than midday sun, and a good number of the frames in our portfolio were made in weather nobody wanted to stand in.

The fastest way out of a flat run is a constraint. Pick one lens, one location and one hour, and shoot until the card is full. Reviewing somebody else's contact sheet helps too — not the finished portfolio, the sheet, where you can see the frames either side of the one that worked. We run an open studio session for this once a month; bring a camera and a rough idea, and leave with something you would not have made on your own.

Bodies and glass go in the cabin, always, in a bag that fits the smallest allowance on the itinerary. Tripods, stands and modifiers are checked, in a hard case, with the fragile items packed against the middle. Carry a printed equipment list with serial numbers for customs, keep batteries in your hand luggage with the terminals taped, and register anything expensive with your carrier before you fly. We insure every shoot that leaves the country, and the certificate names the client as an interested party.