Fraud Fighters: INTERAC

This was our take on a boxing commercial for INTERAC. The project was conceived by Director Josh Sam for Fraud Awareness Month (March). We set out to capture the ongoing battle against fraud every day. My responsibilities were lighting and camera work as DP. When it comes to shoot day, we don’t hesitate to wear as many hats as needed to ensure we get the most out of every moment we roll the camera. One of the greatest decisions was to place an Arri M18 in the window and black out as many other windows as possible. Of course, it was windy and snowing the entire time, but with a great team, we managed to achieve the look we were aiming for.

We were blessed with the Cooke Anamorphic for this shoot. Beautiful image but we did our best to not tear bicep all day. As you can tell, Haze and complete light control made everything come together in the end.

40 Shebib & Yonis for Complex Canada

After all these years, I still find it hard to sleep before a photo shoot. For some reason, I wanted to use constant lights for this shoot. I remember now! I was excited about the new Lightbridge kit I purchased not too long before this shoots. I find content light helps create more natural looking lighting. You are forced to balance the existing light. That day, I used the Aputure 600d going through a 6 x 6 frame along with a 4 x 4 white as fill. Backlight was fine with a Aputure 60d on a diffusion 3 board form Lightbridge. Ideally I would have loved to rig up an overhead hair light but, grip equipment was limited along with time.

Having your work published is always exciting for me. In this time, it’s rare to have your work printed. That would be the dream. Theres nothing like holding your work in your hands. Regardless, it’s a nice feeling to have work published on a website that has notoriety.

If I could do it again, I would have used a hazer along with some kind of spot light. I would have made it a bit more moody as well. I’ve become a big fan of high contrast images. I have to remember my limitations that day as well. The location was quite tight with gear. I had to use the 70-200 at some point. Flash may of been my friend that day for never the less, I’m always happy to try new things. I am deeply grateful for the opportunity to work with such talented people and this is a milestone in my career.

Spatula

Just some food content for Spatula. Everything was shot using constant lights and the Sony A7R4. Styled by the wonderful Wallace Wong.

BTS: Queens University

I’ll admit, I’ve lost my way when it comes to filling out my blog with posts. This would be the second website I’ve ever created and it always served as a diary. I have my last website hidden but I can always go back and scroll. The best thing about it was seeing the progression of my creative expression. Everything from lighting to the content I shot. I have a lot of catching up to do, but always, better late than never.

The images here are behind-the-scenes captures of the scenes I let from a past shoot. I’m at the age where I am forgetting the things I've done. Sadly, they seem to be a blurry mash-up of memories. Photos tend to be the only way to remember much as we move forward.

Better Human Brand

When I started, it was mostly fashion. It was what I wanted to do. Unique clothing, people and incredibly creative. The goals have changed over the years once I realized that people were the best part of my work. Whenever the chance comes up to any fashion work, I will jump at the opportunity.

Clearwater Farms

M & O Lawyers

When it come to corporate wok, it can sometimes be easy to slip into cookie cutter mode and fall into the industry standard. For this project, we choose to step outside the usual and produce some unique photos to show the work life of the team. This was applied both in the portrait sessions and creatives.

Welcome Back: Budo Canada

After a long year of rolling lockdowns and Covid-19 spikes, gyms are finally reopening here in Toronto, ON. This video highlights the hard work and commitment all fighters exhibit in their training which can finally continue.

Now for the part for myself to look back on in a couple of years. Thes was shot all handheld on the Sony Fx6. The key light used was the Aputure P300c with the softbox and grid with a rim light. Rim light was an Aputure 300d with a fresnel attachment to aid any potential flare. The P300c was the shining star on this shoot as it produced a soft, very directional light that helped cut the subject out from the background. The gym can seem cluttered so managing the lights helped create a cleaner look.

Most, if not all the shots were done at 24p. I wanted a more real-time and personal look, so there was no need for slow motion. The entire piece was shot on a Sony 35mm 1.4. All in all, a run and gun shoot over 4 days. This was a passion project but very glad to be a part of it. Thank you Budo Canada.

Daized

This shoot stands as one of the best coming out of the year of the pandemic.

Cat Janiga

This project stands as one of my first videos. I had the help, of course, thank you Jamie Martlew. Stills or video, lighting is always key. We lit the scene and hazed the entire store for this shoot. I know people sometimes look back on their previous projects and it might be hard to watch. This is not the case here.

Thanks you Cat Janiga

Kingsway

This would stand as one of our first shoots following the first lockdown when tensions were a bit high and we couldn’t have more than 5 people on set. This was a chance to experience what it’s like to have a lack of people on set. I’m not saying it’s impossible to do anything when short on hands but man does it take longer. This shoot was supposed to be a single day but stretched to 2 days. We lit each environment to reflect a different time of day. The could be done with color temperature and light control. Alex was the master who orchestrated the lighting over the days.

One thing I will take away from the shoot other than the work was the amount of grip gear we had there. It was immense but very happy to have every single piece. The only thing we might not have used was a 100 ft extension cord but we did 100ft of SDI on the ground the entire time. It’s all in the fun and we have plenty of stories from this shoot.

NEEKO

I don’t always like pushing the ISO of a camera but I’m working on it. The amount of noise in an image doesn’t make the image, there's so much more to it. I am not sure if this studio is still around but it stands as one of the most unique places I’ve been. So much neon and lights from lord knows where. When it all comes together, you are instantly in a music video. On this shoot, the only other light used was a LED wand which thankfully had HSL to match the dominating color so I can add some kind of light direction. Matching the color keeps the subject in the same space. If we used daylight flash, you can tell it was used easily because it’s so blue. It was nice working in an almost lit environment, you can spend more time on composition.

Dodi Blunts

Before you even ask, working with Marshawn Lynce was great. Professional and simply adds to the energy of the room positively. All the images below were shot for Dodi Blunts .

I almost did not get the chance to shoot this campaign. Days earlier, I was told by another client we had worked with that a model had tested positive for COVID-19. The moment we were told, we tried our best to get tested ASAP. It was Wednesday and we were shooting on Friday. After a slight panic, I found a hospital that had a window open and got tested. From there on out, I must have checked my email about 100 times for the results. I got the results in an amazing 11 hours. If I had missed this shoot, it would be unfortunate and I would have to tell myself more will some for about a year. Luckily I tested negative along with the DP and we were able to create some magic.

The light restriction was the name of the game that day. There was not a single night not gridded on set. We used constant light to balance the exposure between the projected image behind Marshawn and flash for the dark portraits below. All the smoke in the scenes below is real and from CBD based flower for obvious reasons. Light sources included a gridded octa, a gridded beauty dish along a gridded strip bank all tightly controlled.

This is one for the books. Special thanks to DAYJOB & DODI BLUNTS

ABACUS Masterclass

Production: www.ourdayjob.com

Styling: www.abigailballanger.com

Sago Mini

DAYJOB

Fedex

Meri Peti

Shaping light, it’s all we do. I know there are the angles we choose, composition, and then the compromising camera settings to follow, but ultimately, it’s what’s in front of the camera that counts. Following the product shoot with the amazing crew at Day Job, I was introduced to the gobo (go-between). The cucoloris board is a great asset to have on board, along with a haze machine. The cucoloris board shapes light so it doesn’t look as artificial but still creates mood was the goal for this shoot for Meri Peti.

Take Care Masks

I was asked to photograph the founders of Take Care Supply at the beginning of the pandemic here in Canada. We did our part during the shoot by wearing masks at all times and photographing everyone individually and compositing later to make for a believable group shot. My heart goes out to all the frontline workers who have to wear masks for their entire shifts. We appreciate all the work our frontline workers are going to save lives.

The Story Company

I was hired to create images that portray the collaborative nature of an advertising company. Like many of the shoots over the last couple of years, I will be working alongside a video production crew. Working together to achieve a similar product has its benefits, you just need to plan for long shoot days. The top priority during these shoots is respect for each other's time so we can both do our best to deliver great work.

On this day, we had a wonderful DOP. He lit the scenes with a beautiful light set up to capture individuals working in an environment. Most of the shots that follow were lit entirely by Arri HMI lights. If needed, I would supplement an octabank to illuminate the subjects that may have fallen away into the shadows. Most of these images were captured on the Nikon Z6 and a few others on the Fujifilm GFX50s.

Karma & Luck