This might be the most adorable shoot I’ve ever been on! We set out to create a short commercial for Royal Canin. Along with capturing shots of dogs just being dogs, we needed a specific shot of one scratching—and we got it right off the bat.
To keep things under control (as much as you can with dogs), we built a stage and lit it perfectly. It worked like a charm!
Recently, we had the pleasure of creating a short video for Butter & Blue, a delightful cafe in Toronto. Our goal was to showcase the heart and soul of the space: everything here is made in-house, from their fresh-baked goods to their expertly crafted coffee.
One of the first things that struck us about Butter & Blue was its aesthetic—a warm, inviting space that felt both modern and cozy. We knew we had to bring this charm to life on screen while highlighting the craftsmanship behind every item on the menu.
We spent a couple of days in the cafe. The first day focused on the baking procession and the second day, we turned toward the baristas, showcasing their skillful preparation.
Our goal was to replicate the look and feel of natural light. By lighting from the exterior, we mimicked sunlight streaming through the windows, creating a warm and natural glow inside. This setup not only enhanced the textures of the baked goods but also brought out the earthy tones of the cafe’s decor.
During the shoot, we paired slow pans with close-up shots to emphasize the details—whether it was the golden crust of a freshly baked pastry or the swirls of colours in the strawberry matcha latte . This attention to detail, combined with our lighting approach, helped convey the care and precision behind every creation at Butter & Blue.
For us, this project was about more than just filming a cafe—it was about telling a story of passion and artistry. Butter & Blue embodies the joy of creating something from scratch, and we’re honoured to have captured that spirit in this video.
We hope the final video inspires viewers to experience Butter & Blue for themselves, whether it’s for a fresh pastry or a perfect latte.
Hard Light and Dance. These images were shot for Canadian Dance Company. We closed the shades and built a mini set inside one of the dance studios. The new modifier used here was the Profoto Magnum Reflector. I used a 69” octabank to help fill shadows and a Strip Bank up high and behind to give some rim light.
The camera rig on this one was the Fujifilm GFX 100s. It is not the fastest camera for this kind of work but I do it for beautiful medium format files. The photos have so much more latitude in editing. Well worth the weight and wait.
Fujifilm GFX 100s + Fuji 80mm f/1.7
We joined BREIF on this project to create something interesting for promotion of this charity. Just the other day we got word that this piece below will be playing on TV as a commercial. This wouldn’t be the first time i’ve worked on videos that make it in to TV, but it is a first for a commercial spot. Thank you everyone that helped bring this project to life.
It was great having the chance to work with these two companies. I’ve been a long time fan of Stone Island and I would of never thought that I would have the chance to be on set with them in any way shape or form. Below you can find the images that made it out to the public. This was a big one for the city and myself.
Special thanks to PlaceNewStudios
Now for the technical part. For this photoshoot, the lights in the gym were still on and they were bright. To overcome these lights we went for the Profoto Pro11 packs which pack 2400 watts of power. It was a good move as we used close to the maximum of these lights to achieve a darker, more moody look as planned. You can see some of the set-up in the images behind the scenes images below.
A special thanks to all the people I’ve worked with on this project. We’ve had our share of 14-hour days and problem solved the entire time to create something beautiful.
This shoot might go down as the most beautiful of the year. It marks the first time shooting on anamorphic and surprisingly, one of our most flexible lighting set ups. Somehow, we made a super cloudy day work. The most powerful light we had on set was the Aputure 600D which was plenty to fake the sun. From here we went with super soft fill for shadow. One thing about working in a beautiful space is that we don’t have to make heavy shadows to hide anything. Being able to flood a space with light was a welcomed change.
Remember COVID? All gyms were ordered to close here in Canada. When the day finally came to reopen, my friend asked if we could create a video which would have some hype. The footage and lighting was done by myself due to crew limitations at the time and editing by Jamie Martlew.
When it came to lighting, I stuck to a simple 2 light set-up. The talent we used were all fit and I found that throwing a hard light from behind helps show the shape of the body. To achieve this I used a Apurture 300D and attached a fresnel lens to the front. for the fill light I used a Apurture P300d panel with the soft box attached. The grid was also used to control spill. since we were trying to achieve a more dramatic luck controlling light was the top priority. Luckily the gym had some great overhead strip lights which added to the frame. Thankfully, the colour of the light was consistent and close to daylight in colour.
If you look a little a bit closer you can see there's a slight haze or bloom in the highlights this was achieved using the black pro mist filter. when you don't have access to a hazer or the space is too big, you can use the filter to achieve a similar look. You will not get the beams of light from actual haze but you do your best with what you've got.
Special thanks to Jaime for editing and colour. Without him this would not look as epic. some people just have a talent for cutting perfectly to the best.
Sony A7R4 + Sony 24-70 f/2.8 - 1/125 f/2.8 ISO 2500
I guess it’s finally time to embrace LED lighting for photography. Flash has been great for a long time, and it does have its place, but when it comes to flexibility and balancing available light, LED is the way to go. While the direct flash look is making a comeback, I've always preferred the ability to create natural-looking images. LED lights have been on the market for some time; it just took a while for them to become a solid part of the toolkit.
The Aputure MT Pro mini LED tube light was used in this photo. I intentionally warmed it up a bit to enhance the blue hue of the fridge lights in the final image. Bianca kindly held the light to the left and up high
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.
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.
Just some food content for Spatula. Everything was shot using constant lights and the Sony A7R4. Styled by the wonderful Wallace Wong.
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.
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.
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.
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.
This shoot stands as one of the best coming out of the year of the pandemic.
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
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.
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.
