Let's dive into the fascinating world of editorial photography and explore a unique project that pushed the boundaries of creativity and technical skill. This story is about a photo shoot that started with a simple question: can a running sequence, captured on a deliberately slow camera, become an engaging editorial narrative?
I wanted to challenge myself and my friend, Maud, a sports model, to create something that not only showcased her talent but also added a strong, story-driven element to her portfolio. The idea was to capture the essence of running, a dynamic and multifaceted activity, through a series of carefully composed images.
The Challenge
The challenge was set: create a high-paced editorial series using the Hasselblad XPan, a camera known for its deliberate and slow nature. It was a technical test and a creative journey for me. I wanted to trust my recently repaired XPan and, at the same time, push the boundaries of my own work towards more context-driven editorial photography.
What makes this project particularly fascinating is the contrast it presents. Running, a fast-paced and energetic activity, captured through a camera that encourages a slow and deliberate approach. It's like trying to capture lightning in a bottle, or rather, motion in a still frame.
Creative Direction and Mood
The creative direction was all about capturing the essence of running in an urban setting. I wanted to showcase the fluidity of movement against the hard lines and strong concrete shapes of the city. The contrast between Maud's soft, graceful movements and the weight of the architectural elements was key.
I chose the Barbican in London, known for its hard geometry and concrete surfaces, as the perfect backdrop. The panoramic frame of the XPan added to the sense of movement and created a series of film stills, rather than static product images.
Technical Setup and Limitations
To keep the shoot focused, I kept the setup minimal. Just one camera, two lenses, and one film stock. The Hasselblad XPan with its 45mm and 90mm lenses, and Kodak Portra 400 film. I wanted every frame to earn its place, so I limited myself to one roll, ensuring each shot served the story.
The XPan's metering from the center of the frame added another layer of challenge, especially in high-contrast conditions. I chose to optimize for bright sunlight, letting the shadows fall away, creating a cinematic look with deep shadows and detailed highlights.
The Shoot
The day of the shoot started early, with an alarm at 5 am. We arrived at the Barbican, and the morning light was already shifting quickly between the tall structures. I looked for locations where Maud could be placed in the light, with the surroundings mostly in shadow, creating a clear separation.
The camera's slowness forced me to be deliberate, and there were many moments where Maud had to repeat movements. She was patient and understanding, and I'm sure her step count that morning was impressive! As the shoot progressed, my nerves calmed, and I accepted that the outcome might be unexpected, but it would be a learning experience.
The Final Sequence
In the end, I captured twenty frames, and a few stood out as the backbone of the series. The first key image was a wide contextual frame, showcasing Maud's upper body lit by the sun, with her shadow sharply falling on the wall. The second, a mid-distance shot, captured her stillness, with a curved track leading the viewer's eye.
The third, a close-up, was taken as the sun rose higher, creating an almost impossible lighting situation. The building's roof initially helped flag the sun, but at this point, it became a blocker. However, this slight unevenness added to the natural feel of the frame, capturing a genuine moment during the run.
Looking back, I realized I stayed close to my initial plan, sometimes at the expense of experimentation. I should have explored motion blur, as it could have added depth to the sequence. It's a lesson learned, and one I plan to explore further with the XPan.
Lessons and Takeaways
This project reminded me that an editorial series is not about one perfect moment but a small narrative built from several images that all serve the same idea. It showed me the value of detailed location scouting, especially in large spaces like the Barbican, to save time and reduce pressure.
Most importantly, it confirmed my belief in the power of creating concepts with people while leaving room for improvisation. Planning is essential, but locking in every detail can stifle the joy of creative discovery. This portfolio shoot allowed for growth and exploration, and I'm thrilled with the results.
Conclusion
This editorial photo shoot was a unique challenge, pushing the boundaries of what can be achieved with a deliberately slow camera. It showcased the beauty of running, the contrast of movement and stillness, and the power of collaboration. It's a reminder that sometimes, the best stories are told through a series of carefully crafted images, each serving a larger narrative.
