With the SS21 campaign photos and video coming up soon, we wanted to give you (once again) an exclusive insight into how the process of creating our content looks like. For this, our photographer Ruben Hilkens answered few questions about the campaign photoshoot, results of which you will see very soon. So let’s dive into behind the scenes of the Mason Garments world!
What was the concept of this photoshoot? How did you come up with it?
The SS21 collection is titled Memory Lane, so for me, the initial concept covered looking back at memories of my past, to reminisce. I decided to incorporate certain aspects of my past in the photoshoot. For example, some of the suits the model was wearing belong to my dad who would wear those to work. The chairs featured in the campaign are my mom’s old dining chairs. So I created my own memory lane and infused it with the Mason Garments visual language.
How big was the team? How did the photoshoot go?
The team consisted of 4 people. A model, light assistant, stylist, and me as a photographer. I’ve known the stylist for more than 8 years already, so working with her was a breeze. The light guy and model were new to me, but that went great as well, in my opinion.
I was on set around 9 am, and we shot till 6 pm. It surely took a while. During the pandemic such shoots are less frequent for everyone involved, so we needed some time to get back into it. Overall, the atmosphere was optimistic and energetic. The team worked together really well, and I’m glad I had these individuals by my side (especially during moments when I tended to get overly critical of the results).
Any challenges that you may have encountered?
I think the production of this photoshoot could have been a lot better. Many decisions were made at the last minute (can see some room for improvement there). Naturally, because of the pandemic, arranging certain elements (whether that be clothing or props) can be challenging and time-consuming.
Plus, I now notice that I strive to do everything on my own which results in me being agitated or moody. I sometimes get anxious to the point I can’t sleep the night before. I do have to say that if it weren’t for the people on set, I would not have been able to create what I created. This project made it clear to me that within photography everyone’s efforts add to the final image.
What is usually the most difficult in the process?
For me, that would be the fine line between art and commerce. I want my imagery to be commercially viable but at the same time, I would also like to do something new every time. I have to remind myself to turn it down a notch since sometimes I’m more focused on the artistic merit of the image rather than the commercial capabilities of it. Finding that balance is challenging but exciting nonetheless.
Do you usually plan everything in advance?
It depends. I do that to remind myself what I want and to visually keep control over the entire project. It also helps to have a mood board ready for the models. An image works wonders when I’m not good at explaining myself verbally.
However, there have also been instances where I purposefully decided to work without a mood board. I wanted to see if the concepts are really in my head or if I’m just influenced entirely by the images selected beforehand. It’s nice to frequently experiment with the workflow.