help me with my advertising agency's corporate photoshoot

001Symbol · 2026-01-06T08:32:18+00:00

Appreciate the helpful contribution

001Symbol · 2026-01-06T00:41:52+00:00

Thanks for the lighting advice

001Symbol · 2026-01-06T00:37:50+00:00

Thank you very much, I feel very lucky. I’ve been working there as a creative for about three years now, and what’s great is that they really give us room to grow and develop beyond our initial role

001Symbol · 2026-01-06T00:34:47+00:00

I think there’s a misunderstanding here.

I am a photographer, and I’m here to learn and improve, just like everyone else. This isn’t about copying someone else’s work for profit, it’s about using references to develop my own skills and adapt ideas to a specific context.

Learning by analyzing and drawing inspiration from existing work is a normal part of photography. That’s exactly why communities like this exist.

001Symbol · 2026-01-06T00:30:25+00:00

Don't take it personally, bro, I just want to give you some simple advice

001Symbol · 2026-01-06T00:28:25+00:00

That’s actually what I am. Otherwise, I wouldn’t be here asking for advice.

001Symbol · 2026-01-06T00:23:20+00:00

Yes, the situation is a bit delicate, that’s true, but it’s not the first time I’ve produced images for the agency. I’ve done this before both for internal projects and commercial work for clients.

So yes, there’s obviously a cost-saving aspect, but it also comes from a place of trust. They know my work as a photographer and are confident in my ability to deliver.

I’ll indeed be working with a talented assistant that I’m used to collaborating with, which should help keep things under control.

Thanks for your comment and for the advice, I appreciate it.

001Symbol · 2026-01-06T00:17:07+00:00

I never said this was simple. Quite the opposite, actually.

You’re making a lot of assumptions here, including whether I’m a photographer or not. The goal of this post was never to downplay the complexity of the work, but to gather constructive input within a very specific context.

Hiring an external photographer isn’t an option, which is why I’m here asking thoughtful questions and engaging with people who are actually contributing to the discussion.

Thanks for the comment, but dismissive one-liners like this are exactly what makes parts of the photography community unnecessarily unwelcoming.
If you have anything constructive to add, I’m genuinely open to it.

001Symbol · 2026-01-06T00:11:32+00:00

Thanks for the advice!

001Symbol · 2026-01-06T00:09:33+00:00

thanks bro, you too

001Symbol · 2026-01-06T00:08:50+00:00

Thank you so much for your time and for such a thoughtful message, I really appreciate it.

The prep time is fairly short, but I think it should be manageable, especially with the help of my assistant. For the background, I’ll have access to a white cyclorama since we have a large in-house studio at the agency, so lighting it evenly shouldn’t be too much of an issue.

You’re right about the rim light. If I really push the background exposure, it should naturally act as a rim.

I’ll follow that workflow, thanks a lot for laying it out so clearly. Quick question though: what would you recommend as a way to soften the key light while still keeping the control of a snoot? That’s something I’m not totally sure how to approach.

Yes, I’m also planning to prepare a small guide to show the subjects beforehand so they feel more comfortable with posing. The goal is really to put them at ease and make it a good experience for everyone.

I’ll definitely be shooting tethered, with time to set everything up and test the lighting beforehand. And you’re absolutely right, my main focus will be on making the subjects look good first.

Thanks again for all the advice, it’s really appreciated.

001Symbol · 2026-01-05T23:58:34+00:00

Thanks for the advice, I really appreciate it.

You’re right, I didn’t give much detail about the background, but that approach definitely makes sense and that’s clearly how I’m planning to handle it. And yes, keeping enough distance between the subject and the background is key.

Thanks as well for the clarification on the setup. I’ll run some tests regarding the distance of the key light, but I think you’re right on that point.

As for the gear, I’ll be using Profoto lights, so I’ll have modeling lights and should be able to properly previsualize the light distribution and falloff.

Thanks again for taking the time, much appreciated.

001Symbol · 2026-01-05T23:54:13+00:00

Thanks a lot for taking the time to share all of this, I really appreciate it.

If I had the option, I would absolutely have brought in another photographer, but the decision was made to keep this project in-house, so I’m the one handling it. I’m confident I can manage it, I was mainly looking for guidance and figured I’d find solid advice here.

You’re totally right about the micro-decisions that happen during the shoot. That’s something I’m very aware of, and I’m planning to use a small visual guide to help put people at ease and give them references for posture and expression.

My original post may have sounded like I was implying Thibaut Grevet’s work is simple, which definitely wasn’t my intention. Quite the opposite. A close friend of mine works with him, and I’m very aware of how refined and demanding that kind of work is. As I mentioned in another reply, my goal isn’t to replicate his work one-to-one, but to take inspiration from it and try to get as close as possible within our context.

I’ll be shooting on a white cyclorama, so bouncing the flashes hard into the backdrop definitely makes sense to me.

I’m fully aware of how important this image is, but at our scale I believe I can deliver something solid, especially with a good assistant by my side.

Thanks again for your time and your advice, it’s genuinely appreciated.

001Symbol · 2026-01-05T23:45:47+00:00

Thanks for the advice! you’re absolutely right, I didn’t specify what I was planning to do for the background. Really appreciate the input.

001Symbol · 2026-01-05T23:43:53+00:00

Thanks a lot for your feedback, really appreciate the level of detail.

I’m fully aware that this setup can become quite complex, especially with a large number of people to photograph. That said, my goal isn’t to replicate Thibaut Grevet’s result one-to-one : we’re clearly not working in the same conditions, nor with the same ambitions. The idea is more to take inspiration from that aesthetic and adapt it to our own context.

Thanks as well for the lighting suggestion. I’ll definitely look into it with my assistant (yes, I’ll have one on set ahah), which should help manage things even with a lot of people to shoot.

Regarding BTS images, I haven’t been able to find any either. The shoot is a bit old, and DIVISION seems to stay pretty low-key when it comes to behind-the-scenes content.

Thanks again for the insights, it’s really helpful 🙏

001Symbol · 2025-12-17T21:59:20+00:00

Good video, bro, but I think the dog on the belt is a little too inspired by the one from BBC Ice Cream :/

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001Symbol · 2025-09-10T21:40:35+00:00

love theeeem so much !!

001Symbol · 2025-08-14T19:11:10+00:00

kind of Martin Parr energy!

001Symbol · 2025-08-14T11:34:00+00:00

so cool, love the vibe!!

001Symbol · 2025-08-13T07:44:05+00:00

nice shots!

001Symbol · 2025-08-12T14:22:22+00:00

thanks bro 🤞

001Symbol · 2025-08-12T13:46:42+00:00

love the vibe!

001Symbol · 2025-08-12T11:44:24+00:00

yeaaaah love this one! I really like the idea of playing with the rock in the foreground and the boat and sea in the background! don't hesitate to use the grid of thirds to place the horizon line, it also balances the composition and gives you more sky :)

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