Five films, four sets of jewellery, one model and a black backdrop. That was the shape of a recent commercial shoot I did for Jackey L Jewellers on Saxmundham High Street, with Roberta modelling every piece. I’ve known Jackey for years, so being asked to photograph and film her jewellery was a chance to work together properly rather than just chat across the counter. If you’ve never been in her shop at 23 High Street, it’s well worth a visit next time you’re in Saxmundham.
The brief: stills and video for a local jeweller
Jackey needed two things from the day. One was a set of still photographs of the jewellery being worn. The other, and the more important of the two, was a set of short films, each about a minute long. We chose four sets of jewellery between us. The shoot fell in October, so one of them had a Halloween feel to it, built around a silver and amber spider pendant on a leather cord. The fourth set was filmed twice, with Roberta in a different outfit each time, which is why four sets became five films.
The look we were after was simple, high-end and luxurious, with plenty of contrast in both the films and the photographs. A dark background, controlled light and nothing in the frame competing with the pieces. Before the day, Roberta and I put together a mood board and a shared space on Pinterest, so she arrived with a clear idea of where we were heading.
Roberta, and why the model matters so much on a jewellery shoot
Roberta was a joy to work with from start to finish. I first photographed her in June for her own portfolio, and I knew then that she could carry a concept. She understood this one straight away and brought a wardrobe to match each set: a white V-neck top for the silver and amber, an off-the-shoulder grey top for the spider pendant, a cream lace bustier for the blue topaz and crystal, then a black top and a silver satin off-the-shoulder dress for the two versions of the topaz and amethyst set. She did her own hair and makeup too, wearing her hair down for most of the day and pinning it up for the first version of the topaz and amethyst set, which gave that film a different feel from the second.
Her job was harder than it looks. On this shoot the jewellery was the star, and Roberta had to be completely at ease with that. A hand resting near her face so a ring catches the light. A turn of the head so an earring hangs free. Her chin lifted just enough to open up the neckline for a pendant. She did all of it without fuss, set after set, and kept it looking natural rather than posed. The films would not have worked without her, and I’m very grateful. Thank you, Roberta.
When the jewellery is the subject, not the face
On a portrait shoot, the eyes are everything. Focus goes on the nearest eye and the rest of the picture follows. Jewellery work turns that on its head. If the amber pendant isn’t sharp, the frame has failed, however good the expression is. There were shots on this job where I put the focus on the necklace or the ring rather than on Roberta’s eyes, knowing her face would fall slightly soft. It’s a compromise, and it’s one you have to be willing to make when the product is what the client needs to sell.
Contrast did a lot of the work. Against a black background, the warmth in the amber, the blue of the topaz and the purple of the amethyst all read clearly, and the silver and gold plating pick up a clean highlight without the rest of the frame pulling the eye away.
Photography and video are two different jobs
This is the part I’d like anyone thinking of hiring a photographer for both to read. Photography and video are different disciplines, and they can’t simply be lumped together. There’s a common idea that if you own a camera, you can just as easily press record. It isn’t that simple. The lighting is different, the aesthetic is different, and the whole pace of the set changes.
When I’m taking stills, I ask the model to move and pose, flowing from one position to the next, and I pick out the moments as they happen. That’s how you get dynamic, varied images. Video asks something else of a model. It’s closer to acting, because every movement is seen from start to finish and has to be slow, deliberate and smooth. I film at 50 frames per second and play it back at 24, which slows everything to roughly half speed and takes the judder out of any movement, though it still asks more effort and control from the model. I also find models tend to be more self-conscious when they know they’re being filmed, so it takes a little longer for them to settle.
My advice to clients is always the same. If you want photographs and video, treat them as two separate jobs and don’t expect them to run at the same time. You can’t do both properly at once, because each needs your full concentration. Setting up a camera in the corner and letting it record is fine for behind-the-scenes footage, and that’s exactly what I use it for. A product film needs someone behind the camera paying attention to every second of it.
The five films
These are the five films I made for Jackey L Jewellers, with the pieces Roberta wears in each.
Set 1: Silver and Amber
- Silver and amber necklace on torque, £240
- Silver and lap set amber drop earrings, £142
- Silver and amber bracelet, £110
Set 2: Amber Spider Pendant
- Silver and amber spider pendant on leather cord, £270
- Silver and amber adjustable ring, £160
- Silver gold plated crossover bangle, £120
Set 3: Blue Topaz and Crystal
- Silver and blue Swarovski crystal pendant, £128
- Silver 22ct gold plated blue topaz drop earrings, £177
Set 4, Part 1: Topaz and Amethyst
- Silver 22ct gold plated topaz and amethyst necklace, £195
- Silver 22ct gold plated topaz and amethyst bracelet, £160
- Silver 22ct gold plated amethyst and blue topaz drop earrings, £116
- Silver amethyst and CZ cocktail ring, £199
Set 4, Part 2: Topaz and Amethyst
The same four pieces as Part 1, worn with a silver satin off-the-shoulder dress and Roberta’s hair down.
Working with a local business
Jackey L Jewellers is exactly the kind of business I enjoy working with. Independent, local, and run by someone who knows every piece in her shop. Commercial photography for a small business doesn’t have to feel like a big agency production. It needs planning, a clear idea of what the images and films are for, and the right people in front of the camera. I’m pleased to say Jackey has already asked me back, and we have another shoot along the same lines planned for November.
A word on model safety
Every model I work with is offered the chance to bring a chaperone, whether that’s a friend, a family member or someone else they trust. The offer is made before the shoot, every time, even with models I’ve worked with before. There’s no physical contact during a shoot. If a pose needs adjusting, I describe it or show it from a distance. Any photographer who refuses a chaperone, or tries to talk a model out of bringing one, is showing a serious red flag. A model’s safety shouldn’t be something they have to negotiate.
Behind the scenes
I also filmed a behind-the-scenes video on the day, which shows what the day looked like from my side of the camera. You can watch it here: https://youtu.be/0Hp2svYs47Q. More of my behind-the-scenes videos are on my behind the scenes page.
Commercial photography and video in Suffolk
I’m based at Base Business Park in Rendlesham, on the old RAF Bentwaters site near Woodbridge, and I work with businesses across Suffolk, Norfolk, Essex and Cambridgeshire, from Saxmundham and Aldeburgh to Ipswich and beyond. If you run a shop or a small brand and want photographs, short films or both, my commercial photography rates are on the website, and I’m always happy to talk through what you have in mind.
