I've been surfing for the last 20 years.
I started when I was 13.
It was through the surf that I discovered photography and I started to be more passionate
about it since I picked up my father's camera and went to the beach and
photographed my colleagues surfing.
I started to work with some surf magazines in Portugal.
And now, 20 years later, I'm shooting fashion which I didn't plan.
In this shoot I'm bringing a little bit of the beach into the studio and do this
surreal thing of filling up the studio with sand, making it look like the beach just invaded my studio.
It's going to be awesome.
We're going to use some natural light from the windows and then
we are going to set up the flash lights inside.
I'm not sure if we're using some soft light or hard light.
We're shooting a 8-12 pages editorial in ELLE magazine.
Higher there and then higher again next to the window so that it's like flowing.
Today we have 1.5 tons of sands in the studio so we can do this surreal environment
where the sand came into the studio.
We're going to have a small boat, an optimist with a sail.
And we'll also have two Irish wolfhounds which are very big dogs to accentuate
that surreal environment.
- So that's our set. - Nice!
We're going to have a very beautiful model and I think its going to be a really nice shoot.
Today we're working with Paul who is one of the best fashion stylists in Portugal.
He works with ELLE and other magazines.
On make-up we're going to have Antonia who is one of the best make-up artists in Portugal.
Let's see the hair. I was thinking a kind of Romy Schneider in Saint Tropez.
The hair stylist is our number one in Portugal.
He works with everybody from Vogue to ELLE to Massima.
We'll have a top of the line team here today.
She's like standing at the corner of the boat, more relaxed and then we do something here.
It's really important that you and the stylist get in tune,
really focused on the same goals, so the entire team gets that
positive energy from both of you.
It's really important that you work with the best available equipment.
The right gear that gives you the results that the client is expecting.
Especially with magazines because when you see a picture printed
it's really important that you have a really good camera to produce
the best possible result.
I'm going to use my IQ140 which is perfect for this kind of shooting.
On a fashion shoot we need a speedy camera, highest quality and the right format.
The last weeks we have had a few meetings about what's going to happen.
We have to shoot swimming suits for this story.
This has been a close teamwork between me and Paul in preparing
everything and setting up all the details and all the ideas that we had for this shoot.
I saw this picture. The sand and the house can be like this.
I think it's cool when the light comes from one side.
Usually, he just tells me his ideas. He can show me one picture
that sets the mood for the shoot but that's it.
I am free to create my own idea around his idea for the mood of the shooting.
I want to shoot this girl and she's never available but this time maybe its possible.
- She has a lot of experience. - She is nice.
In a model what I value the most is expression. It's her being able to express the kind of feeling
that we want to transmit through the pictures.