GEAR & TECHNIQUES HOW I GOT THAT SHOT
Knopf shot two scenarios a day over the
course of several days. Angela Missoni,
creative director of the Italian design
house attended the shoot, along with
And Partners founder and creative
director David Schimmel and designer
In one shot, Knopf photographed a model
lying on what appears to be a tennis court.
Because the surface on the private home’s
clay courts didn’t work, prop stylist and set
designer Belinda Scott fashioned an area
that looked like a tennis court, using white
tape to represent the chalk lines. Knopf shot
from overhead by attaching her camera to
a ladder, and then standing on the top rung
to shoot. The clients and the digital tech,
Stowe Williams, previewed the shots on a
workstation set up on the ground.
Knopf worked closely with Kaplan to
position the reclining model’s body and
arms. “Sometimes I’m running around and
it’s very freestyle. Other shots, such as this
one, require a more exacting approach to
the composition,” Knopf says. Scott brought
in tennis balls, rackets and baskets, and they
chose a sky-blue basket to appear in the
upper right of the frame.
To add pops of color on the side of the
frame, Knopf tested different lens filters.
In the tennis shot, the filter echoes the blue
color of the basket.
Whether on assignment or shooting for
herself, “I’ll usual sketch out the storyboard
of what I want the layouts to be, and make
mood boards,” Knopf says. “When you have
a clear idea of where you want to lead the
team, then when you are there and have
those difficult situations that are always
going to arise, you’re not wasting time.
You know how to switch gears.”
Knopf had to adapt quickly when, just
before photographing the tennis court
image, the sun disappeared and rain clouds
formed. The crew covered all the cameras
and gear, and set up a scrim—“like raincoat
material—about 20-feet square, supported by
poles. As the rain poured down, Knopf says,
“The water was creeping towards us the
entire time. It was just outside the frame.”
Knopf set up several lights under
the rain covering. Her lighting “was
minimal and even, to give it more
of a daylight feel,” she says. But she
wanted shadows, both to match the
product shots and to add dimension to
her image. “If I’d shot it in daylight, it
would have been flat, and not had that
For her main light, Knopf used a
Briese with an umbrella at camera
right, above the model, pointing down
LUXURY AND COLOR
ABOVE: Caroline Knopf liked the look of the sails and water backlit by the sun, but added a broad light
source so the model was not in silhouette. RIGH T: Photographing during a sudden rain shower, Knopf
used lights that created “a daylight feel” without losing the dimension the shadows provided.
MISSONI BAIA is a waterfront condominium being built in Miami by
OKO Group, an international real estate development firm, that will feature
stylish furnishings and housewares from the Italian design house Missoni.
On a multi-day shoot for the branding firm And Partners, fashion photographer
Caroline Knopf created images that highlight the building’s amenities and its unique style.
Knopf says the client mentioned words such as “joy, innovation, art” when describing what they wanted. “The images represent
the world class amenities the property would hold with the Missoni branding: Olympic pool, tennis courts, spa and a breathtaking
view of the water,” she says. One challenge she faced: The building doesn’t yet exist. During the multi-day shoot, Knopf and her team
photographed models in Missoni clothes enjoying a variety of activities she staged at a private residence in Miami.
Knopf, who has photographed assignments for Elle, Natori, Madame Figaro, Neiman Marcus, Kohler, Land Rover and other clients,
says she most enjoys creating stories. Some of her fine-art projects and fashion stories start with a location that inspires her, then she
finds talent and props to create a narrative. Her lighting and color palette change depending on the props, the clothes or the scene.
“I love doing different lighting for different ideas, depending on the story you want to tell and what mood goes best with it.”
For the Missoni Baia marketing materials, she chose lighting effects and colors that would create a consistent look for all her
images and also match some houseware product shots that would appear opposite her photos in collateral brochures.
CLIENT: And Partners
David Schimmel, president and creative director
Miriam Kaplan, designer