Some projects are a logo and a website. Of Earth & Sky was a whole world to build, and then to capture before it disappeared. A live show only exists for the length of the performance. Everything we made had to do two things at once: help fill the seats beforehand, and hold onto the feeling of it afterwards.
The work started where it always does, with the show itself. Before touching a single design, I wanted to understand what the production was reaching for. The mood, the movement, the tension between earth and sky that gave it its name. A contemporary show like this does not want a poster that merely announces it. It wants a visual language that feels like an extension of the performance, so that the flyer in someone's hand and the moment on stage clearly belong to the same thing.
From that we built the identity and the visual direction, then carried it across everything the audience would touch. The flyer, the posters, the tickets. Rather than treating each as a separate job, we designed one consistent system, so the whole campaign felt like a single recognisable presence rather than a set of unrelated printouts. Consistency is what makes a show look established before anyone has taken their seat.
Then there was the harder, more exciting half: capturing the show as it happened. This is where I stepped out of designing and into directing. Photography and film of a live performance is not something one person does well alone, so I assembled a small team of photographers and videographers and worked alongside them through the production.
My job was less about holding a camera and more about holding the vision. Making sure everyone was chasing the same moments, framing to the same visual language we had already set, covering the stage from angles that would tell the story rather than just document it. When you brief a team properly and trust good people to do what they do best, you get coverage that feels intentional, not accidental. Every frame belonged to the same world we had designed on paper.
That is the part I love about how I work. It stays one relationship for the client, one person accountable for the whole picture, but it is not one person pretending to be a whole studio. When a project needs more hands, I bring in the right people and lead them, so the strategy, the design, and the imagery all still agree with each other at the end.
The result was a body of work that did its two jobs. It helped the show find its audience beforehand, and it left behind a set of images and film that outlive the run, ready for programmes, press, and whatever the production becomes next. A live show is gone the moment the lights come up. Done well, the way you capture it is not.
If you are putting something into the world that only happens once, an event, a launch, a performance, that is exactly the kind of thing worth planning and capturing properly. I would love to hear about it.
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The work started where it always does, with the show itself. Before touching a single design, I wanted to understand what the production was reaching for. The mood, the movement, the tension between earth and sky that gave it its name. A contemporary show like this does not want a poster that merely announces it. It wants a visual language that feels like an extension of the performance, so that the flyer in someone's hand and the moment on stage clearly belong to the same thing.
From that we built the identity and the visual direction, then carried it across everything the audience would touch. The flyer, the posters, the tickets. Rather than treating each as a separate job, we designed one consistent system, so the whole campaign felt like a single recognisable presence rather than a set of unrelated printouts. Consistency is what makes a show look established before anyone has taken their seat.
Then there was the harder, more exciting half: capturing the show as it happened. This is where I stepped out of designing and into directing. Photography and film of a live performance is not something one person does well alone, so I assembled a small team of photographers and videographers and worked alongside them through the production.
My job was less about holding a camera and more about holding the vision. Making sure everyone was chasing the same moments, framing to the same visual language we had already set, covering the stage from angles that would tell the story rather than just document it. When you brief a team properly and trust good people to do what they do best, you get coverage that feels intentional, not accidental. Every frame belonged to the same world we had designed on paper.
That is the part I love about how I work. It stays one relationship for the client, one person accountable for the whole picture, but it is not one person pretending to be a whole studio. When a project needs more hands, I bring in the right people and lead them, so the strategy, the design, and the imagery all still agree with each other at the end.
The result was a body of work that did its two jobs. It helped the show find its audience beforehand, and it left behind a set of images and film that outlive the run, ready for programmes, press, and whatever the production becomes next. A live show is gone the moment the lights come up. Done well, the way you capture it is not.
If you are putting something into the world that only happens once, an event, a launch, a performance, that is exactly the kind of thing worth planning and capturing properly. I would love to hear about it.