Photographer | Still and Motion
Scott Drickey is a professional photographer and DP | Director. He attended Brooks Institute and went on to shoot for fashion and beauty editorial and advertising assignments. He’s also a journeyman in IATSE Studio Film Mechanics as a rigging electrician and has worked on feature films to commercials. Scott’s specialties are in portraits, still life and producing still and motion content with an emphasis on youth culture.
There was a time when I was known for my tenacious work style and my lighting expertise. As a photographer’s assistant and in my early days as a photographer, I was fast, obsessively organized, and almost psychic in my ability to anticipate the needs of others on a shoot. I was the assistant world-famous photographers requested for their shoots. I traveled the world, working in studios in Paris and the deserts of the American West. My work appeared in Vogue and Mademoiselle.
I blinked my eyes, and 20 years went by. And to my surprise, my work became infinitely more interesting when I pointed my camera at “regular” people — artists, rodeo queens, and skate punks. I lit them as if I were shooting a cover of a fashion magazine. Using the same techniques and the same intense dedication to quality, my photos revealed personalities, truths, and undeniable beauty.
Some things haven’t changed since the early days of my career. I am still dedicated to disarming my clients with excellent customer service. And I always strive to establish an intimacy to reveal my subjects being undeniably themselves. As a photographer, my job is to bring my expertise to build on an idea or offer new ones. My work begins long before a shoot, and my clients consistently appreciate the care I take generating and enhancing ideas for campaign still and motion content.
There is no end to the craft of photography’s ability to seduce me. If I’m fortunate enough to be around another for another 20 years, I can guarantee you, I will still be behind the camera shooting still and moving pictures.
Let go and get distracted outdoors to refresh your perspective.
Strive to establish an uncanny intimacy with a stranger and animate an inanimate object
Always consider the story then plan the work and work the plan.
Own who are and realize that taste and tenacity will separate you from the pack.
Pre-visualize the story while grasping the scope of project. Create storyboards and shot list. Hold the appropriate crew then cast talent and scout locations.
Time is a commodity that is non negotiable. Planning in pre production is key to accomplish the shot list. Stick to the boards then turn around and be open to pushing them for coverage. Make sure footage is in two places by lunch and ultimately have a fun experience.
Editorial is where the story conceived takes shape. Stick to the footage shot during production reflecting the boards. This will enable you to finesse the cut making it flow. Music is half your picture and imperative to cut to when considering the final spot whether it's for longer form branded content to a :30sec or :15sec spot. Know what deliverables the client needs after having them sign off on final cut, whether it be still processed images or motion spots.