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Tag: SoScout Sessions

  • SOSCOUT SESSIONS // Episode #2 – Photographer Alex Hutchinson

    SOSCOUT SESSIONS // Episode #2 – Photographer Alex Hutchinson

    MEET ALEX HUTCHINSON

    Photographer Alex Hutchinson has built a career around the pursuit of light. Known for his cinematic, quietly powerful imagery, Alex’s work captures atmosphere as much as it does subject. Whether he’s shooting fashion editorials in Dublin or scouting dreamlike spaces abroad, his process always comes back to a simple question: where’s the light?

    We sat down with Alex to talk about creative influences, the power of environment, and why simplicity always wins.

    “Light is everything. Whether indoors or outdoors, I plan around when the light will hit best.”
     — Alex Hutchinson

    CREATIVE INFLUENCES

    If you could have dinner with any creative from history and pick their brain about their process, who would it be?

    I thought about this a lot, and I couldn’t really pick what I’d consider a traditional artist.
    Terrence Malick would be the person I’d love to sit down with, just to understand how he thinks.

    He directed The Tree of Life and A Hidden Life, and when I first picked up a camera around 2010 or 2011, those films completely changed how I saw photography. I owe a lot of my visual aesthetic to the way he shoots.

    I can’t shoot like him, but I love telling visual stories that feel cinematic, moments that the viewer can connect to. People often ask if I tell models how to pose, but I don’t. I try to create an atmosphere that feels like a real moment.

    Lighting, music, and the energy of the crew all have to be in sync. Watching interviews with Malick made me realise his process is similar: if the light is right and the moment’s there, everyone just moves instinctively and captures it. Then the story gets built in post.

    A DOP who worked with him once said, “Working with Terrence made me not just a better cinematographer but a better person.” That says it all.

    I’d also love to talk to Paul Thomas Anderson. There Will Be Blood is my favourite film of all time. From a visual storytelling perspective, it’s immaculate. My first question would probably be, “How did you get the budget to do this?”

    Shot by Alex for 4thArq at Coal Lane House

    FINDING INSPIRATION

    Where are you finding inspiration at the moment?

    I’m editing a shoot right now, and I’ve never seen Dublin look more like continental Europe, maybe even a bit like New York. I’ve been away so long that I’m seeing it differently.

    I’d also been watching a lot of films before that shoot, which definitely influenced how I approached it. Photography goes in peaks and troughs. Sometimes you’re uninspired, and then suddenly something clicks and you’re back in it.

    Even though I can’t shoot exactly like Terrence Malick, his visual storytelling still influences me. He uses natural light so beautifully, and I try to think the same way: how can I use the light that exists right now to tell a story?

    Any recent films that inspired you?

    One Battle After Another. Visually, it’s fascinating, more storytelling-driven than visual, but still cinematic.
    There were evening scenes that just made me think, that’s incredible camera work.

    I’m a nightmare to go to the cinema with because I’ll point out the lighting in a corner, and my wife’s like, “It’s just a corner.” But everything in a film is intentional. When it’s done right, it completely transports you.

    When you’re creating for yourself rather than someone else, that’s when your true creative stamp comes through.

    “Everything in a film is intentional. When it’s done right, it completely transports you.”

    Shot by Alex with model Joanna Cooper at Coal Lane House


    ON LOCATIONS AND LIGHT

    When scouting or choosing a location, what do you look for that others might miss?

    It depends on the brand, but I look for minimal distractions: clean, simple spaces with interesting textures and light. I like settings that absorb or reflect light in a subtle way. I keep a running list of scouted spots. When a project comes in, I match the brand, model, and wardrobe to the right location.

    Ultimately, light is everything. Keeping the frame clean lets the garment and model remain the focus.

    Can you think of a shoot where the location completely changed the concept?

    Definitely. My first accidental cover shoot. We were at a Dublin hotel, shooting in one of their luxury suites, but it wasn’t working. The light was off, the energy was flat.

    Then I walked into the bathroom: marble everywhere, glass shower, gold taps, huge mirrors. Perfect.

    We ended up shooting six or eight looks in that one bathroom. It was supposed to be a simple four-page hair story, but the editor came in and said, “This is a full fashion shoot.”

    One of those shots became the cover; the model perched on the sink in a huge blue dress, looking fierce. That location changed everything. You have to be able to adapt and trust your instincts when something isn’t working. That’s something that comes with experience too.

    Shot by Alex for 4thArq at Coal Lane House

    When has a location become another character in the story?

    Coal Lane House, without a doubt. You could shoot there every day and never get the same result.

    The first time I shot there was during the pandemic with Joanna Cooper’s brand. She couldn’t travel, so a friend connected me with the owner of this newly finished house: raw concrete, minimalist, beautiful light.

    We sat on the photos for months because we knew the place would blow up once people saw it. Now, it’s been shot dozens of times, probably half by me.

    What makes it special is how the light moves through it throughout the year. It transforms constantly, which keeps it inspiring.

    “There are three essentials in fashion photography: location, styling, and model. If you get those right, you could take a terrible photo but you’ll get somewhere. If you have a poor location, good style, and good model, the location could end up being so distracting.“

    Shot by Alex for Benetti Menswear at Coal Lane House

    INSIDE THE CREATIVE PROCESS

    Walk us through your thought process when you first step into a space.

    The first thing I ask is, “Where’s the light?”
    I use an app called Sun Surveyor to track it and see where it’ll hit in an hour, because that’s usually when the model’s ready.

    I plan around that, but I also like working on the fly. I’ll ask the space owner when the light is best, then structure the day around it.

    My dream location? A villa in Mallorca with Danish minimalist interiors and Moroccan warmth: soft orange walls, wood, cream furniture, sunlight from every direction. Minimal, warm, and distraction-free. That’s my idea of perfection.

    What advice would you give to someone starting out in photography?

    Go somewhere new. Changing your environment changes how you see light.
    When you get there, reach out to an agency and ask to shoot with a model for an hour. No styling, no pressure. Just practice in a new space and rediscover what you love about photography.

    And don’t over light. That’s my main thing. Don’t point a light at a model, point it away.

    EVOLVING WITH SPACE

    How has your relationship with environment changed over your career?

    Massively. I started out shooting against graffiti walls because I thought they looked cool. Looking back, they were awful.

    With time, I’ve realised simplicity is key. Clean, quiet environments let the model and story breathe. That’s what I love about spaces like Coal Lane House: every photographer sees it differently, and the results vary wildly.

    The older I get, the more I’m drawn to gentle, natural images where I can just follow someone through a space, let them unfold. Lighting is still a challenge, but it’s also what keeps me learning. A day where the sun is too strong can ruin everything; summer is hard to shoot in because there’s a misunderstanding that you can shoot all day, but you can’t.

    I’ve even started planning retreats for photographers who are ready to level up creatively. It’s about finding that spark again and pushing yourself to the next stage. (Keep an eye on Alex’s instagram for more information – @alexhutch)


    GET IN TOUCH

    Do you want access to location creatives who will help you scout and find the perfect location for your next project? Email us at hello@soscout.com

    Below: Shot by Alex for Benetti Menswear at Coal Lane House

  • SOSCOUT SESSIONS // Episode #1 – Producer Gavin Thornberry from Bad Coyote

    SOSCOUT SESSIONS // Episode #1 – Producer Gavin Thornberry from Bad Coyote

    BEHIND THE SHOOT: HOW PRODUCER GAVIN THORNBERRY TURNS LOCATIONS INTO STORYTELLING POWERHOUSES

    For producer Gavin Thornberry of Bad Coyote, creativity happens on a foundation of solid logistics – the schedule, the load-in, the layout of a room. His work includes projects for Electric Ireland and other brands that have filmed at SoScout locations. We sat down with Gavin to talk inspiration, problem-solving, and why the right location can completely transform a project.

    DINNER WITH A CREATIVE GENIUS

    “If I could pick anyone’s brain, it’d be Christopher Nolan,” Gavin says. “He’s so involved across every element of his productions, not just directing.”

    What he’d want to know most? Regardless of budget, what’s the one problem that always comes up – and how does he solve it?

     “Producing is all about problem-solving,” he adds. “As Clint Eastwood says, things are going to go wrong; it’s how you react when they do.”

    SYSTEMISING INSPIRATION

    This year, Gavin completely overhauled how he collects inspiration.

    “I used to have links scattered across Vimeo, Instagram, LinkedIn – everywhere. Now I track everything in a Notion database. I can tag content by client or theme, so when a new brief lands, I can instantly pull ideas I’ve saved over the past year. It’s made my process so much faster and more intentional.”

    (Note from the Scouts – Austin Kleon wrote about an analogue version of this, referencing Twyla Tharp’s The Creative Habit – link)

    WHEN A LOCATION CHANGES EVERYTHING

    One standout example was The Dublin Terrace.

    “The client wanted a series of POV shots from inside appliances. We thought we’d have to use a green screen for some shots. But after some testing, chopping pots and pans with an angle grinder, with our DP, Callum Murphy, in my home kitchen we realised we could pull it off practically.

    “When we recced The Dublin Terrace, everything lined up – dishwasher, washing machine, oven – all perfectly placed. We shot the whole thing in one day without a need for any green screen setups. The lighting from Conor McGuinness tied it together beautifully. That house made the production.”

    WHEN THE LOCATION BECOMES A CHARACTER

    Last year’s shoot with Zoo. for ESB and Science Blast needed a school – a challenge in itself.

    “My wife’s a teacher, so she asked her principal if we could use their building. It’s over a hundred years old, and the room looked incredible on camera,” Gavin says. “David Christopher Lynch, our DP, set up the shots and it immediately felt real – we didn’t have to ‘sell’ it as a school.

    “When a location is perfect, nobody notices, but it adds so much authenticity. Aoife and Michelle from Zoo., our art and creative directors, elevated it even further. It was my favourite-looking shoot of the year.”

    PRECISION, PLANNING, AND THE MYTH OF ‘ON-TIME BY LUCK’

    Bad Coyote has a reputation for smooth productions – and Gavin is quick to point out it’s not by chance.

    “We always wrap on time or early – and it’s not luck. It’s planning. People don’t realise how much goes into that: the load-in, the meal breaks, even pre-ordering coffee. On one Monday shoot, I had everyone’s coffee and lunch picked on Friday. No time wasted, no interruptions. That’s my creative process – the numbers, the figures, the timelines. That way the creatives, the DP, the gaffer etc can do their job properly.”

    He laughs: “I’ve always been on time. If I’m late, my mates assume something’s seriously wrong.”

    BEYOND THE BOARDROOM: USING LOCATIONS TO TELL STORIES

    Helping clients see a location as more than just a backdrop is a big part of Gavin’s role.
    “It’s about pushing them past the obvious. The dreaded ‘boardroom shot’ comes up all the time – huge mahogany table, no flexibility. That’s why recces are vital.”

    He recalls a shoot interviewing apprentice electricians:
    “The client suggested filming in an office, but we pushed for the workshop. It was colder, sure, but visually it made sense – they were talking about their craft, surrounded by transformers and tools. It sold the story instantly.”

    THINKING ABOUT LOCATION EARLY

    “For me, location talk starts on the first call. What should it look like? What’s the budget? The backdrop can make or break a shoot.”

    Gavin often brainstorms with clients live on calls, sometimes pulling options straight from SoScout’s platform.

    “On the Electric Ireland Superhomes project, the brief called for a New York-style loft – not easy to find in Dublin. Then The Meeting House appeared on SoScout’s newsletter. I sent the link with two words: ‘maybe this.’ That was it. We picked the location before scripts or crew were finalised because it was just perfect.”

    SCOUTING LIKE A PRODUCER

    When translating a brief into spatial needs, Gavin looks for flexibility and practicality.
    “Can we shoot multiple setups in one space? Is there a green room? Parking? Food nearby? You can’t underestimate those things.”

    He shares one cautionary tale:
    “On a recent project we didn’t get a recce – no street parking, three flights of stairs, no lift. Sixty minutes just to carry gear up. Compare that to the Electric Ireland Super Homes shoot – easy access, lift straight up, perfect day. David Christopher Lynch taught me early that a bad load-in can break a day.”

    And creatively? “Location choice really clicks once the script or storyboard’s locked. If things are open-ended, I’ll show clients three very different options to get ideas flowing.”

    ADVICE FOR ANYONE STARTING OUT

    “I’ve got two pieces of advice,” he says.
    “First, be sound. This job’s supposed to be fun. Clients don’t get to be on set often – help them enjoy it. No egos.”

    “Second, expect things to go wrong. They always do. What matters is how you react.”

    And for more established producers, he has this piece of advice:

    “Trust your freelancers. Don’t micromanage – that’s why you hired them.”


    READY TO FIND YOUR PERFECT SHOOT SPACE?

    If you’re planning your next production and want to see what’s possible when the right location meets the right idea – get in touch with our Scouts.

    We’re your location creatives unlocking the doors to previously inaccessible spaces for film, TV, PR, and content production – helping bring your vision to life.

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