Some stories are best told on the road.

A main film, usually two to four minutes, a set of vertical cuts for socials, and a graded stills library sized for web and print.

Raw footage is available on request. Most clients do not want it, but tourism boards with an in-house team sometimes do, and it is easier to agree that up front than afterwards.

Yes, that is the whole point of sending one person. I shoot stills and video from the same days, the same light and the same brief, so the photo library matches the film and the operator has a booking page as well as a hero video.

There is no second crew, no second set of flights, and no two looks to reconcile afterwards.

Three to five shooting days is the realistic minimum for a film with any depth to it. Less than that and you are relying on the weather cooperating on the one morning you have.

A week gives you a film, a full stills library and enough vertical cuts to run socials for months, which is usually the better value even though it looks like the bigger number.

Send the brand guide, the campaign references or the last film you liked and the grade and the framing follow it. A tourism board with an existing library gets new work that sits beside it rather than against it.

With no guide yet, the destination sets the palette and I keep the whole set consistent so it reads as one body of work.

A first cut of the main film lands within three weeks of being home, with the stills library and the vertical cuts following in the same window. Longer trips take a little longer in the edit, which is agreed in the schedule before we leave.

Selects from the road can be sent during the trip when a campaign needs something live early.

It is scoped the same way as any commercial job. You get the usage your campaign needs, written into the quote.

The one thing worth flagging early is broadcast or out-of-home use, which is priced differently to web and social and is much easier to include from the start than to add later.

It gets built into the schedule rather than treated as a disaster. Trips are planned with the key shots front-loaded and alternates held for each day.

Bad weather often makes the better film anyway. A coastline in heavy cloud is more interesting than the same coastline on the same blue day everyone else shot.

Yes. The destination galleries on this page are personal work, but the same approach is what gets commissioned by operators and tourism clients.

International jobs are quoted with flights, accommodation and ground transport set out as their own lines, so you can see what is production and what is logistics.

Where the local rules allow it, and that is checked country by country before anything is packed. Some places require a permit, some ban it outright, and national parks are usually their own regime.

Where aerial is not permitted, it is dropped from the plan rather than flown quietly. It is not worth the equipment or the client's name.

Send the location, the dates you are thinking of and what the content needs to do, and I come back with a scope and a quote within a couple of days. A deposit holds the dates and the flights are booked once it is in.

Shoulder season and early planning both help, with the best light and the better fares usually sitting together.