You can be on the monkey bars or on your butt at the bottom of the slide. [2] She started working from the pilot episode, and the photos taken by her were part of publicity articles or reviews of episodes related to promotional portraits of artists or the scenes of the film series. This book feels strange. How lucky we all were! HBO has released the first images from the upcoming season eight of the fantasy drama “Game of Thrones.” They’re wonderful and they’re what drives the show. I looked at the actors and artists who have shaped my craft. I feel like anything I look at that seems interesting, I have to shoot it. You can’t think like that. I don’t know what’s around the corner. I get to work with every single department. The next week we could be on top of a glacier at 5 a.m. in minus 25 degrees and gale force winds. It was pretty cool when she had those reactions. I’m so close to all the images - it’s almost impossible for me to choose. I always wanted to run up to people and say, “That’s my photograph!” But I had to kind of distance myself from it a little bit because it felt so strange. Sloan is from Belfast in Northern Ireland, where the HBO show's main headquarters have been since its first pilot — the one directed by Tom McCarthy that would later be redone — was shot in 2009. But in the end it had to be The Throne. I decided to light Clapton’s costumes like they were a piece of art. Where can people find your work next?I’ve had a few fairly exciting phone calls where you hang up the phone and go, “Oh my god, did that really happen?” There’s been a few of those, but no contracts yet. When working on the show throughout the years, as it grew into this phenomenon, how did that impact your work on set?There were little moments I think maybe around Season 3 where I had the fear. I looked at the actors and artists who have shaped my craft. However, I loved all the frozen lake costumes. They’re wonderful and they’re what drives the show. Astounding work. Then you just got to go round and climb up again. What are your interactions with the cast and other departments like?“Game of Thrones” is different than any other job because there’s a lot of people who’ve been there like myself from the very beginning, and it sounds like cheesy PR spin but it’s not, we really became a big family. Are people going to be looking for specific show moments? And the strange thing is, my brain seems to have a recall on them all. I think with modern digital technology there’s a real feeling that you’re never up to date with everything, and I think you can’t be. Each photograph is a moment of the show in itself and a moment with the cast and on set. What did you love most about working on the show and do you have any personal favorite images? All my favorite photographs are in there, and I wrote about my experience on set. I think most artists have this creeping self-doubt that comes in. The advice I always give to myself is don’t sweat it. Sloan was the principal stills photographer for Game of Thrones throughout its entire historic run from 2011-2019. It’s getting so big. Then she studied at the Belfast College of Art and Design and graduated with a degree in Fine and Applied Art. As I looked through the crew photos and saw all the faces of the crew who have become family to me. I think with modern digital technology there’s a real feeling that you’re never up to date with everything, and I think you can’t be. I think the best thing to do in that situation is to just tell someone that you’re feeling like that, and then someone else turns around and says, “I feel like that, too, but if they don’t like you, you wouldn’t be here. Is it going to be photographers? Watching the show evolve. What do people not know about that process? Just be flexible and learn to live with that way of being and just keep doing what you love doing. Approximately how many photos did you take over the entire course of the show? I’ve got free roam through the workshops. Design, dyeing, ageing, breakdown, patterning, cutting, sewing, finishing, embellishing, metalwork, armour, weapons, dressing… I’m quite sure I’ve missed something, but each one of those things are done by a team. Amazing. It still feels strange, I’ll be honest. I think it’s cool to have been part of one of TV’s lovely little secrets. I feel like anything I look at that seems interesting, I have to shoot it. READ: Speaking a Fictional Language on Camera? It’s handsomely presented in a deluxe 9.75×13 inch format and also offers a foreword from Game of Thrones showrunners David Benioff and D. B. Weiss in which they praise Sloan’s ability to capture iconic snapshots and call her “our very own Sloan Ranger.”. What struck you as most surprising after going back through 8 seasons of photos for this book? We are just like a big bunch of artists making something. [1] She is an Irish member of the Society of Motion Picture Still Photographers (SMPSP) and is the first Irish person to work from Los Angeles. [4], The portrait pictures she had taken of circus artists attracted a movie producer who offered her a job on the sets of a horror movie. “Going through hundreds of thousands of images in a short space of time is really quite a feat of endurance and focus,” Sloan tells Inverse. Being a stills photographer’s awesome. It was really an epiphany moment. This book feels strange. We might be shooting a nice scene of everyone milling around Winterfell in the pretty fake snow, or we could be on 55 consecutive night shoots in a muddy freezing field in the middle of nowhere setting people on fire. You just have to try and do a nice fair, wide-ranging [collection]. I’ll never say a word! This is the job of my life. I also started to realize the huge impact the show had on my life as I looked through the crew photos and saw all the faces of the crew who have become family to me. But even before this assignment she had worked for a newspaper in Ballymena in County Antrim for a short period learning the skills of developing films, cleaning, and printing. You can see all the detail work in Michele’s book, The costumes of Game of Thrones. It’s not linear. She started all the trouble after all! Like art on an industrial scale. And the posters, too—I get to put up a little studio in the corner and take them in there to do the posters. I think people think the cast are in a glass bubble over there, but [they’re] not. Right down to the tiniest little embroidery details by Michele Carragher. It’s 10 years of people’s lives, and a lot happens in 10 years. It grew organically, but in terms of on a day-to-day basis, it was amazing and it doesn’t happen very much, but they let me do my own thing. ‘Game of Thrones’ Production Designer Reveals How She Helped Create the Series’ Expansive World, Speaking a Fictional Language on Camera? It’s so up and down and round the corner. When we were shooting Wolf and Dragon units - I would read the “sides” for those days, and the call sheets and decide which scenes were going to give us the best value. Often my assistant Trevor would be relaying info to me from the other set and standing by… but sometimes we had both units shooting in one studio, and those days were great! I learned some new clever little trick every day. Then when I would deliver the shots to Vicky, the photo producer in New York, she was always like “OH MY GODDDD” because of course she was working remotely in NYC and not on set with me. In your opinion, who had the best fashion on Game of Thrones? The images are in a vault! Well that’s hard to say because everything Michelle Clapton designed was amazing. It’s like thousands of photos every day. For me it’s pretty intense because each image comes with a set of additional memories. So I’m constantly shooting. [2] She held an exhibition of her "on-set photography" in May 2016 under the auspices of AP and Nikon School in London, of her still photographs taken for the HBO’s series.

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