From a Backpack Hunt to a Creative Collaboration in the Dolomites
It started like so many nights before: me, a laptop, and an impossible quest for the perfect backpack.
Google, ChatGPT, YouTube, reviews, comparisons, the usual research spiral I fall into every time I want to buy something new. I began with the classics, Mammut and Patagonia, but curiosity pushed me further into smaller brands: Shimoda, Wandrd… and then Tropicfeel.
A modular backpack that goes from 30 to 54 liters, plus a camera cube? Exactly what I was looking for.
Easy, right? Add to cart, done.
Not quite.
As I explored Tropicfeel’s channels, I noticed something familiar: a visual language grounded in intention, thoughtful, dynamic, and purposeful storytelling. It mirrored what I search for in my own photography.
So I thought: Why just buy it? Why not try to photograph it?
I drafted an email: which products I wanted to shoot, where, and most importantly, how.
I included references, past work, and a very clear vision of the atmosphere. Because for me, a shoot doesn’t start on location. It starts with ideas.
A few emails later, the courier rang. Shelter Pro Lite backpack, ATX shoes, camera cube, it was happening.
For years, I used to leave home with a camera and a vague idea: “I’ll figure it out there.”
Most photographers do that, and most of the time, it leads to frustration.
Now, I work differently. Before every shoot, especially when working with brands, I build a moodboard.
Not just for aesthetics, but to clarify intention:
- What story do I want to tell?
- Which emotions should the images carry?
- What colors, textures, and atmospheres fit the brand?
- Which shots are essential, and where is the space for improvisation?
I do this in Apple Freeform, where everything lives together: references, typography, color palettes, movement ideas, and the storyboard for motion content.
For the Tropicfeel project, I pulled inspiration from Instagram, Pinterest, and Behance, mixing natural outdoor shots with more experimental flash photography. I wanted the images to feel raw, practical, and adventurous — the same spirit their products are built for.
And once the vision is clear, the rest becomes easier. You leave home not with a script, but with a compass.
Isabel and I shot two teaser photos in our garden: minimal, simple, enough to spark curiosity. It was surprising how much interaction they generated, and that energy fed directly back into the preparation.
It reminded me why planning matters: it builds momentum, both for the work and for the audience watching it unfold.
We left Munich on Thursday and reached Appiano that evening. Friday morning brought the usual Italian ritual: cappuccino and croissant.
The plan was to hike from Bulla to Alpe di Siusi, iconic Dolomites light, wide fields, dramatic backgrounds. Except the trail was closed because of blasting work.
The only full-sun day of the weekend… gone.
This is when moodboards save you. When you know your visual direction, you can adapt the location without losing the story.
We pivoted to Passo Sella, to the Città dei Sassi, rough boulders, scattered pines, a cinematic landscape that still fit the moodboard perfectly.
Improvisation is part of the process; planning gives you the tools to improvise without losing coherence.
We started with Isabel wearing the ATX shoes. Water was essential, these shoes dry fast, so that became the storytelling anchor.
Following the moodboard, we played with:
- Long shutter speeds for motion
- Handheld flash for surreal daylight highlights
- Contrasting textures: dry rock vs. reflective water
Small creative rules that kept the session connected to the visual intention.
Then it was my turn to model. The light blue Shelter Pro Lite paired perfectly with my Patagonia wind jacket, a color harmony we had planned earlier on the moodboard.
Isabel shot ambient frames, motion experiments, flash accents.
Even though the location change had thrown us off, the preparation kept everything consistent.
At the end of the day, we felt we had done “just okay.” But during editing, it all made sense. Thirty strong, purpose-driven images.
Planned, improvised, and refined.
We had storyboarded a few static video postcards, fixed tripod, minimal movement. We captured some, but not enough for a full edit. And that’s fine. Not every planned idea needs to survive the shoot.
I delivered the gallery to Tropicfeel.
They loved the images, not just the results but the process and the intention behind them. We’re already discussing a next project.
This whole story began with a Google search. But the real turning point was something else: taking the time to build a concept.
Photography isn’t only about finding beautiful things. It’s about knowing why you’re photographing them.
Moodboards, references, visual notes, they don’t limit creativity, they give it direction. And once that direction is clear, the story almost writes itself.
Sometimes, when you follow your curiosity with intention, the images find you before you find them.
Text by Christian Nardin
Photos by Christian Nardin & Isabel Nardin
https://www.christiannardin.com/
