In Focus: On Set of Sex Education with Stills Photographer Thomas Wood

Stills photographer Thomas Wood shares how to break into the industry and what a day on set looks like.

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Urth HQ

Photography By

Thomas Wood

With an initial focus on live music and editorial, London-based photographer Thomas Elliott Wood’s career has seen him take portraits of globally beloved icon Sir David Attenborough and season one protagonist of Bridgerton Phoebe Dynevor. Most recently redirecting his career to focus on the less-talked-about niche of unit stills, Thomas is now more often found discreetly capturing scenes on film sets like Sex Education and The Long Shadow. He shares with Urth Magazine how and why he transitioned to stills photography, sharing industry insights; from how to break in, the gear he can’t work without and what a day on set looks like.

Above

Ncuti Gatwa and Asa Butterfield, Sex Education. (© Thomas Wood, Netflix)

Left

Mimi Keene, Asa Butterfield: Photo (© Thomas Wood, Netflix)

Right

On the set of Sex Education (© Thomas Wood, Netflix)

Left

Mimi Keene, Asa Butterfield: Photo (© Thomas Wood, Netflix)

Right

On the set of Sex Education (© Thomas Wood, Netflix)

Urth

Stills Photography is a pretty niche industry, can you tell us how you got into it and share a bit about what a day on set looks like?

Thomas

Stills photography was very much a ‘post Covid’ change of direction. Prior to this I mainly worked in live music, touring and editorial portraiture. I’d caught wind of stills photography during the pandemic and was interested to find a way in. I was lucky enough to spot a friend directing a short film (Fifty Four-Days), a couple of DM’s later and I was working on my first project as a stills photographer.

A day on set is always very similar. Before I get to set I’ll be briefed by the publicity or production company on whether there are any specific images they’re looking for, a specific scene that needs to be shot or if they need a portrait of a certain cast member so I usually know what my day looks like. I’ll also get the call sheet the day before so I know what scenes are being filmed and the locations and sets, which helps me decide what kit I need to have with me.

CPL Polarizing Filter Plus+

“My Urth CPL filters, [are] a game changer when on set and having to deal with reflections. There is no way I could shoot a car scene or through a window without them.”

— Thomas Wood

Above

Asa Butterfield, Mimi Keene on set of Sex Education. (© Thomas Wood, Netflix)

Urth

For people that don’t know what a stills photographer is, what do they do and why?

Thomas

Our job is to take images that best represent the production you’re working on, shooting the scene as it happens for publicity use. We’re often labelled as ‘behind the scenes’ photographers when in actual fact, BTS content probably makes up only twenty percent of my images from the set.

A main goal is to go unnoticed on set, you need to be able to take the best images whilst being as discreet as possible, a combination of the right equipment and tact. More often than not you’re squeezed into a tight spot next to the camera or have to be inventive and find your own nook on set to avoid the eyeliner of actors.

I’ll sometimes be tasked to take more set up ‘pull aside’ portraits of actors. These might be shot in a dedicated studio on set, or I’ll liaise with the art direction team and shoot in a window between takes. Both the unit stills and these portraits are essential to the publicity and marketing of the TV programme or film and get used across social media, posters, billboards and magazines to name a few.

Left

On the set of Sex Education (© Thomas Wood, Netflix)

Right

On the set of Sex Education (© Thomas Wood, Netflix)

Left

On the set of Sex Education (© Thomas Wood, Netflix)

Right

On the set of Sex Education (© Thomas Wood, Netflix)

“Working on a production like Sex Ed made me realise how close-nit the film community is — you realise you’re part of a bigger team and that pressure goes away.”

— Thomas Wood

Above

Gillian Anderson and Asa Butterfield, Sex Education. (© Thomas Wood, Netflix)

Above

Dan Levy and Emma Mackey, Sex Education. (© Thomas Wood, Netflix)

Urth

How do you approach portraits vs films stills?

Thomas

The approach is similar as I’ve always been mindful of lighting and composition, even when on set I’ll keep an eye on lighting conditions away from the scene and plot some locations if the need to take a portrait arises.

Film stills is much more documentary style and focused on composition and framing the actors, as opposed to portraits where you have to control every element affecting the image. I’m capturing what is already created and always feel very lucky to have great lighting, actors, sets, makeup and costume all in-front of my lens.

Urth

What gear could you not work without and why?

Thomas

I absolutely couldn’t do my job without my mirrorless Sony’s. The ability to shoot silently on set is essential. Before mirrorless you had to use a huge blimp case to muffle the sound of your shutter, I’m very glad to have come into the industry when I have. Second to these would be my Urth CPL filters, a game changer when on set and having to deal with reflections. There is no way I could shoot a car scene or through a window without them.

Urth

What were your favourite parts of working on Sex Education and what did you learn from that set?

Thomas

The sets! This was my first time working on a production that was filmed in a studio. Being able to visit and photograph these well known and incredibly detailed sets was a real privilege.

There was pressure going into an already well established and loved programme. My first day on set I was asked to capture a portrait of Otis (Asa Butterfield) and Ruby (Mimi Keene) in the Milburn living room for a first look announcement for the new series. When you’re there and everyone comes together to help you get the shot, you realise you’re part of a bigger team and that pressure goes away. Working on a production like Sex Ed made me realise how close-nit the film community is.

If I could impart one bit of advice to other stills photographers it would be to network, don’t be afraid to ask for help. I’ve quickly learnt that the film stills community is very open and there’s always someone who can answer your questions.