Once a prototype is ready, then it’s brought to us in the photo department where we’re responsible for creating imagery that will connect that collectible with the collector. What we do is a labor of love. We want to make sure that what we’re doing is celebrating the artistry. Everyone here loves these properties, this product, and if we were to give them unenthusiastic images, it would be a crime to all the people who have put in all this hard work. Once a piece is handed to us, ready for its photoshoot, we start gathering inspiration. From printing backgrounds to helping pose the figure, coming in to make sure that the piece is looking top-notch. It’s a group effort. We have an amazing encyclopedia of knowledge here that we get to kinda tap into. So we work with the sixth scale team a lot, and they’ll be able to add either weight or character to the pose to really make it seem like it’s something that could be real. One of my favorite things that I love about my job and photographing collectibles is to create the scene. I start gathering assets to build it, so I look for the right background, the right props and pieces to build the environment with. and once I have that established, I start experimenting with the lighting. Basically, that’s where all the fun starts. The lighting alone is what can define and sculpt the prototypes. It’s what conveys the emotion, it’s what brings drama to the piece, and it’s what brings a piece to life. We want to make sure that we make these things look their absolute best. Hopefully, like, what we can do is connect them to that moment in a movie or in the comic book that, like, gives them that sense of awe all over again.