When dop David Stockton and Jolly Roger director Robert Logevall shot a spot designed to draw people to the relatively unspoiled haven of Prince Edward Island, they didn’t forget to let the land’s own beauty speak for itself – sometimes the most challenging technique of all.

P.E.I. Tourism’s ‘Forget’ earned the Top Spots cinematography craft award for capturing the stunning splendor of the island, providing interesting shots without overwhelming scenes with fancy camera work.

The imagery in the ad had to back up the promise that upon visiting the island you’ll forget your quotidian concerns, like tv-watching and suit-wearing, and for Stockton, that meant capturing the natural light, landscapes and feel of the environment.

Stockton vacationed in p.e.i. as a child and says the place has a magical quality and the feel of a bygone time. ‘There is so much natural beauty in the landscape, we just looked for it,’ he says. ‘I was pleased with the subtle techniques that went into the shoot; we were successful in not overpowering the simplicity and beauty of the location with techniques. It’s hard to do that sometimes.’

Stockton has worked with Logevall for several years and calls himself a ‘huge fan.’ He credits the director in large part for the quality of the photography and for his level of preparedness when attacking a job, including thorough scouting and photographing of a location.

Stockton acknowledges that nailing the natural beauty involved simply having the patience to wait for the perfect light, which required some early morning setups, along with being prepared when conditions were optimum.

Some of the shots used motion-control shooting, and Stockton says it was a challenge setting up a motion-control track and head in a remote location. Stockton and Logevall did multiple passes for a scene at the end of the spot which features horses appearing and disappearing while being ridden across an expanse as two girls appear watching the scene. ‘It was a way to incorporate different times of day and different characters all within one shot,’ he explains.

A shot with a plane soaring overhead was accomplished with the help of a makeshift crane arm built by grips out of construction material.

An ‘underwater’ shot of floating paper was shot on dry land, with the camera placed under a Plexiglas tank and the addition of props which resembled the front of a pier.

Stockton says the natural approach was maintained through production and into post: ‘Part of the success of it was that nobody, including the colorist and the editor, overpowered the subtle beauty that was there. ‘Robert’s focus was on the power in the simplicity of the shot.’