In 2007, Director Zack Snyder hired Clay to document his film adaptation of Watchmen for Warner Brothers. That effort resulted in Watchmen Portraits, exclusively dedicated to 220 on-set Streetstudio-style portraits made during production. Covers of Entertainment Weekly and Empire Magazine have featured that work as well. In 2009, Clay returned to Snyder's team to document the filming of Sucker Punch and again in 2012 for Man of Steel and 300: Rise of an Empire.
How did you get involved with this project?
I have worked with Zack Snyder and his remarkably talented team since Watchmen. I think he knows that my efforts go beyond standard publicity images and lend themselves well for the behind-the-scenes books he and his folks love to make.
What do you particularly look for when shooting set photography projects?
The set is a tricky place to make photographs. The best composition is almost always privileged for the movie camera. They’re making a movie after all. So, I simply try to make an image that evokes the film from my perspective. I also love the fact that while the camera only rolls for a small amount of time, my responsibilities extend far beyond the narrative. I have an all-access pass to the entire production and I revel in the amazing amount of coordination and talent that gets assembled under the banner of moviemaking. Shooting in that environment is a treat. There’s so much to see and engage with beyond just the set and the moments between “Action!” and “Cut!”