From a childhood fascination with cameras to a celebrated career capturing the elegance of timepieces and jewelry, Darnell McCown has spent decades perfecting the art of photography. Rooted in a deep respect for visual storytelling and inspired by the masters, his work balances precision and creativity, turning each object into its own world. This approach—combining technical precision with artistic vision—has become his signature in the high-end luxury goods photography market. In this case study from his gold winning entry in the Graphis Photography Awards, Feature Images from Watches & Fine Timepieces #556, Darnell McCown shares the meticulous process behind creating striking catalog imagery that showcases both craft and ingenuity.
Case Study Written By Darnell McCown
The Brief: Creating a Flexible Photography System
Graphis has asked me to share my creative process—a frightening prospect.
Jim Wolf, the Director of Timepieces for Heritage Auctions Dallas, usually allows me the creative freedom to work out what the feature shots will look like. Here’s how I solved the challenge of photographing 20+ luxury timepieces efficiently while maintaining the photographic quality the project demands.
On this catalog, I wanted to create a simple, graphic space for the timepieces—a place for the watches to shine. First, this environment needed to work for numerous interior features in a “plug and play” manner. The idea was that the lighting and background would not change substantially as each watch was photographed in turn. Secondly, the environment needed to accommodate more unique arrangements for the cover shots—something that would incorporate the same elements used for the interior features, but in different ways. A somewhat bolder version to showcase the timepieces chosen for the covers.
Technical Setup: Equipment & Lighting Strategy
We have short deadlines, and efficiency matters. Sometimes, I have a fairly clear idea of how the pieces fit together, and sometimes it takes a little trial and error. I use Dynalite Road Max for lighting. I usually light through ¼” plex using a grid on the head and try to use only one light if possible. The camera is a Horseman view camera with a PhaseOne IQ 180 back, tethered to a Mac. A Schneider 210mm and a Rodenstock 135mm are the two lenses I use the most.
While working out the camera angle, composition, and lighting, I realized that, as part of the process, the background could be made to have two different looks with a relatively simple change to the lighting. Light the set one way, and the surface gently glows and is textured, with defined edges in the background. Light it differently, and the surroundings go dark, with a soft pool of reflection in front of the timepiece. Every watch was shot both ways.
Execution: Speed Without Sacrificing Quality
Mr. Wolf approved all the images as we went. Because some watches worked better with one background rather than the other, the decisions as to which background went with each watch were made after the photography was complete. Juan Cruz gets credit for the digital retouching. Communication between everyone involved was always positive, and the process was fluid. Four covers—front and back, inside and outside—and about twenty interior features in this book were shot in two days.
It’s nice when things seem to fall into place, and I thought the addition of the second “look” for the interior features was a bonus, as it added an extra layer of interest to the catalog without significantly increasing the workload.
I am eager to submit my latest efforts to the 2026 Graphis Photo Contest. Please look for it. I hope you’ll like it!
About Darnell McCown
I “discovered” photography when I was about 12 or 13 years old, and after that, I was seldom without a camera of some kind. Photography, for me, was always about trying to see things for what they were and to give that “something” a space of its own. I never had a darkroom of my own, nor was I ever a yearbook photographer. I poured over the works of famous photographers: Stieglitz, Steichen, Cameron, Curtis, Cartier-Bresson, Brassai, Adams, Arbus, Michaels, Winogrand, Frank…the list goes on.
A year and a half into college, I changed majors and later universities to pursue a formal education in photography. I dropped out of college but eventually went back and graduated from Texas A&M Commerce with a Bachelor of Science in Photography.
I worked the sales floor in a camera store, made some contacts, and then freelance assisted, until I was picked up as a full-time assistant. Eventually, I went out on my own. For the last 30 years, I have been working in the DFW area, in my own studio, at Fossil, and at Heritage Auctions, photographing small products, primarily jewelry and timepieces, for advertising and catalog. During that time, I have had the privilege of working with many very talented people. My photographs have been used locally, regionally, nationally, and internationally, and have been published in magazines such as InStyle, Veranda, JCK, W, Town & Country, and Vogue.
Enter the next Graphis Photography Awards here!
