Monday, 23 January 2012

Last Nights Victory.

My first shoot of 2012 was with the lovely lads in Last Nights Victory. I headed up to Cheltenham to shoot them live in early December and I have to say; it was pretty awesome. The guys are so passionate about what they do, & damn good at it. I also loved watching the guys play, hear their music live before even sitting down and talking about promos - I got to know them on a basis of what they musically are about above anything.

Joe, drummer has a lovely vintage Ford Cortina which is pretty much his baby. The car is utterly gorgeous & I was even treated to a ride in it to the location!





There's something so stylish but simple about that car! Even though it was clear, January sunlight is kinda sparse so it really makes everything pop. Joe also kindly said I can use the car in future, which I am SO excited for!


Be sure to check the guy's music out over on Facebook & give them a like!

Check out better res images over on Flickr
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Friday, 23 December 2011

Advanced Photographer Jan 2012 Publication


Already a fantastic start to 2012 sees a publication in Advanced Photographer Magazine, Jan 2012 issue!
I was featured in the 'Photo Projects' Article with some images from my 365 project that ran from 2009-2010 with a small interview also.

It was a complete honour to be published in the magazine and alongside some fantastic photographers who make my 365 creativity look so feminine in comparison!
If you are thinking about starting up a 365 project, or even a 52 one then definitely grab a copy of the magazine for some top tips and inspirations.

I can'r recommend a 365/52 project enough, and the start of the year is a fantastic time to start up - if you are starting one, then feel free to e-mail/message/comment your URL link and I'll be sure to keep up with your progress!

Here's the featured images below;


Thursday, 15 December 2011

The Bath Magazine Publication, Dec 2011

A week before Christmas and what a lovely time to release some Christmas interior spreads!
I really enjoy working with the team over at The Bath Magazine, and this shoot was one of my favourite. We were invited into a £1.4million pound house to decorate for a lovely festive spread.

Johanne from Passion supplied the gorgeous flowers, where she had made up some fresh ideas for Christmas decorations than the traditional!








I adore the festive berry colours, the roses and the plums mixed with green, and the pine cone idea - wrapped in ribbon, so simple yet beautiful!

Wishing you all a lovely warm & Happy Christmas...

Tuesday, 13 December 2011

My Street Chic Disco Fabulous with Bank

My Street Chic collaborated with Bank to create some fantastic Disco Fabulous looks ready for the Christmas party season!
The MyStreetChic fashion ambassadors modelled for us, with make up & hair by the lovely Petra Costello, Grace Kinsgley & Camilla Jefferies
Styling by Sian Hogan & Gina Dyer of My Street Chic

With thanks to Revolutions Bath for the location













Lovely looks with gorgeous girls! Search for the outfits on the My Street Chic site here

Monday, 21 November 2011

Room 3 Agency for Motel

On my previous post I blogged about shooting with Will from Room 3 - on the same day I shot with 3 more girls from Room 3 for a small shoot for Motel.

Models; Annabel, Gemita & Fran
Make-up & Hair by Louise Drew




 
A few other shots that didn't go into the series but I adore;






Gorgeous clothes available at Motel and images available to see on my Portfolio Site & Facebook Page

Friday, 11 November 2011

Lighting on Location.

I asked over on my Facebook page what kind of extra things people want me to blog about; the most popular being Lighting on Location.

I've only really started working on location at the start of Spring because it's quite out of my comfort zone to begin with; it's unpredictable, completely unique to the environment and I've not had much experience with it except self portraits.
The number one thing I hate in the world is shooting in a situation where I'm not prepared, so I decided to just go for it. Experience is experience!

I really don't get on well with using flashguns/speedlights on location so I don't. I use my Bowens studio lights with a Travelpak on location if I need extra light - they're much heavier/bigger and generally a bigger pain but my rule is that I need to feel comfortable shooting so if it means it takes me twice as long to ferry my kit so be it.
My general way of lighting is natural 98% of the time, so I'll focus on that for now.

The Sun is your Strobe.

The weather certainly plays a huge effect if you shoot on location; The most important even. The sun is your light source, your main light, so the way the weather clouds or covers it can affect it. I tend not to worry about it unless it's blazing sunlight (which can be awful) but remember a reflector is your best friend, regardless if you shoot with natural light or not. It helps throw light back into the image and can make such a difference.

The shots of Victoria below were shot on an overcast day. Through the location there was pockets of light which is where we shot - of course you shoot accordingly to perhaps over-expose a little to make it feel a little brighter.




The shot of Victoria above was a little harder - we needed her to be lying in a shallow enough part of the river so she could float but also needed her facing with the sun falling onto her face.
I didn't use a reflector here because I couldn't with just me & the model in the water, however the fabric in the water acted as a good pop onto her face. This can work for anything - a wall can be a reflector, or a white top, improvisation is key.

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On my editorial with Lucy we shot on a fairly intensely warm & bright sunny day with literally no cloud coverage which was quite a test.
With the first shot below, Lucy faced into the sunlight with her body but her face facing away to avoid the dark circles under her eyes the sun would create with it being so high.
You can see the dark shadow in her eyes here slightly, although I'd only work it with an image full length instead of close up to not emphasise it.


With this shot here it worked completely in our favour with the rock facing towards the sunlight so with the right angle of her face the sun acted as a lovely huge soft box.
I find it easier sometimes to pretend the sun is my studio light in the way it's positioned - it can help you plan a little more sometimes.

The shot of Lucy below was taken face forward so we didn't want her facing the sun, getting a lovely squint so having the sun to the side of her helped get enough fill on one side and light her right side, so here the sun acted as if I had a studio light to the left hand side facing directly at Lucy, with fall off lighting the rest of her.


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The shots below were all taken on an overcast day again and the first image of Fran is shot against the sun, with the lens positioned in a way to create flare; it was mostly in camera settings that got the exposure a little under exposed (to avoid burnt out highlights) with the rest done post-processing.

I think this image of Fran is one of the easiest examples anyone can try; over cast sunlight, model facing towards the sun with a reflector under her face (helps pop a catch light in the eye)


 With Annabel here, we tried something a little different but doing the same as the above but using the golden side of the reflector which adds a warm glow to the skin. Not my usual style but I quite liked the pop of colour warming her face up.


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I find that the weather can certainly change the feel of a location shoot; When I went up to London to shoot with Joanna (below) we got extremely lucky the sun was gorgeous and warm - I guess you have to be vigilant with the weather and have a back-up plan.




The two images of Joanna above I found happened to be move about MY positioning around hers. The first image by the water was more integral about positioning her to get the light on her face and then for myself to get into an angle to replicate how the sun fell - i.e lead on the floor - if I'd have shot above her face then it wouldn't have worked whatsoever.

The last image of Joanna was down to my positioning for the lighting. The sun fell in a lovely pocket where she stood but I wanted no shadow on her face, so I stood lower than her (advantage of being petite!)  and got her to look into the sunlight directly, opening her eye to catch a catchlight and point her face level with it.
It takes a good model to avoid squinting!

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This is just *my* way of shooting - there is no wrong or right way, but just some advice on my experiences of shooting outside.
If there's any questions/ideas for future blog/anything anyone wants to know then feel free to get in contact!



Thursday, 15 September 2011

To Degree, or not to Degree?

It's been exactly a year since I didn't go back to Uni to complete my Foundation degree in Professional Photography.

To brief *my* situation - I had to find somewhere to take my final year to get my BA degree.
I applied to two Uni's - Gloucester Uni & UWE, with Gloucester stopping halfway through my interview and telling me, 'I honestly cannot offer you anything more, go and start up your own business' and UWE telling me my Portfolio was 'too commercial'.
Two opinion, poles apart.

There are both pro's & con's to University, I also think it depends on what kind of person you are.
Please bear in mind these are only *my* opinions on *my* experiences.

Pro's

- You learn.
I know we are technically learning all the time, however having someone stand up and tell you is a different experience. Having someone there to answer questions, and show you the theory is also a great plus, also Lecturers that specialise in Photography 99.9% of the time are at least a very enthusiastic amateur or have been a practising freelance Photographer. This adds to the fact that they can teach you things based on their own experiences, which is always priceless knowledge as we all know theory doesn't always work when put into practise.

- You have equipment to play with.
Photography is an expensive career/hobby choice. Being able to use such things as better DSLR's, Medium  Format Film cameras, Studio lights & Space, Film developing rooms is like gold dust.
In my second year at Uni I practically lived in the Studio's there. It costs you nothing, and you can really familiarise yourself with how a studio works, what lighting modifiers do what, and how to generally *work* in a studio.

- You learn Film.
Most people will disagree with this, but I found it really taught me the foundation of Photography. You can't take 60 images and tweak each one, you really have to think about your exposure, your composition to nail that shot. It's a pretty invaluable skill I think, and if you apply it digitally you won't waste time 'chimping' away.

- You meet people who have the same interest.
This sounds kind of stupid - sometimes I show my friends the creative work I'd done and they just looked back at me, kind of confused. I'd show the rest of my class, and they'd totally get it. If you have a creative eye, and you are surrounded by people similar, you embrace that. You experiment more because they are on the same wavelength as you. Those people will influence you more than you realise.

Con's

- The cost.
Tuition fee's are crazy expensive, especially from what I experienced in Uni, it was a waste. I had awesome tutors, but there is so much stuff for the Exam Board that is unrelated. We spent more time doing 'visual workbooks' than shooting. We had to draw/explain/influence what/how/why we were doing certain things. I used my student loan to buy my studio lights & modifiers, a backdrop, and most recently the rest of it to upgrade my DSLR. I got more out of that than I did the amount I paid for my course.

- There is no 'wrong' in Photography.
Technically - there is no wrong. You can over/under expose, you can be out of focus, have wonky composition and these days, that's perfectly acceptable. It's a form of Art so it's dependant on it's viewer to make the judgement.
One of my tutors was a Portrait Photographer, the other a Street/Documentary Photographer - both poles apart in what they liked & disliked. This made it nigh on impossible to please both, which I had to do because both of them would mark my work. One would give me a distinction and the other would fail me. I understand in Degree's such as Law, where the answer can either be Yes or No, but Art as a subject is so broad it's generally a 'Maybe."

- You learn things you will not ever use again.
I know I said as a Pro, you learn Film. Some will disagree, but as I said, this is just my view. I found that I spent so many seminars not actually ever learning anything of use to being a practising Photographer. We'd watch slideshows on Age old photographers & Art movements. Granted - I found a lot of Photographers I look up to, but more so I can barely remember the name of any of the people mentioned. 

- No Business Education.
Some courses may teach you the business side of things, my course didn't. Not once did we really have any information on setting up a business, aside from a booklet from the A-level centre. 
I think I can safely assume that 98% of people taking a degree in Photography will want a career & business out of it, so why do we never get taught HOW to do that?

- The Internet.
We pretty much live on the Internet these days, so why can't we learn from it? I learnt SO much from Zack Arias, a US Photographer who does Live seminars. I also learnt most of my Photoshop skills from YouTube. 
Aside from that, Books are super cheap on the Internet, I have several books from 'Posing techniques' to 'Lighting for idiots' that I've learnt more. Those kind of resources allow you to learn what you want to learn.

- Proof.
I don't think anyone I've known Photography wise has ever gotten a job because they did a degree. Photography is a visual art and your Portfolio speaks 1000% words.
If there was competition for a job, and one person has a Degree + a mediocre Portfolio whereas the other person has no degree, but a fantastic Portfolio, who do you think will get the job? The person that has the art down to magical images, or the person that KNOWS how to do it, but is alright at it?


I firmly believe the best thing that ever happened to my career was being denied access to Uni. I know what works for me, and I can choose how fast or how slow I want my career to progress.
If anyone is starting a Photography Degree, I don't want to scare you off! Remember that what you put in, you get out, and your experience may be opposite to mine.

If anyone has any questions or any more requested blog posts please don't hesitate to get in contact via Facebook/E-mail :)