Morgana Creely Photography

Six Outstanding Photography Tutorial Sites

2012-02-13T10:52:00.000+11:00

There are lots of fabulous photography tutorial websites out there; many more than most of us will ever have the time to follow. So here are my top six favourites.

1. Strobist.com

Run by David Hobby, Strobist.com is definitely one of the “go to” websites for anyone wanting to learn about off the camera portable flash. The wealth of information available is incredible, yet presented in friendly and manageable chunks. If you haven’t checked it out I highly recommend it.

2. Creativelive.com

I am a huge Creativelive fan. They regularly stream workshops on a wide range of photography subjects, which you can either watch live at no cost, or purchase the video files to download.

Admittedly due to time zone differences, a lot of classes start in the middle of the night for anyone like me down under; however this is a small price to pay for outstanding content.

3. Speedliting.com

Another excellent small flash resource, Syl Arena’s speedliting.com is slanted slightly towards “canonistas” but is also helpful to all small flash users in general.

This site carries lots of really helpful articles, links to manuals and a speedliting forum. Highly recommended.

4. Neil vanNiekerk - Tangents

Neil is a very talented portrait and wedding photographer who uses portable flash in his work brilliant. His blog “Tangents” is full of lot of lighting info that is relevant to many other aspects of photography.

5. DIYPhotography.net

An amazing site where contributors send in articles about their latest project or hack. Topics include building your own lights and soft boxes to cheat sheets, techniques and reviews.

6. KelbyTraining.com

I’m a big fan of this site, which has more live streaming video tutorials on photography, lighting, Photoshop etc than you can shake a stick at!

Although this is a subscription based site [USD$24.95 a month] you can also sign up for a free trial. Subscribe monthly, or just a month here and there as you need [and budget] allows. Definitely worth a look.

Have a missed your favourite site? Then please leave a comment below so I can check it out. J

Death By Beauty

2012-01-30T13:47:00.000+11:00

Back in Australia and back in the studio for my first shoot for 2012!

My usual style is quiet high contrast low key. So I decided to start the year off by stretching myself right out of my comfort zone and into high key. And what could be more so than a beauty shoot - with a twist. :)

Having a good working relationship with your model is important at every shoot, but especially when you are asking the model to do something that requires great care. Like standing in the studio with a noose around her neck.

Although the noose is not tight, is it suspended from a boom stand above, restricting movement. I am very fortuante to have a good working relationship with model and actress Jessica Hutchinson, whom I have worked with before.

Always remember the golden rule: "Look after the model". :)

The lighting was set up as a beauty shot. I used two small strip-light soft boxes to blow out the backdrop [in this case seamless paper] and a beauty dish directly in front of Jessica to give the soft wrap around light. Bounce back from the white seamless also helped to ensure Jessica was evenly lit.

The shoot was lots of fun and a great way to get back into the studio after an extended break overseas. :)

Gear Addiction

2012-01-22T17:29:00.000+11:00

"Put down that credit card and step away from the computer".

This is something I have to tell myself on a regular basis. Also known as "Gear Acquisition Syndrome". See shiny new gear - want. Not need, but definitely want.

I've always been a bit of a magpie. It's not that I think that new gear will make me a better photographer. It's the many possibilities that they represent.

My addiction extends to photography books, DVDs and online training. The later is slightly more justifiable and I think really good value. But with an already large backlog of material to read/watch it was time to make a few resolutions.

1. To sort out the gear that I just don't use and can't see myself using. Have a gear sale.

2. Don't buy any more gear until I'm using all the gear I kept.

3. Read all the books and watch all the DVDs and online training.

So far so good. I'll let you know how I go. :)

Joe McNally and keeping it all going

2012-01-11T09:28:00.000+11:00

2012 is off to a create start. Last weekend I attended the Joe McNally Location and Lighting 2 day workshop, organized by Marc Koegel and the great team at the Vancouver Photo Workshops.

Joe McNally is not only an incredibly talented photographer but also a really genuinely nice guy, very generous with his knowledge and quick with a joke.

Watching Joe work quite frankly makes my head spin a little. So many things to think about and take into consideration; Joe has been doing it so long that it seems effortless although he assures us that it's not.

One of the best parts of the workshop for me was working with the other photographers, watching them approach the same basic brief [a model shoot] from completely different angles, and sharing in their thought processes. There were definitely some incredibly talented photographers there, both experienced and new to the craft, all trying to create the image in their head.

One thing Joe said that really stuck with me is that "Photography is 90% confidence". Like any creative art, there are so many people ready to tear down your work that it's vital you have the confidence in your own work. Even if it's just to say "I'm just starting out and doing the best I can".

I look back at some of my very early work and cringe - but I knew it was the best I could do at the time. Sometimes we are so focused on how far we feel we still have to go, it's important to look back to see how far we've come.

A good start indeed. :)

A new start for 2012

2012-01-05T01:38:00.000+11:00

Apologies for lack of blog postings; traveling around Canada since early December has been really fabulous but one of the traps I always seem to fall into is losing track of days/dates.

Suddenly it's 2012 already and time to think about what I want to personally achieve in my photography for the coming year. I have a large stack of books and DVDs that I want to get through, which just isn't going to happen on it's own.

So my first goal is to dedicate one night a week to "photography study". I'm pleased with how my photography is progressing but there is still so much I want to learn.

My other major goal is to "use or lose". I do suffer a bit from "Gear Acquisition Syndrome" and have a lot of small flash modifiers and books that presently sit on the shelf collecting dust as I tend to use my favourites over and over.

Time to be brutal. I need to sort out what I use and want to keep and what needs to go. Once that's sorted I will be having a clear-out sale of all the bits and pieces that need a new home. And to make room for the new stuff that I know will eventually make it's way in. :)

I also have a new direction I'd like to go in for some of my personal projects, but more on that later when I'm a little further down the track.

Happy belated New Year everyone. :)

Joys and Challenges of Travel Photography

2011-12-19T15:38:00.000+11:00

One of the things that constantly fascinates me when I travel is how different the light is in the northern hemisphere from that in Australia. It's hard to explain. Light in the northern hemisphere is less harsh, more defused. Colours in the countryside are more saturated and deep.

The Canadian landscape challenges and frustrates me. So much beauty - how can I possible hope to capture it?

Unfortunately there are no easy answers. I mostly shoot in manual, so I've been experimenting with my camera settings - mostly shutter speed and ISO as I don't want to drop my aperture and get too shallow a depth of field.

Winter is Canada also brings with it the challenge of late sunrises and early sunsets. My camera settings at 8 am are completely different to those several hours later.

Okay so this probably sounds like pretty basic stuff; and it is. But it's also a bit like starting over again, because the rules seem to apply slightly differently here. So I shoot, chimp, bracket, shoot again. Rinse and repeat.

Which pretty much for me is a little slice of heaven... :)

Not your average postcard

2011-12-13T16:01:00.000+11:00

Traveling through the winter beauty of British Columbia, stunning scenery at every turn crying out to be photographed.

Whilst we are definitely shooting a lot of gorgeous landscapes, I'm also always on the look-out for something a little different. Last night I found a taste of it.

Several hours east of Vancouver, by day Princeton is a delightful and pretty town . By night the combination of neon and Christmas lights opens up a multitude of possibilities.

Above is a image I took of the one of the local motels. A combination of composition and aperture creates an image of something dark and mysterious [which I must stress is no reflection on this lovely establishment].

Regular readers will know that my photography tends to lean towards the darker side. I'm finding it a lot of fun to shoot both traditional travel landscapes and those a little more quirky. Not that I'm given up on shooting portraiture. As long as the image tells a story, I'm there.

I've hoping to line up a couple of model shoots later on in the trip. In the meantime I'm having a great time shooting completely out of my physical element. And picking up some great props along the way.

Just not sure how I'm going to get it all into my suitcase when I return home.... :)

Photographer's Dilemma - what to pack?

2011-12-10T02:15:00.000+11:00

As a photographer I've always found packing light a challenge, and never more so when traveling overseas. Which lenses to take, how many speedlites, batter packs, light modifiers - it all starts to add up. And whilst I was tempted to take a friends suggestion of forgoing extra clothing to make room for more gear, I decided in was probably impractical in the middle of winter. :)

So how to pack light? I started by thinking about what I was hoping to be shooting. When I'm overseas it's mostly landscapes, although I do try to get at least one or two model shoots in whilst I'm away. This year's trip to Vancouver will hopefully include a Masterclass in Location Photography and Lighting, and for this I brought a little more portable lighting that I would normally on an overseas trip.

Shooting in a very cold climate can have a very draining effects on batteries, so I brought along battery packs for my speedlights; and lots of extra batteries. Add a light weight tripod and a laptop to the list and suddenly it's all starting to add up.

It's important to know the weight restrictions of the particular airline you are traveling with, both baggage and carry one. We weighed all our bags before leaving home so we knew we were withing the limits. It also meant that I knew how much [or how little] space I had to play with if I wanted to bring anything extra pack.

If you do need to purchase anything bulky whilst away as we did [snow boots and parkas], consider freight them home - it can be a lot cheaper than paying for overweight baggage.

The other thing to consider regarding how much you take, is that you're going to have to carry it all, sometime. If I crammed as much as I could into my camera backpack, I wouldn't be able to carry it very far. Walking around town or even on location somewhere in the country you don't want to have to keep putting your bag down, or risk overbalancing when you kneel down to take a shot.

In the end I probably still packed slightly more than I'll need, even if it's not all that I wanted to. It will be a good lesson to learn - what did I really use and what was in the end just extra weight. Although sadly it will probably not stop me next time, but there's always hoping. :)

The Penitentiary

2011-11-27T15:28:00.001+11:00

I am very proud to announce the publication of "The Penitentiary" by Cristina Archer - and my first book cover commission! :)

Working with the author from the beginning was a really great experience. Cristina was familiar with my work and originally had a very different image from my portfolio in mind. However after several discussions we decided to create a new image specifically for her use.

So one cold and very damp Sunday morning found us at a local cemetery. Whilst I'd already researched the statues in the cemetery, we were also dependent on weather and the angle of the sun. Fortunately the weather Gods were smiling on us.

I shot a lot more images than needed, but I wanted to make sure that I captured exactly what the client wanted, and also to give her a choice of images.

The image is a little different from the style I usually post, and I really enjoyed shooting it. It's easy to be pigeon-holed as one type of photographer, and a lot of fun to break out.

And I definitely recommend you check out "The Penitentiary" - cover aside, it's a brilliant read. :)

Five Questions with Martin Creely

2011-11-13T13:57:00.000+11:00

I am very proud to present my interview with Motorsports photographer [and the man who inspired me to take the plunge into photography] Martin Creely. :)

1. How did you first get into photography?

My Grandfather was a documentary film maker, with a passion for traveling (and his own home cinema). As a kid I spent a lot of time hanging around his studio watching and helping out.

At some point I guess I just picked up one of the film cameras and started messing about with it. I do remember the first camera I owned, it was a Diana that leaked light like a sieve :). I still have some of the first shots I took with it.

Interestingly, in the early years, my main focus was on cinematography with ambitions to make a living as a film maker, rather than still photography, however life took me down a different path... and photography became a hobby until a few years ago when things got serious again.

2. What do you find the most challenging about shooting motorsports?

MMMM. I'd have to say logistics...

Some factors about shooting motor sports.

You need to go where the sport is, and it’s never close to home. Be prepared for a LOT of long distance driving.
Time. A shooting day generally starts around 0530 AM to get me to the track in time to get prepared. And I generally won’t be home again until 1800-1900 and then there's additional time doing post. So, an understanding partner is VITAL :).
Physical fitness. My gear weighs just over 16 lbs(8 Kgs) and I can expect to be carrying this from start to finish. You can also expect to be doing a LOT of walking. On an average shoot day I'll probably cover 6-7 Kilometres.

With a few exceptions motorsport tracks don't give you the luxury of driving to where you need to shoot from. Then there's terrain...a hill climb race is just that...:)
Weather. A good day is a gift from the deity. Generally it's either boiling hot or pelting rain or in some cases a combination of both. All of which come with their own delights and hazards.

As to the actual shooting: like any photojournalism assignment, there are big days and there are days where you just want to go home. The trouble is you can never tell what's just around the corner and a dull day can change really quickly.

You have to see everything around you and be prepared to move fast. You also need to be prepared to look for the small interesting details that the other guy hasn't spotted. Because in general you’re going to be one of many shooters all chasing the same thing. Motor sports shooting is as competitive as the racing.

Generally, the actual shooting isn't especially technical. Like any photojournalism work, the object is to the get the shot, there's no luxury of re-staging things in the heat of a race. The golden rule is BIG and FAST. Big lenses, BIG apertures, FAST shutter speeds, FAST ISO.

As with any shooting subject it's vital to have a passion and an interest in your subject. It’s important to examine the track you’re going to be working at beforehand, know the spots that give the best angles and are likely to give you good shots.

Be prepared to listen to and work with the people running the meeting. NO! does mean no, and no shots worth your life or worse, someone else's life.

3. How would you describe your ideal shoot?

Hmmm, perfect weather would be a start. It needs to be sunny, without being hot, for good exposure. At one of several tracks that I love. Friendly officials (hey, it's not always the case). Enough close racing to make for good shooting (reality is, some racing is just a procession... and that makes for dull shots). And that one great shot that makes people go "WOW"...doesn't happen often, but when it does it makes all the dull days worth it.

4. What do you know about photography now that you wish you'd known when you first started?

Media is a bitch. Getting published with any consequence is damned near impossible. There are thousands of people out there doing it better, harder and longer. Getting noticed is one thing, getting a by-line is entirely another. It’s not enough to be a good shooter; learn to write good copy and you will double your chances of a by-line.

5. What is your favourite image in your portfolio and why?

Can't say. In total I’ve shot close to 12000 frames this season...it’s too hard to pick one particular image.

A big thanks to Martin for taking his interview, and you can find more of his work at www.martincreely.com.au

Five Questions with Syl Arena

2011-10-30T08:54:00.000+11:00

I am very excited to present my interview with the irrepressible champion of Canonistas Syl Arena.. :)

1. It's great to have someone batting for Canon users; what is it about the Speedlite system that makes you so passionate?

I never took Speedlites seriously until I began to explore the synergy between digital cameras and modern Speedlites. For years, like 15 years, I shot studio strobes. My portable "field flash" was a Quantum Turbo flash. Occasionally, I'd haul generators out on location so that I could fire really big lights. Even after I made the switch to digital (around 2003), I used by Quantum and my studio strobes for several more years. Eventually, I came to understand how versatile a dedicated Speedlite system can be.

The advantages of Speedlites over larger flash include:

modularity -- you can buy them one at a time and add to your system as you have the resources
weight -- a half-dozen Speedlites weigh less than my old Quantum Turbo and it's battery...let's not even talk about how much studio packs weigh.
size -- right along with weight, size is a huge advantage of Speedlites
ETTL -- once you truly understand how to use ETTL, it's a huge advantage under many situations. The biggest problem with ETTL is that many shooters never truly learn what makes it tick, so they don't understand why it fails.
on-camera control of remote Speedlites -- Canon's Speedlite system has the ability to pull up the entire Speedlite menu on the camera LCD. You need an EX II Speedlite on a 40D or newer body. This is a huge advantage. You can put your Speedlite inside of a softbox and connect it to the hotshoe via an extra-long ETTL cord. Then you can control the whole system from the back of your camera.

2. Congratulations on your new Speedlite tutorial at Kelby Training. Are there any more in the pipeline and any chance of a stand-alone DVD?

The opportunity with Kelby Training came up after many Canonistas from around the world made the request for Canon-specific content. So thanks to everyone who let KT know that they wanted Speedliting videos. I shot two video courses with KT -- Fundamentals and Multi-lite (debuts Oct. 27).

As for a stand-alone DVD, I actually started one over two years ago! That project was sidelined by the opportunity to write the 'Speedliter's Handbook.' I'm hoping to get back to producing the DVD in early 2012. I'm just hoping that by the time I get it done that DVD will still be a format that people actually use...

3. How would you describe your ideal shoot?

I'm not sure I'll ever have an ideal shoot. One of the traits I'm most proud of is my willingness to deal with whatever comes my way during a shoot. Invariably something always comes up -- a key piece of gear was left at the studio, the light on location is different than expected, the subject has half the time or no interest in working with me...

So, I guess my ideal shoot would be one where we have exactly the gear we need (and not a kilo more), a location with just the right type of light, and a subject with whom I can build rapport instantly and who has more time than I need.

4. What do you know now about photography that you wish you'd know when you first started?

You don't have to take the ambient light the way that it comes. Use longer shutter speeds to make it appear brighter. Use shorter shutter speeds to make it appear dimmer. As smart as your cameras is, it has no idea what your vision is as a photographer. Think of the meter reading as a suggested starting point rather than the right answer.

5. What is your favourite iamge in your portfolio and why?

My favourite portfolio pic is the shot of my son, Vin, wearing the grey sweatshirt that says "Deny Everything." The light wraps around him gently as he embraces himself. He's gazing off into the sky. As a teen, his face has acne. "Deny Everything" is such a great metaphor for many aspects of being a teen. My best images are ones that send out the persona of the subject. I think this shot does that well. Of course, the fact that it's a photo of one of my three sons is also a huge part of why I love that image.

A big thank you to Syl Arena for his time and kind permission to use his images. You can find Syl at his website, at Kelby Training, at PixSylated, on Twitter, on Facebook and on the Speedliting Forum.

Five Questions with Benjamin Von Wong

2011-10-23T15:41:00.000+11:00

I am very pleased to present my interview with the very talented Montreal based photographer Benjamin Von Wong.

1. How did you first get into photography?

I spontaneously began photography in November 2007 after a girl broke up with me. I was working in a gold mine in the Nevada desert and knew that if I didn't find a new hobby I'd go insane… I looked up, saw the desert stars and decided that I wanted to try my hand at shooting them.

I headed off to Wal-mart and bought my first point and shoot only to realize that it wasn't nearly good enough and returned it, drove to the next city over and bought a Pentax K100D. At first photography was just something to do, but soon it became somewhat of a travel companion and later on a way to express myself.

2. Many of your images have a dream like quality. Is this deliberate or a natural progression of your style?

Both I suppose. I'm a dreamer and find reality quite dull. When I shoot, I try to create worlds and universes that don't quite exist.. without them being too unreal. I like the subtle touch of super-reality to images rather than the "Oh well that's clearly just photoshopped" feel to the shots which is why I try as much as possible to incorporate real world special effects into my shots (smoke, flour, snow, water, etc…)

3. How would you describe your ideal shoot?

Well, if everyone gets out of a shoot happy and I get a shot that I really like… I count it as a successful shoot. Collaborating with other artists means that you need to take into consideration how their work will be represent (makeup, hair, stylist, model, etc…) and it's important that everyone has a great time.

4. What do you know about photography now that you wish you’d known when you first started?

Hmm… interesting question… honestly, I knew so little about photography when I started out that it didn't matter. I think this is a question I'll be able to answer in 5 years since I think that as far as I'm concerned, I'm still in the "first started" phase of things… !

5. What is your favourite image in your portfolio and why?

Oh jeez… I do not think I have a favourite image in my port… each one has their own appeal and it fades with time or comes back depending on when I look at the shot. I suppose that we can look at one of my latest shots that I'm quite happy with.

What I particularly love about this image is that we don't really know what is real and what isn't. This image is composed of 3 separate shots and only after staring at it for a while do you really notice that the central figure actually has 4 arms. The Spiderwebs may look fake in some instances but they're undeniably actually present … so there's a combination of what really is and what isn't there which I think is what makes the image so interesting to stare at.

Finally, this shot was taken with a contortionist and what I find fun is that although she has a whole bunch of shots her in really crazy positions, she doesn't have any that are actually different…except this one. I love different!

Thank you to Benjanim for his time and permission to reproduce his images. You can see more of his work at his website, Facebook and Flickr and follow updates on Twitter.

What could possibily go wrong?

2011-10-16T12:28:00.000+11:00

Recently I spent an amazing three day photography weekend in the country with dear friends who are also amazing photographers.

Leaving early to avoid traffic turned out to be a really good idea. An hour out of Melbourne we turned off the main highway and found ourselves in the most glorious fog. There was no way I was going to miss shooting in that! :)

The shot above was taken on a dirt round we found on the outskirts of a small town. The ambient light was so gorgeous, all I added with my handsome model and a small prop [which I just happened to have with me]. It's definitely one of my favourite shots.

Approximately 14 hours later - same model but the shoot couldn't be more different. An evening shoot in the middle of a forest in pitch black. What could possibly go wrong?

Well to be honest there was a hell of a lot that could of gone wrong. The terrain was rough and uneven. I managed to set the tripod up next to a large hole in the ground. I was only recently off crutches, and still relying on a walking stick. Hoping any snakes or other crawlies were otherwise occupied.

But I knew I had to try to get this shot.

Focusing on the model was achieved by using a torch to light the model's face, taking a shot and then turning off auto focus. By trial and error I we were able to work out where to move the lights to get the effect I wanted.

I definitely couldn't have captured this shot without an amazingly patient model [husband and talented photographer Martin Creely] and the help of three fabulous assistants - Jeff Paine, Keith Melder and Christopher Smith - all amazing photographers in their own right. For me that was the magic of the whole weekend. We all helped each other out with different shoots - in pitch black, in the midday soon, in a freezing swimming pool and in an abandon house, just to name a few.

Sometimes you don't need to be the one calling the shots, pushing the button. Being a part of something you're passionate about, with people you care about is what really matters.

Making Connections

2011-10-03T21:23:00.001+11:00

Opening night of the "Flash Mob" at 100th Gallery. Sadly we were one down, as Jeff Paine was unable to be there in person. Although hundreds of miles away, we knew he was there in spirit and took this photo to let him know we were thinking about him.

Exhibiting for the very first time is daunting, exciting and a little scarey all at the same time. But the most important part for me was making the connection - with my models, with the gallery, with the public, and with my dear friends and very talented photographers, Jeff Paine, Keith Melder and Christopher Smith.

Thanks guys for everything. :)

Exhibition!

2011-09-20T18:34:00.000+10:00

I am very proud to announce the very first exhibition of "The Flash Mob" - Jeff Paine, Christopher Smith, Keith Melder and myself, to be held at the One Hundredth Gallery in Prahran from September 21st to October 2nd, 2011.

Very exciting and slightly daunting at the same time; in a good way.

The one thing I've definitely learnt from this whole experience is how much hard word it is to prepare for an exhibition. It sounds easy - choose your images, frame them and delivery to the gallery.

Oh and wait, don't forget to price them, identify the paper stock they are printed on, write your artist's bio and lots of other small things I'd never thought of.

As an exhibition novice, I really appreciated the patience and experience of gallery owner Charles Hardman. And I'm very fortunate to have such talented photographers as good friends, and a very supportive photographer husband...

Yes this is all started to sound like an Oscar acceptance speech... [well I can dream!] But in all seriousness, putting together an exhibition is definitely not something I could have done on my own; and it's a hell of a lot more fun when you're sharing it with friends.

So please excuse this short post as I dash off to finish some last minute things for the big opening only days away. I'll let you know how it all goes.

More soon I promise. :)

Five Questions with Jeff Paine

2011-09-11T15:13:00.000+10:00

I am very pleased to present my interview with great photographer, studio owner and all round nice guy, Jeff Paine of Shutterclass Studios.

1. You have but a lot of hard work into fitting out and launching Shutterclass. What has the biggest highs and lows so far?

The biggest high was probably surviving the studio build itself, without any injuries! I look back on the fit-out and wonder what I was thinking taking on such a large project with no external help!

I got myself into some precarious situations, so I either have the balance of a ninja and the reflexes of a cat, or pure dumb luck – I suspect it is the latter!

The lows would probably be painting cyc [cyclorama] floors at 11pm, wondering why I’m painting cyc floors at 11pm!! I’ve discovered that owning a large commercial studio isn’t all glamorous fashion shoots and coffee with amazing Art Directors – most of it is time consuming hard work and quite a bit of manual labour.

But I don’t think I’d give it up for anything, I really do enjoy seeing great images being created in my space!

2. You’re always joking about the lack of available time yet you still manage to get so much done. Just how do you do it?

I couldn’t have be joking about lack of available time, I don’t have any time for joking!! Haha ;-)

I’m pondering this answer at 2am on a Wednesday morning, while uploading edits from a recent shoot, finalizing some gear I’m chasing out of the US and listening to Gotye.

I currently have just over 130 tabs open in 3 browsers, 4 email replies half composed and about to call my bank to chase down an odd transaction on my credit card (lucky their call centre is 24x7).

I think I get so much done simply because I’ve become used to not sleeping much, and learnt that if I don’t do it now then something else will bump it down the priority list tomorrow!

3. How would you describe your ideal shoot?

When I’m feeling lazy I think a smooth shoot that gave me exactly the results I wanted in very little time for low cost would be ideal – preferably with more assistants to lug the gear around! However, in reality I enjoy the problem-ridden challenging shoots the best!

Since I’m very selective when it comes to accepting commercial shoots, I’ve largely avoided the pressures of having to deliver outcomes to clients on a deadline or within a budget.

This has meant that I often choose to work on challenging projects that are more interesting and satisfying to me because they are miles away from ideal – and I’ve found in my work that the shoots I tend to enjoy the most actually pay the worst!

4. What do you know about photography now that you wish you’d known when you first started?

It took me a really long time to figure out that more gear does not automatically mean better images. And I still struggle with the notion that better quality gear doesn’t mean better images!

I have a strong technical background, so I tend to like the latest gadgets and toys – bright and shiny new things attract my attention!

My photography did not significantly improve over the years as I tried each new gadget that was going to elevate my photography to a whole new level of brilliance. I only really started to advance my skills when I started reducing my reliance on gear – why use 7 lights when the story is better told with more impact and emotion using only one light?

It was somewhat ironic that one of my own comments to another photographer many years ago would come back to haunt me – I happened to mention that I thought an amazing photographer with a Box Brownie would do a better job than an amateur with the latest Hasselblad – it’s never been about the tools, the gear is only a tiny part of the total recipe!

While I will probably never stop being attracted to the latest toys, knowing that an iPhone can place 3^rd in POYI is a blunt reminder that I don’t _really_ need that Hasselblad to make a great image.

5. What is your favourite image in your portfolio and why?

Always a tricky question, I’m not sure I have a favourite image! I tend to be ambivalent about my work as time passes – I’m always looking for another problem to solve, another challenge to complete, another image to catch.

I guess my favourite images are those that stand the test of time, the ones I don’t cringe at when I look at them months or years later.

Some of my older images are still pleasing to me (like my “Old vs New” photo from Victoria Peak Hong Kong almost 10 years ago (attached).

Lately I go through phases – sometimes it’s my fine art work, like Alone , but I can be equally as happy with fashion (like Kaye) or light painting (like the drain above)!!

I do know that I’m always looking to do something new or more challenging or different from my past work, so it serves as a useful baseline from which I hope to improve.

Thanks you to Jeff Paine for his time and for permission to include these images. You can find more about Jeff on his website and Shutterclass Studios.

Wait I can use that! [Revisited]

2011-09-04T18:12:00.001+10:00

In 2009 I wrote about using whatever is available - back then it was an exposed brick wall during repairs to the studio.

Last week I found myself on crutches; and whilst it's only temporary and hopefully not serious, it is definitely a lot harder than it looks.

I definitely have a lot more respect for people who need additional support on a regular basis.

I may not be back on my feet yet but I can still shoot sitting down... with the very kind assistance from Martin, my lighting assistant/model/husband. :)

I wanted to create an image that expressed my frustration. A clean image uncluttered by background or subject. An image that focused on the important issue of a lack of freedom.

I lit this image with two small strip light soft boxes on either side of my husband, feathered slightly behind him.

Martin is wearing black jeans and t-shirt. No background or backdrop was needed as Martin was far away from the wall that the lit didn't reach it.

I hope once I am back on my feet I won't need crutches to get around anything in the future, but if I do I know I will find more ways to shoot them. Whatever's out there ahead of me I know I can get it into a photo shoot somehow! :)

Five Questions with Brandon Hill

2011-08-28T17:18:00.000+10:00

I'm very pleased to present my interview with brilliant Photographer Brandon Hill.

1. One of the things that I really love about your images is their incredibly creativeness. How much details is planned in advance and how much is spontaneous on the day?

Thanks very much. I'd say for both personal and assignment, I have an image in mind that I know I want to capture (or attempt to). But I'll always throw in plenty of spontaneous shooting.

If it's a concept I'll have to plan on the props, wardrobe or what I'll need to add in digitally. My passion is storytelling photography and I owe a lot of that to the illustrator I studied under, Jonathan Bouw.

From him I learned the about composition, light direction, and attempting to tell a complete narrative in one frame. So overall the images are born in my brain, but naturally they will evolve throughout the process.

2. How much of a role do personal projects play in your portfolio and why?

Personal projects must exist for me, or else I don't know if I could keep going. I have a laundry list of ideas I'm wanting to shoot when I'm not shooting assignment work, OR the list grows of friends I meet that just have faces that need to be photographed. It's always a matter of organizing to make the time.

I've got a big series I want to put together for the next 12 months and I think it will be great for creating more work like it, but particularly being really good for my soul. My personal work has acquired professional work, so I feel there's no reason to stop.

I would highly recommend any photographer to do the same, or else they'll wonder why they're doing it. It also frees one from falling into the trap of creating a portfolio that looks "like the other guy".

When you photograph based on an idea or series in your head, you're going to be free from second-guessing yourself.

3. How would you describe your ideal shoot?

Relaxed, and with a pretty specific concept nailed down. Having a specific goal is key to knowing when you got it or not, we can always play afterwards with it.

And if the art director is there, that will help a lot in knowing when we got the shot or not. Then I do love working with the image in photoshop, but i'm much more open to getting it right during the shoot than having to fix anything. It will always look the best when it's real.

4. What do you know about photography now that you wished you're known when you first started?

I wish I would have just started using models earlier, or at least people who aspired to be models. I never shot for personal or family portraits, but when I started out, I asked friends to model for tests, so I'd be photographing people who didn't have experience in front of the camera, or didn't even want to be there.

Sometimes it worked, but a lot of times it inhibited the learning process largely; because the whole time I'm feeling sensitive to their time and interest, therefore keeping the shoot short and boxed in. There's really no reason for that, especially at the beginning when you don't even know how to make 'normal' people feel comfortable.

So I'd tell any photographer to shoot models or wannabe models if they want to get into people photography of any kind, whether it's studio or available light shoots. (Plus it always helps when they've got unique faces or are just plain good-looking.)

5. What is your favourite image in your portfolio and why?

Oh man, that's practically impossible to answer, haha. It's almost always going to be the newest shot I shot recently, because it feels fresh. I tend to work on my photos until I'm sick of looking at them. But I'll go with an old one, which is also a self-portrait.

I was growing a 4-month beard last year, and during it's peak of growth I came up with a Gulliver's Travels concept of all of these little corporate elves trying to shave my face.

I used a model who knew exactly what I was trying to describe, then did many hours of digital post-production. They were fun hours though.

Thanks to Brandon Hill for his time and for kind permission to reproduce his gorgeous images. You can see more of Brandon's work at: http://brandonhillphotos.com

Six Outstanding Photography Tutorial Sites

2011-08-25T10:06:00.000+10:00

There are lots of fabulous photography tutorial websites out there; many more than most of us will ever have the time to follow. So here are my top six favourites.

1. Strobist.com

Run by David Hobby, Strobist.com is definitely one of the “go to” websites for anyone wanting to learn about off the camera portable flash. The wealth of information available is incredible, yet presented in friendly and manageable chunks. If you haven’t checked it out I highly recommend it.

2. Creativelive.com

I am a huge Creativelive fan. They regularly stream workshops on a wide range of photography subjects, which you can either watch live at no cost, or purchase the video files to download.

Admittedly due to time zone differences, a lot of classes start in the middle of the night for anyone like me down under; however this is a small price to pay for outstanding content.

3. Neil van Niekerk

Neil is a very talented portrait and wedding photographer who uses portable flash in his work brilliant. His blog “Tangents” is full of lot of lighting info that is relevant to many other aspects of photography.

4. Speedliting.com

Another excellent small flash resource, Syl Arena’s speedliting.com is slanted slightly towards “canonistas” but is also helpful to all small flash users in general.

This site carries lots of really helpful articles, links to manuals and a speedliting forum. Highly recommended.

5. DYI Photography.net

An amazing site where contributors send in articles about their latest project or hack. Topics include building your own lights and softboxes to cheat sheets, techniques and reviews.

6. Photography School

A fabulous education site with more articles and helpful information than you can shake a stick at!

Have a missed your favourite site? Then please leave a comment below so I can check it out.

Do it your way

2011-08-20T14:29:00.001+10:00

I was talking to a friend yesterday about an image from my last shoot that I was particularly pleased with, and he said "I had that very same idea last week - great minds think alike!"

And while this might be true, I do know that if he shot that idea his image would look completely different to mine. His style and his vision are very different. Sometimes it's what you do with the idea that counts.

So before you discard an idea because you think it's been done before consider this:

Has it been done well? [A subjective but valid question]
How can it be done differently? And most importantly...
Has it been done your way?

Above is one of my favourite portraits of my husband. It has a slight Steampunk feel, and the lighting is very low key - the latter is a big part of my own personal style.

I like to think it's done well [please be kind - it is of my husband after all! :)] It certainly could have been done differently, and it has definitely been done my way.

As a short exercise consider the portrait and let me know how you would have shot it. High key? In colour? Close up or from a distance? Yes it's been done before, but not by you. Do it your way.

Shoot-Off! :)

2011-08-07T20:43:00.001+10:00

About a week ago a dear friend of mine and aware winning photographer Keith Melder came along to my studio for an afternoon of fun and our very first "Shoot-Off". This is how it worked.

I divided my studio into two very similar shooting spaces, both with black backgrounds. I had asked Keith to bring with him five household items to shoot, and I choose five household items from my place. [Of course what you can find around the place varies greatly depending on who's house it is. :)]

Once we were both in the studio, we took it in turns to come up with a brief idea to shoot, using only the household items we had each brought. But wait for the catch - we were only allowed a maximum of ten minutes each per shoot! That we were both shooting at the same time, seemed to add a little more to the friendly competition!

But before we began, we each took an establishment shot of the items:

Keith items: A red hard hat; a tall clock, an analogue camera, a glass paperweight with a photo of an eye by Man Ray, and a candle holder.

My items: A leopard print stiletto; a bar of soap; a cleaning brush, a whisk and a metronome.

I came up with first challenge - to create an ad campaign using any two of the our items. [Text was added later after the challenges were done].

It's always interesting to see what photographers come up with. Keith created a very clever composition, whilst I tried to create a sense of movements, and lines to draw the eye.

Keith then provided the second challenge - Perspectives. To take one of our objects and photograph it in such a way to make it look completely different. Keith did a brilliant job; my image was good but I didn't meet the brief, so Keith definitely won that one. :)

The final image was for an anti-bullying campaign, something I feel very strongly about. I think we both created very strong images.

[Note: The phone number on mine is not a real number. If you need assistance please google assistance in your country or local area.].

We certainly had a lot of fun that day. Separated by a curtain we could hear each other but couldn't see what the other was doing. The ticking of the timer was a constant reminder of the deadline.

I'm definitely looking forward to the next one... :)

Five Questions with Frank Doorhof

2011-07-28T20:58:00.002+10:00

I am very pleased to present the third in my interview series, with the very talented photographer Frank Doorhof.

1. Your work shows a mastery of both high and low key; do you have a preference or it is dictated by each shoot?

Oempf that is a difficult question.

I really love every kind of light, so both the more darker looks and the more "open" look, we always call them "dark light" and "Light light" over here (as a joke of course).

Normally I will look per setup what mood I want to set and will adjust my lights to that. I think it's incredible important that you should learn to use all kind of light setups, a photographer that can only shoot let's say "low key" will be limiting him/her self and that is never a good idea. So I always advise to play with all light setups you can imagine.

Also I have a bit of a problem to divide light setups in low key/high key etc. for me there are no real borders, it's a constant "blur" between the looks. But I have to add that I see the light just as a tool to shape the atmosphere I want to set, I never work with the same setups because they work, of course you will end up with some of the same setups because they indeed do work best but that's more because they fit the mood I want. In other words I will not start with a lightsetup and see what happens and if it fits, I will clearly work from the mood I want to set and use the light accordingly.

2. A lot of your personal work is very much in a photojournalism style, very different to your commercial work. Is this a deliberate choice away from the set-up of the studio?

If you mean the street photography you are right.

However it's also the "limitation" I have, most of the personal work you see is different from the fashion stuff because I simply am in a different "mind-set" and situation. 99% of those shots are taken during the trips we have to take to teach the workshops abroad and for a photographer that is of course awesome and inspiring.

I would love to organize some of the sets and arrange people but on the other hand it's also sometimes nice to be the "fly on the wall" and just shoot.

3. How would you describe your ideal shoot?

Fun, well organized, creative team, great set and clothing. But most of all the creativity has to be there.

4. What do you know about photography now that you wish you’d known when you first started?

Very difficult to say. I was brought up in a family that was always active with photography and video so I was actually "eased" into photography.

I did not start with fashion/people however but my first interest was sports, birds and animals....

So if I really had to say something it would have been that I would have loved to start doing fashion much earlier.

5. What is your favourite image in your portfolio and why?

My favorite image is almost impossible to choose so I closed my eyes and moved my mouse between a few selects and came up with this one.

The nice thing about this is image is that it has a certain look that really was fitting for what I wanted. The organizer invited me over to a "circus museum" and a very special model which was on my radar for some time and was great for this shoot. When you are invited into a museum you never know 100% what to expect and there was no time to scout the location so when we arrived and saw this small theater room I immediately saw this image in my mind. The lightsetup was very simple, just one strobe with grid.

At first we tried to do a sad version and I loved the outcome but when the model started to go over the top with expressions the image transformed from awesome to a so called "wow" image.

We try to always improve our portfolios so it's very difficult to select one image (there are so many I really love) but I think that this image really connects with question 1. You must not only think about light but think about the whole picture in your mind and try to shape the light to mimic that look, that way you can create so much more than being stuck with "learned" light setups.

A big thank you to Frank Doorhof for his time and for permission to include these images. You can find more about Frank on his website (everyday a blog update with news, technique etc.) and his workshops webpage.

Fearless

2011-07-17T20:34:00.001+10:00

Sometimes it's easy to be our own worst enemies and our hardest critics. Easy to stay within the safe and the known. Way too easy to beat ourselves up. Which for me means that's it's time to be fearless.

A very good friend of mine is completely fearless. He is completely committed to his shoots and produces stunning images. Whether or no he ever doubts himself or his ability doesn't matter. He goes ahead and does it anyway.

There are a lot of really great photographers out there who are a lot better than they think they are. And a lot of good photographers who are holding themselves back.

So consider this: if there is something you don't know how to do think of it as something you don't know how to do - yet. Take a chance, and have a go. You might not get exactly what you were going for - but you just might get something better.

Five Questions with Brad Trent

2011-07-10T10:57:00.009+10:00

Photograph by Kaz Sakuma

I'm very proud to present Five Questions with Brad Trent...

1. Your images have a very lush colour palate. What influenced your very distinctive style?

Long before I studied photography, I religiously poured over photo magazines like Popular Photography and Modern Photography and I was drawn to a few photographers who were known for their graphic imagery and extreme color palates...guys like Pete Turner, Eric Meola, Jay Maisel, Al Satterwhite, Cheyco Leidmann, Mitchell Funk and Jake Rajs. On my first trip to New York I met with Jay in his famous studio at 190 Bowery and was simply blown away by the Dye Transfer prints that decorated every inch of wall space. After I moved to New York I assisted both Al and Eric and that in no small part had to affect the way I thought of color and composition, even though my style is far removed from theirs.

As my own images evolved, so did my own sense of color. I'm not so much interested in 'real'...the hyper-real I can create with lighting and post processing has always been much more exciting to me. I'm often tasked with creating photographs in some pretty average situations, so being able to see things in my mind's eye that might not necessarily be there or envision a final image that will be enhanced through the techniques I use have certainly helped me over the years.

2. In your “Artificial Portraits” you show your “behind the scenes” lighting. Do you have a favourite piece of gear and why?

I don't know if it's really a 'favorite', but God knows I use ringlights a lot! Going back to what I said earlier, they just amp up the color and contrast and add an edge that strips away all sense of how a normal scene will look. Nobody 'sees' the way a ringlight lights, so there is an immediate impression made when it is used in a photograph.

Obviously, shooting everything so that the main feature is an otherworldly halo/shadow around your subject is the main focus of attention isn't gonna work, but I use ringlights as fill to give a heightened contrast and quality that you will never get from a big, soft light source. Aside from the ringlight, I use a lot of hard light sources...fresnel spotlights and gridded direct lights...I rarely will light a scene with a soft light as a main light.

3. Do you approach your personal and commercial projects any differently?

I honestly have never thought of my commercial assignments as not being personal. I know what you're asking, but I'm not the kind of guy who suddenly feels the need to go off and shoot a series of fond objects in the trash to somehow legitimize what I do every day. The personal work I have been doing lately has all been shooting portraits of indie musicians and I treat these shoots exactly how I would if it were an assigned job.

4. What do you know about photography now that you wish you’d known when you first started?

I'm not saying I'm not happy with where I am now in my career, but I probably could have stayed a bit more focused on one particular area of photography instead of jumping around wherever the jobs took me. The types of clients and jobs I have had over 25 years sort of flowed like a river and in a lot of ways I just floated along where it took me. I started shooting news-based photo essays for magazines like Time, Life and Newsweek...then as photo editors and art directors moved around I suddenly was working for business magazines and doing corporate work and then out of nowhere got a call from Sports Illustrated. Somehow shooting athletes led to advertising and celebrity portraits.

This has, at times, made it harder for some clients to have a clear idea of exactly what they might get from me if they assign me a gig because I don't always shoot the same kind of picture over and over and some art directors like having that comfort level before they stick their neck out. I dunno....in the end it's hard to play the game of "What if?" because you can never win...

5. What is your favourite image in your portfolio and why?

The dreaded, "Which child is your favorite?" question, huh? Generally, my favorites are always the ones that lead off my portfolio...the most current images that I'm particularly proud of, like the shot I just did of the chairman of Macy's perched on a rig made of sawhorses and plexiglass in front of a 70 year-old mural...but I obviously have some photos that I feel strongly about.

I did a portrait of Olympic documentary director Bud Greenspan that I shot on Polaroid negative almost as an afterthought that has always stuck with me because I was in such awe of the man and his career. Or the photos of Steven Spielberg against an ivy-covered wall and Woody Harrelson poking his face through a ring of sunflowers because I remember the fun we had in photographing both of them.

And then there is a the photo of banker Howard Sontag where I stuck him on a setback high above Madison Avenue, lighting rig and all, and everything just meshed together in the shot...the sunlight on the buildings, the imposing wall-of-concrete perspective, and the superior icy stare from the subject....perfect!

A big thank you to Brad Trent for his time and for permission to include these images. You can find more about Brad on his website and his blog.

What's in the Gear Bag on location?

2011-07-03T17:08:00.001+10:00

I promised a friend I'd write a blog about what's in my gear bag when I head out of the studio for a shoot. While my list is not as impressive as Mr McNally's, it would be easy to go overboard and take everything "just in case". So when I think about packing the bag I ask myself two questions: What's my transport? and What kind of a shoot is it?

Transport is also very important because it tells me whether I'll have the luxury of putting great in the back of the car or if I'll need to carry it all myself. :)

The type of shoot is important because it tells me a lot about the kind of gear that would be most suitable, what modifiers I'll need etc. For example if I'm taking the car and I need soft wrap around light, I could take one of my small softboxes on the Speedlite compatiable bracket. If I'm not taking the car then I might take my Honl Traveller 8 Softbox.

Something to keep in mind when buying gear is that cheap gear can be a great bargain or it can be false economy. When I first bought my umbrella brackets I bought the inexpensive hard plastic ones. Great for my portable flash and a small light modifier. But completely unsuitable for the anything larger, like the softbox brackets. So instead of saving money, I spent more replacing them with solid metal ones from a reputable brand.

To borrow a phrase from the corporate world, it's really important that your gear is "fit for purpose". Especially when it's tripods and light stands. If I'm going to put my beloved camera and flash units on something, I need to know that I can trust it. There is nothing more sickening that the sound of a camera or flash unit hitting the floor.

When you're first starting to put your gear together it can be hard to know what to buy. My advise is ask around, read up and know when it's safe to trust that a "no name brand" [great for mini soft boxes etc] and when to stick to reputable brands [tripods, light stands, and for me personally anything that has moving parts that could break.*]

*A very good friend of mine has had a lot of success buying his gear a popular auction site - including camera and electronic triggers. I'm not willing to take the risk. It comes down to personal choice but buyer beware. :)

This is not a comprehensive list, but it is a list of my favourite gear that is both reliable and personally gives me the best results when I'm on location. I'd also like to add that the gear was added over several years as required and budget allowed. :)

The Gear:

Canon 5D MKII and various lens
Canon 580 EXIIs

Pocket Wizard Plus II
Canon Compatible Hotshoes with miniphone jacks from Flash Zebra
Manfrotto 486 Compact Tripod ball-head
Manfrotto Tripod 055DB
Manfrotto Nano 5001B Portable Light Stands
Manfrotto Umbrella brackets
Visible Dust Aquatic Butterfly

eeePC
USB to Camera tethering cable

Lumiquest Softbox III and Clinch Strap
Lumiqust 80-20 Pro Max System
Lumiquest Adjustable Snoot

Portable Flash bounce card/Gobo
Portable Flash
Reflector 5 in 1 [Defuser/White/Black/Silver/Gold reflector]

Honl Flter [Gel] Kits complete set in Roll-up.
Honl Traveller 8 Softbox and Speed Strap
Honl Speed Grid [1/4 and 1/8]

Other:

Duct Tape
Batteries. Lots of them.
Thick full size towel.
A small linen dish towel.
Bungee Balls
Bug repellent sun screen [Seasonal]
Business cards.
Note pad and two pens.

I know it looks like a lot to carry but surprising it's not that bad. The light modifiers fold flat, and the fabulous light stands are quite compact when folded up. Besides the camera and lens, the tripod and light stands are the heaviest but with the right bags you can spread the weight around. My camera bag is a Lowpro and my location gear bag is an "army disposals/depot" find with a hard bottom and is on wheels. :)

Hopefully this has all been of some help. Questions and feedback always welcome. :)

"Five Questions with Drew Gardner"

2011-06-25T15:48:00.015+10:00

Last weekend I ran my third "Images that tell Stories" workshop at Shutteclass Studios , this one created with a 1950s Science Fiction feel. We had ray guns and jet packs, spacemen, evil scientists, handsome heroes and gorgeous Aliens.

I was really impressed with the high standard of images that were created for novice and experienced photographers alike. Which got me thinking about the photographers who really inspire me. Some of them are internationally known, spending their working lives honing their craft; other are emerging photographers.

One thing lead to another, and I am very proud to introduce the first interview in the series: "Five Questions With Drew Gardner".

Drew is very well know for his incredible story telling images, such as the Alice in Wonderland images and his amazing "Forest Series" which features on his "Location Lighting" DVD - definitely worth repeated viewings. I also highly recommend checking out his reportage work.

Over to Drew...

1. Your images have a very strong story telling element. What influenced your very distinctive style?

I love the Annie Leibovitz, her style and her lighting are quite wonderful. I'm influenced by the old masters and the narrative in their work. Really into Caravaggio at the moment.I aim for a 'painterly' style. Sometimes it works, other times it does not.......

2. In your digital download series you talk through each shoot including lighting diagrams. What motivated you to create this series?

I frequently get asked about the lighting details of my images, so I used this medium to share to as many people as possible in an affordable manner.

I wanted to show that the lighting IS important but that passion is all.

3. How do you approach your personal and commercial projects?

In a very similar manner. It is a simple matter of problem solving. I would like to make a picture, what do I need to do to achieve it? Though when working with a client it is like many things in life a compromise

4. What do you know about photography now that you wish you’d known when you first started?

That lighting is not that difficult and can be mastered with practice.

5. What is your favourite image in your portfolio and why?

That changes every day....

But today it is 'The Elephant' from the forest series. Why? Well it was shooting under difficult circumstances in Thailand with limited resources and yet the picture looks the way it does straight out of the camera, with no photoshop. I'm very pleased with every point of the lighting.

A special time.

Thank you to Drew Gardner for his time and for his permission to include the images. You can find more about Drew on his website and his blog.

The joys of building props

2011-06-13T19:08:00.001+10:00

Photography is definitely my great passion [second only to the love of my life - husband and photographer Martin Creely]. Any one who knows me knows that I am addicted to both. :)

However photography has lead me to another activity that brings me a lot of joy - building props.

My skills at prop building vary greatly depending on what I am doing. I'm handy with a sewing machine or a drill. Not so bad with a hot glue gun [which is surprisingly harder than it looks] and my spray painting skill has definitely improved. But there are some things that I would prefer to leave to the more experienced - for example lighting a portable blow torch, although I am more than happy to stand by with the fire extinguisher just in case. :)

There are a couple of things I try to consider before I start.

- How long do I want the prop to last? Is it just for this shoot or for future use too?

- How durable does the prop need to be during the shoot?

- What is my budget?

The question of budget is always an interesting one, and for me is also dependent on the first two questions. If I want to build a prop for a Steampunk or Film Noir shoot, then I am more likely to want the props to last as I shoot in these two genres regularly. So I will spend a little more on the bits and pieces I need. If the shoot is a on-off and the prop will likely get trashed during the shoot, then I am likely to spend less.

But regardless of the budget the best part for me is making something out totally unrelated items. Spray paint an old hand-held label making machine, add a big of insides of an old clock and suddenly it's a scifi scanner. The tops of tea strainers are a welcome addition to Steampunk goggles. Anything and everything has a secret alternative life just waiting to be found. :)

One of my last prop projects has been preparing a vast array of Rayguns for my "Images that Tell Stories - 1950s Science Fiction" workshop, set for next weekend. Whilst spray painting is a lot of fun, what I really find theraptic is the hand painting of the smaller details using modeling paints. Spending an afternoon listening to photography podcasts whilst hand-painting props is definitely my idea of time well spent.

However be warned - prop building does have one down side. When the workshop is all over I'll still have to find somewhere to store all the props. Storage space is definitely the one thing I will always need more of. :)

Being a model photographers want to work with

2011-06-04T16:33:00.004+10:00

A great model is not just about the way you look. The way you act is just as important, if not more so. Here are a few thoughts on what it takes to be a model photographers want to work with.

1. Good Communication.

Good and clear communication is vital at all times. If contacted by a photographer re the possibility of a shoot, respond in timely manner. If you're the one to initiate contact be friendly, polite and patient.

If you’re not sure about something, don’t be afraid to ask. The better the understanding between the model and the photographer, the more smoothly the shoot.

Good communication is a very important part of professionalism, and is highly appreciated.

2. Your word is your bond.

As a photographer not only do I want to create amazing images, I want to have fun too. A lot of this has to do with working with people I can trust to be reliable.

This means turn up at the agreed time. Arriving at the shoot clean and tidy, willing and able to work. Not having a hang over, dirty hair or skin. And bring any clothing/accessories etc that you have agreed to.

Yes, unexpected things can crop up. If you wake up on the morning of the shoot with a raging fever I don’t expect you to drag yourself to the shoot. What I do expect is a phone call as soon as possible.

I shot a fabulous model two weeks ago, who due to circumstances beyond their control, was late. The model rang me as soon as they realised they was going to be late, and rang several times with updates to let me know what was going on and when to expect them.

Was I irritated because they were late? No; because they did me the courtesy of calling and keeping me in the loop.
The absolutely worse thing you can do is a “no call-no show” – basically not turn up without letting the photographer know you’re not coming. Obviously if you’re in the emergency room of the local hospital you will be forgiven, but unless it’s something real and very serious you will be labelled a “flake”. And be warned, photographers can spot a fake emergency in a heartbeat.

Photographers talk. It doesn’t take long for word to get around about sloppy or diva-like behaviour. It’s not just a shoot, it’s your reputation too.

3. Be respectful of the space/equipment/environment.

Be respectful of the environment where ever the shoot takes place. If you’re in a studio don’t touch any equipment, props, costumes etc without direction from the photographer. With more and more photographers working from home studios, this is even more important. You’re not just in their working space, you’re in their home.

Whilst that might strike you as incredibly obvious, you’d be amazed at how many models just don’t get this. If you see a book on a shelf that looks interesting, ask before you start leafing through it. And don’t assume that just because someone else in the studio was using a computer that it’s fine for you to log on and check your email whilst you’re waiting.

Be polite - it only takes a second to ask.

If you're on location, it's just as important to be respectful. Out in public it's not just your reputation at stake, but the photographers too.

4. Attitude is everything.

In my experience, there are two basic types of models. Those who are serious about their modelling, and those who aren't.

It's all about having a professional attitude. Yes experience, and interesting and quirky looks help; beauty might even be a bonus [not an essential for me]. But you just can't replace the right attitude.

If I book a model I expect that booking to be honoured. [See point 2].

Like many photographers, a lot of work and planning [and sometimes a lot of money] goes into my shoots. Even if I've only booked you a few of days or a week in advance. Whilst there is a lot of spontaneity in my shoots, I'm not winging it on a hope and a prayer.

My shooting time is also very limited; like a lot of other photographers I have a day job to support my photography and allow me to create the images I want. But don't make the mistake of thinking that because I only shoot part-time that I don't take it seriously. The time restriction makes it more so.

I'm happy to work with new as well as established models, and have met some wonderful models along the way. But basically this is the way it is.

If you're a "no call no show" you won't get booked again.

If you cancel at the last minute, you might get a second chance, dependent on other things [communication skills, reputation, recommendations from trusted people etc].

If you repeatedly cancel at the last minute, you won't get booked again, end of story.

I'd also like to take this chance to thank the wonderful models I have worked with, who show up on time, bring what I've asked, take direction well or need no direction at all, are polite, respectful of my equipment and my environment. Your very professional attitude is greatly appreciated.

In a nutshell...

Good Communication + Reliability + Respect + a Professional Attitude = A model photographers want to work with.

Complete model novice, or a seasoned veteran, stunning beauty or a quirky character, when it comes down to it looks, talent and experience will only get you so far. If you don’t have a professional attitude and professional behaviour then a hell of a lot of photographers are not going to want to work with you a second time. Or even work with you at all.

Be a friendly person. Because basically life is too short to waste being miserable in pursuit of that illusive image!

A little Sunday Shoot...

2011-05-22T21:32:00.002+10:00

I've had this idea floating around in my head for a while, and this morning took the plunge. The leaves had dried out nicely and the defused natural light was exactly what I wanted.

This shot was taken in the undercover parking spot at the back of my studio, where the leaves had blown from an adjoining property. A quick round-up with the rake piled them nicely in position. The feet belong to one of my favourite "evil" dolls that I often use in my images.

The whole shoot took approx ten minutes from set up to clean-up and I'm really happy with the result. It doesn't happen very often but occasionally the magic is just there waiting for you. :)

Rayguns and Turpentine

2011-05-15T21:36:00.002+10:00

Yesterday I spent several hours spray painting large water pistols silver, and several hours today hand painting in accents and details. The rayguns are for my next workshop, with a 1950s Science Fiction theme.

I like to make my own props as much as possible. Partly because it's fun and partly because I want to show that you don't need to spend a lot of money to create what you need for a shoot. :)

I wanted Rayguns that were inexpensive, that would show up well in a picture, and that were unique. A local variety store had just the thing. Two cans of silver spray paint and my trusty tin of enamel modeling paints.

The important thing to remember with any painting is to make sure the room you are working in has good ventilation. Or do you painting outdoor if you have that option. The same applies whilst your props are drying. Paint fumes are not always obvious and the last thing you want is to find out too late when you have a killer headache.

And if you're like me, when it's all over you'll be thankful of the turpentine. Great for thinning out paint that that's a little old, and definitely very good for getting paint of your hands.

I've got other props in the works. A helmet to paint, a large cardboard box to turn a 50s Scifi favourite. Sometimes these things work and sometimes they don't. Only one way to find out and still enough time to try. :)

More soon. :)

Revenge Baby

2011-05-08T21:08:00.001+10:00

Sometimes creating an image for someone isn't about amazing art or high fashion. Sometimes it's just about making someone smile. :)

This afternoon I shot this image for a good friend of mine. A photograph can be very cathartic, and lots of fun even without knowing the full story behind it. And if we're honest, we all feel like a little revenge occasionally.:)

"Evil Babies" is the working title for an on-going series I'm working on, so I have a collection of baby dolls in difference sizes. I'd added the bandages and painted the eyes in preparation for another shoot idea the previous weekend that fell through.

I knew I wanted to shoot against a plush and glossy backdrop, something that would help the doll stand out. The doll is quite small and didn't require a large backdrop - and I had a gorgeous dress in my props collection that would do just the trick. :)

The dress is draped over a framed mirror that I often use in this way. I knew the image would be composed quite tightly, so the pleats and seams would be out of shot.

At first I tried lighting it with a snood on my Canon 580EXII portable flash but even at 1/128th power was still way too bright. So I opted for a strip soft box on a studio strobe. The was positioned slight to the right of the camera, pointing at a 45 degree angle towards the ceiling to feather the light. The doll is sitting on the edge a roll of electrical tape placed beneath one layer of the dress.

Once the image was opened in Photoshop all that was needed was to add the text and upload for my friend Keith. :)

Images That Tell Stories - it's Official! :)

2011-04-25T19:56:00.003+10:00

Apologies for the lack of blog, it's been a really hectic two weeks.

"Images That Tell Stories: Gangsters" was held at Shutterclass Studio, and it was the best workshop yet! Gorgeous models, great photographers creating some truly amazing images, and everyone having an absolute ball. It's days like this that make all the preparation and planning worth it.

So much so that I have taken the plunge and registered "Images That Tell Stories" as both a business and a domain name!

I've spent the last 24 hours working up a new workshop webpage, and once the public holidays are over I'll get the domain redirected to the workshop page [at the moment it takes you to my photography page].

And if that's not enough to keep me busy, I've also launched my next workshop: 1950s Science Fiction. Think mad scientists, wacky aliens, ray guns and hunky heroes. Two of my favourite workshop models are already booked, and I've started sourcing costumes and props. I'm really looking forward to this one. The only downside to running workshops is that I don't get much of a chance on the day to shoot myself, so I think I'll have to work on that one. :)

Workshops are always a good excuse to watch some truly great [or truly bad] movies - all in the name of research. Actually I would highly recommend anyone coming to one of my workshops to watch genre related movies. Even if you could drive a truck through the holes in the plot, they are a gold mine for ideas and even poses.

Movies like "The Day The Earth Stood Still", and "Forbidden Planet" are definitely classics but don't forget such "darlings" as "Plan 9 from Outer Space" and "It Came from Outer Space". Don't knock any possible source of inspiration - you never know where your next big idea is coming from.

In the meantime it's back to the planning and prep for me, and I hope to see you at a workshop soon. :)

Gangsters!

2011-04-04T21:43:00.002+10:00

Recently I volunteered my time at another one day Studio Portrait get together - less structured than a workshop, but still loads of fun. Even though I hardly picked up my camera the whole day, I had a really good time, surrounded by people passionate about photography and willing to give each other a hand.

I'm also in the middle of preparations for my own next workshop. A continuation of the "Images that tell Stories" series, this one looks at the theme of "Gangsters". Think 1920s and 1930s - names like Al Capone, Owney Madden, John Dillinger, and Bonnie and Clyde just to name a few.

Creating a workshop theme is certainly not without it's challenges; and clothing is definitely one of the most important ones. When you say gangsters people automatically think of pin stripe suits, white hats and the like. And whilst this was indeed part of the fashion of the day, it wasn't the only fashion. Gangsters didn't dress to look like Gangsters - they dressed like anyone else in their social class of the era. So it's important to go for the feel of the period rather than the stock standard stereo-types.

So how do you get the overall feel of a theme convincingly? The answer is in the details. Take a look at some photos from the era. What are your overall general impressions? Dark suits and hats or braces and caps for the men. Drop waist daytime dresses, flatish shoes and hats/gloves for the ladies.

In a theme like Gangsters there will definitely be guns somewhere along the line. Try to keep your guns as close to the period as you can, or as generic as possible if you can't get the correct period style.

And the most important thing is to remember to have fun. Workshops are all about sharing with like-minded people, having fun and learning along the way. Hope to see you there. :)

Still so much to learn? Go For It!

2011-03-20T10:46:00.002+11:00

If you're like me, the idea of studying photography is enticing but just not practical. Mortgages and day-to-day expensive demand that I have an ongoing income and short of winning the lottery, that isn't going to change soon.

Someone kindly said to me the other day "But I've seen your work - you don't need to learn how to shoot". Yes I know how to do what I'm already doing, but there is still a lot I want to learn and master.

I know I've blogged before about some of the resources that are out there but for me self-education is an on-going thing, and it can be a lot of fun.

First a little prep work: think about what is your learning style? What works best for you? For example, reading, watching, doing? Or a combination?

Whilst I love to read books on photography, I know that I learn best by watching/doing. This could be watching an in-depth DVD or online tutorials like the fabulous ones at Creative Live, or attending a workshop in person. I love to watch other people work because it often sparks ideas for me.

Watching an online workshop with commercial Photographer Jeremy Cowart I realized that he was putting his lighting at an angle I had never tried before; so I tried it and really like it. My image [low key/high contrast] was nothing like the image Jeremy created but that didn't matter. The important thing was that I was able to learn from what he was doing even if our styles are very different.

Personally I think forums are one of the most under-utilized ways to learn more about photography. One of my favourites forums is at Speedliting.com - focusing on all aspects of small off camera flash for Canon users. There are lots of other great forums on other aspects of photography. Jump onto the your favourite search engine and spend some time looking around. There's something out there for almost everyone.

Another great resource is meetup.com - a website designed to help like-minded people come together. I belong to several groups on this site, including one called Melbourne Photography Workshop [MPW] - a group for people looking for photography workshops or running photography workshops.

One of the really great events currently running through MPW is a group of photographers get together, all chip in and rent a photography studio for a day to get some studio experience. This is a formal workshop in any sense of the word; but it's great to see a group of people passionate about photography be willing to take a risk and try something completely outside their comfort zone.

I have volunteered to two of these studio get-togethers, with another one planned for next weekend. Why do I do it? Partly because I'm love to be around people who love photography; partly because I want to "give back" to the photography community. But also because you can learn a lot by watching other people, regardless of their level of experience.

Finally the other thing I'm really into is podcasts. Something that I can have running into the background whilst I'm working on my images, on my blog, or on the train in the morning on the way to my day job. There are a lot of really interesting ones out there including "Go Pro 2010", Martin Bailey Photography, and Nik Radio, just to name a few.

So take a few minutes to think about your preferred learning style, and what it is that you'd like to know more about and go for it! :)

Fearless

2011-03-14T23:27:00.002+11:00

For most of us there are one or two things that we'd like to try but for whatever reason we haven't stepped up to the plate. Too hard, too complicated, too scary or just way too far out of our comfort zone; we are all masters of making excuses.

But every now and then we do it anyway; and for me 2011 seems to be the right time. :)

Some photographers don't like to be on the other side of the camera, and I am certainly one of them. So self-portraits were never something I ever even thought of doing voluntarily. Yet so far this year I have done two, which makes me wonder "what has changed?"

The first one I did this year was completely spontaneous; it seemed like a good idea at the time and I wanted to see if I could. At first it was difficult standing in front of my own lens; but having done it suddenly it wasn't so intimidating anymore.

The second self-portrait this evening was am experiment to see if I could replicate lighting I'd see in a Creative Live tutorial. A friend had been over earlier in the day to teach me some new make-up techniques so rather than ask my eternally patient husband to stand there whilst I fiddled about adjusting the lights, I thought I'd just shoot myself again. :)

Shooting tethered certainly helps for self portraits. I also have a remote with a very long cord. That way I can set up my laptop facing me when I'm behind the camera and see what each shot looks like without having to move. Another good tip is to grab a large book, small box or even a sandbag and place it on the floor so that it up against one foot. If you do have to move for any reason, you know where your position is when you return.

I definitely recommend stepping outside your comfort zone, be it self-portraits, working with models for the first time, getting the courage to go out and shoot your local football match or whatever it is that you are passionate about. Sure sometimes we need to take a lot of frames to get what we are going for, but it's all part of the learning process.

And for me, all part of the fun. :)

Copyright Infringement

2011-03-06T21:06:00.002+11:00

Apologies for the lack of blog these past too weeks, there has been a lot going on. The most frustrating is the recent discovery of a commercial latex site which has ripped off one of my images and is using it to advertise products on their website.

When I first wrote to request removal of the image I received a reply trying to convince me to let them use the image, including adding a badly mispelt credit on their web page. I declined and requested again for my image to be removed. Since then I have been stone walled, and am now reluctantly seeking legal advise as to the next step.

It really angers me that people think they can steal other people's work and use it for their own financial gain [in this case advertising a product]. Copyright infringement is theft, plain and simple. It's not a victimless crime, but unfortunately it is a crime that is just not taken seriously enough.

Artists and musicians, like tradesmen, white collar workers, teachers, policemen and everyone else, deserve to get paid for their effort and hard work. Why should they be treated any differently?

Bottom line, copyright is there for a good reason and it's up to us all to stand up for it.

Five More Things I Always Take to a Shoot

2011-02-14T19:49:00.001+11:00

Early last year I wrote a blog on Five non-photography items I Always Take to a Shoot. I've added a few things since then that have really come in handy. :)

Zip-lock bags - various sizes. These are incredibly handy for jewelry and accessories, things that might leak like sunscreen [see No. 2], or even for keeping things dry if the weather turns bad.
Bug repellent sun screen. This fabulous little two-in-one is a life saver on hot or windy location shoots, for the photographer, the model - anyone who's there. Shop around to find the non-greasy kind.
Business cards. This might seen like an obvious one, but you'd be surprised at how many people leave them at home. You never know when you're going to need one, for a potential client or model.
A note pad for jotting down flashes of genius, possible shoot locations or creative camera settings. No. 3 can substitute if you're desperate but that can be an expensive option if you do it too often.
A pen or pencil, depending on your preference. Nothing worse than being in the middle of nowhere when inspiration strikes and nothing to write it down. [Ringing yourself and leaving a message on your voicemail only works if you're within mobile/cell coverage].

Simple. Yes. Incredibly obvious? Maybe. But sometime the really obvious things are only that way after someone else points them out. Hopefully this has been of some help. If you're already ahead of me then please drop me a line with some of your tips and tricks. :)

Ninjas!

2011-01-30T15:12:00.001+11:00

Sometimes it's easy to get too caught up in our serious personal projects, and whilst I think serious is good, there is definitely a lot to be said for taking a step back and aiming for sheer fun every now and then.

I really like what I call my "play shoots" because my expectations are a lot lower than other shoots. This doesn't mean that I don't want to capture great images; but it does take the pressure off to have a strong vision and "get it right" quickly.

The Ninja idea was sparked by a very talented friend who was making an amazing Steampunk mask. I was so impressed with what he was doing that I wanted one too. However mask making is not my forte, so I jumped online, came across the mask above for a couple of dollars and ordered it. And then promptly forgot about it. :)

Two weeks later when I opened the mystery parcel that turned up in the mail and found the mask I knew immediately that I wanted to do a "Ninja style" shoot. I say "Ninja style" because I don't know a lot about Ninjas other than what I have seen in movies and on TV. To that inspiration I applied a little artistic license. :)

Lighting was extremely important in providing the overall mood and feeling of the shot. The model is lit by two small strip light softboxes, positioned fairly closely on either side. He is then back-lit by a Canon 580EXII portable flash with a bluish gel. A small portable smoke machine on a light stand is positioned to the right and controlled by a very long trigger. The gelled light from the 580EXII also provides the colour and texture to the smoke.

From a safety point of the view, the fuel used in the smoke machine is non-toxic and doesn't leave a grimy film on any surfaces it comes into contact with, which is really important when shooting in a small space. Safety for both model and photographer is important.

The lighting set-up for the second image here is the same minus the smoke machine and back-light. In this shot it was important that the oriental fans did not block the light from the model's face, so a little trial and error there. But that's all part of the fun. :)

So please take the time to schedule a "play shoot" every now and then. No expectations other than to have fun. It's a great way to experiment, learn new techniques or just rediscover the fun in photography. And you just never know what images you might find. :)

A workshop in review :)

2011-01-26T16:14:00.001+11:00

Apologies for the recent lack of blog; last weekend was a big one - I ran my photography workshop: "Images that Tell Stories".

The one day workshop for eight participants was an introduction to creating images that tell stories using models and props.

Held at the great Shutterclass Studios each participant was given the chance to shoot four different models against different coloured portrait walls with different sets of props. I wanted to give everyone as much shooting time as possible without being overwhelmed.

I spent a lot of time selecting models that were both reliable, fun to work with and talented at portraying different emotions, not just standing around looking gorgeous [although they can certainly do that too! :)]

Although it was my first photography workshop, I have run other workshops in the past [mostly music related]. I love running workshops, being surrounded by people passionate about the same things that I am. I love to see how other people approach a shoot, how other people think. :)

Regular readers will already know that I'm a big fan of Shutterclass Studios. The large space and facilities are excellent for a workshop format, and nothing was lost on the very resourceful participants. Large skylights in the studio produce small pockets of bright light on the floor. Whilst these disappear when using studio lights, more than one participant cleverly utilized them for natural light portraits. :)

I was very impressed with the enthusiasm and resourcefulness of the photographers who took part in the workshop, and a lot of really fabulous images were created.

It was a really fun day and I can't wait for the next one. Watch this space! :)

2010: The year of male models and education. :)

2011-01-03T16:48:00.003+11:00

With the new year here it's time to look back on the past twelve months, and to look ahead for 2011.

One of the biggest surprises for me was how few women I shot in 2010. While I did shoot a few women [like the lovely Samantha Doll] many of the ideas I had floating around in the head required male subjects. Shooting males brings all manner of challenges: different lighting and sourcing different clothing etc. I really enjoyed the change in perspective and I'm looking forward to continuing in 2011. I'm not aiming for more or less men or women in this year's portfolio; it depends on wherever my images take me. :)

One of the important elements for me in 2010 was self education. There are some really fabulous resources online like CreativeLive, and 5dollartutorials, also well as lots of great books out there, both electronic and hard copy. Some of these might seem expensive but I decided it was my education, I was going to bite the bullet and just do it. I am really glad I did.

The CreativeLive workshops are at the slightly more expensive end of online resources, but you are paying for a weekend workshop worth every penny. The two I bought were Studio Lighting with Zack Arias and Experimental Portraiture with Jeremy Cowart.

Zack's workshop is a really great introduction to studio lighting; Jeremy's workshop assumes you know about lighting and focuses on experimenting with portraits. Two very different workshops, both really interesting with lots of really useful information. The great thing is that once you download them you can pause and rewind as you need to.

And then there are things that are not expensive, like the Drew Gardiner 5dollartutorials. I might not have Mr Gardiner's shooting budget or multiple assistants, but it really interesting to see he approaches his shoots, and there is certainly a lot to learn.

I think the secret to getting the most of our self-education is to find someone teaching the techniques you are interested in learning. Sounds pretty obvious but it can make a world of difference.

At the end of 2010 I helped out at a basic studio lighting workshop at Shutterclass Studio and it reminded me how much I love sharing the "hows" and "whys" of what I do as a photographer. I'm really looking forward to running my own workshops in 2011 partly because it will be so much fun to be surrounded by other people passionate about photography, and because I know my learning will continue.

So let me leave you with one thing that really works for me. I carry an "ideas" notebook with me all the time. When an idea strikes I write it down or sketch it out. I might not shoot it straight away. It might be beyond my current budget/skill set/location etc. But at least it's there. To remind me and even sometimes to inspire me.

Wishing you all a very happy and photography-filled 2011. :)

"Images that Tell Stories" - A Workshop

2010-12-24T16:54:00.001+11:00

I am very pleased to announce my first workshop, "Images that Tell Stories"..

The workshop focuses on composition - how to create images that tell stories, through the use of props, clothing and model direction. [Models and props provided].

Workshop numbers have deliberately been kept low to allow more shooting time in a relaxed atmosphere, and more individual assistance.

The workshop will be held on Saturday January 22 at the fabulous Shutterclass Studios in Oakleigh.

PRICE: $95.00

All bookings paid in full before January will receive a $15 discount.

For bookings and further information please drop me a line

Hope to see you there. :).

A little beta-testing :)

2010-12-16T21:20:00.002+11:00

I've very excited to be accepted as part of the small volunteer beta-testing team for the new downloadable video tutorials by amazing photographer Drew Gardiner.

Distributed by 5 Dollar Tutorials, their aim to release educational material, in this case photography video tutorials in small episodes, at $5 each. Buy as many as little as you need.

This is all good in theory, and I'm really looking forward to putting it to the test. I already own Drew Gardner's DVD Location Lighting and I'm curious to see how these new ones compare in both content and quality.

As they say in the classics, watch this space.

A little simplicity.

2010-12-05T19:14:00.003+11:00

It's always fun to do big flashy shoots, big production numbers with lots of stylish outfits and props and the like. But sometimes the best images call for is a little simplicity.

Yesterday I had personal project with a military theme. I'd sourced a German medical Beret and great-coat, and other bits and pieces, including a black t-shirt for the model to wear underneath the coat.

It's summer here in Oz and the large warehouse studio wasn't air conditioned [impossible to install aircon in a space that size] although we did have a large industrial fan. I had intended on waiting until the very last minute before asking Chris [my model] to put on the heavy winter coat. However I instantly knew that I wouldn't need the coat for that shot after all. The simplicity of the black t-shirt and dark beret were perfect against the blue-gelled smoke.

[We did use the coat later on for another part of the shoot. :)]

The image was shot on a large white cyclorama [cyc]. Even though I didn't shoot any images wide enough to include the cyc in the image, I wanted a large enough space to play with the smoke machine.

The model was lit from one side using a small strip softbox powered by a 580EXII speedlite flash unit. A second speedlite with a blue gel was placed behind the model to backlight the smoke which was provided by a small smoke machine operated by an assistant. With a big enough smoke machine it is possible to set it up on a stand and operate remotely, but with the small machines like this one, you really need someone to wave it around for the smoke to spread out evenly.

Smoke machines are fun to play with, and it's important to ensure that your shooting space is well ventilated. My machine uses a non-toxic fluid to generate the smoke, which doesn't leave a residue on clothing and surrounds - important is you are shooting on location or in someone else's space.

So now all that's left now is to unpack the gear and plan the next shoot. :)

---------------------------

As a side note, here is a fabulous stop-motion video of the Sutterclass Studio fit-out. You can see the cyclorams being built around minute 5.20 but I highly recommend watching the whole thing. With the exception of electrical work and plumbing [you see the electrician video] all the building work was one by the owner Jeff Paine, on his own. Not sure if this is dedication or madness. :)

Apologies for losing a little of the video on the right hand side, I'm still trying to work out how to fix that. :)

Shutterclass Studio - A review

2010-11-28T13:02:00.001+11:00

Sometimes we all need to step outside our comfort zone, stretch our legs and try something a little different. So yesterday found me at the newly opened Shutterclass Studios with my favourite model/muse/husband Martin.

Instead of my own tried and tested studio lights and modifiers in my small but creative studio, I found myself in a studio with coloured portrait walls, multiple cycloramas [cycs] and more space than I could ever possibly need.

The layout of the studio is quite interesting, allowing multiple bookings at any one time. It was a little distracting yesterday to be shooting on one cyc whilst a children's portrait shoot was happening at the other end of the currently open plan studios. However once the stage curtains arrive to separate the different spaces, that distraction will be taken care of.

The cycs have been beautifully built and I'd forgotten how much fun it is to light them. Currently there are two cycs, with the third corner cyc currently under construction - I'm really looking forward to that one!

For my first booking I used the studio's lights [which are also available for hire] taking two small strip soft boxes of my own. Next time I'll probably take a mixture of my own lights and modifiers, but it's great to have the choice.

I was having so much fun on the cyc that I didn't get around to trying out the portrait walls seen above. You can just see Martin on the left in front of the blue wall, which gives you an idea of studio size. I really like the idea of portrait walls in primary colours - just add a gel to you lighting and basically create any colour you want. Now that's smart thinking. :)

At the moment the studios are a little bit of a work in progress - curtains to come, model changing/Make-up areas to be completed.

But to offset that the studio is offering a discounted price for space hire [not including equipment] which personally I think is a great opportunity to try out it all out.

Check out the Shutterclass website for opening specials. :)

Final analysis?

Pros:

Great location, close to public transport
Amazing space, well thought out and put together
Very reasonable prices and good value for money.
A very approachable friendly owner, who is very generous with his wealth of knowledge and experience.

Cons:

I found the lack of air conditioning a little uncomfortable in the humid weather, but to be fair it would be impractical and impossible to air condition such a big space.
I would have really like to have tried out the corner cyc which is still part of the work in progress, but that will be sorted very soon.
Parking during the week and until 12 noon Saturday is a little problematic due to two hour parking restrictions; however there is a ten minute parking bay right out the front so you can drop off your gear and then park a couple of blocks away.

Overall Score: 8/10

[Higher score pending upon completion of all works in progress. :)]

So if you get the chance, I highly recommend you check out the Shutterclass Studios. It might be a little further way from your regular studio, but trust me it will be worth it. :)

Disclaimer: I happily admit that I have known Shutterclass owner Jeff Paine for several years. However giving a false review would be doing everyone a disservice and anyone who knows me will tell you I'm not shy about giving feedback. :)

I personally believe that Shutterclass is an outstanding resource for Melbourne photographers and I really hope it thrives. :)

Back-up or Bust

2010-11-20T09:02:00.001+11:00

This morning I read on-line about a photographer who'd been robbed and lost all his camera and computer equipment. The think that is hurting him the most is the lost of all his images - 15 years worth of hard toil gone forever.

Having been a victim of a break-in many years ago I really feel for this guy; but it also raised the question: "Why weren't the images backed up?"

Theft is not the only way to lose images. Computer get old and die. Files corrupt. Accidently deleting or saving over the original. That heart-sinking moment.

Which hopefully is followed by reinstating the image from wherever you've back it up.

I back-up my images on site and online. Everything gets backed up to CD [original files, working files and finished images], and all finished images are also back-up to an online archive.

I'm a big fan of backing up online. I can access my images from anywhere in the world where there is internet access, and to be honest sometimes it's faster and easier to access images from the online archive than to troll through all the CDs looking for the image I need. The other advantage of online archiving is that is that worse case scenario and everything burnt to the ground, I would still have my images.

The cost of online archiving differs depending on the service you use. I use Photoshelter and I've happy with them - their site is easy to navigate, and their customer service friendly and very helpful.

There are many archive sites available and it's important to find a reputable one that you're comfortable with and trust.

In a perfect world it's recommended that you have three back-ups. One on site, one off site and one online. This isn't always practical but it is vital that you have your images back up at least once somewhere.

So if the unthinkable happens at least you know your images are safe.

Review: The Inspired Eye Vol. 1 & 2 by David duChemin

2010-11-07T12:23:00.004+11:00

Given how much a magpie I am when it comes to photography accessories and books, I thought I'd start a series of occasional reviews, starting with two ebooks [PDF] by photographer David duChemin.

The Inspired Eye: Notes on Creativity for Photographers Volume 1 & 2

David duChemin's books are very much like his blog - easy to read and 'tell it like it is'. No short cuts or snake oil easy fixes here.

These are definitely not photography "recipe books" - not a technical spec or lighting diagram in sight. Instead thoughtful chapters on the input side of photography, to nurture your creativity.

Reading The Inspired Eye I found thinking "this is one of those books when it all seems so straight forward and occasionally obvious - once you read it". But someone had to say it/write it down first. I'm glad David duChemin did. :)

On the publication side, the layout is clean, flows nicely and is easy on the eye. My own criticism in that area is font used for the interview questions in volume 2 - a slightly darker colour would have made it easier for me to read. That aside I enjoyed both volumes and at the download price of USD$5.00 each I highly recommend them. :)

Click here to visit Craft And Vision.

Bad photos and some great Honl gels :)

2010-10-25T19:22:00.001+11:00

I recently bought some Honl Gels and wanted to play around and test them out. I'd been playing around with dressing my mannequin for Halloween and decided she's be the perfect subject for the shoot.

Shooting something with a highly reflective surface might not have been my brightest idea but once I realized what I was letting myself in for I accepted the challenge anyway.

Working out which colour gel effects and how I wanted to light it was the fun bit; the real challenge was working out how to not get the studio and myself reflected back into the shiny mask.

After much trial and error this is what I did:

A six foot black muslin backdrop directly behind the camera. I stood to one side of the backdrop with a long trigger connected to the camera to take the image.

- A 1/8 Honl grid with Steel Green gel on a 580EXII at 1/32 power slightly feathered off the mannequins shoulder.

- A 580EXII Soft snood at 1/128 power with an Honl Egg Yellow gel feathered slightly off the face.

I couldn't get rid of the hot spot on the forehead and didn't want to photoshop it out. I'd rather get things right in front of the camera if I can.

Camera: ISO 3.2. 1/20th shutter

It's definitely not the greatest photo I've ever taken, but that wasn't the point of the shoot. Initially the reason for the shoot was to test out the Honl gels. I got so caught up in trying to get the image right that I completely forgot about "testing" the gels and just used them.

I have to say I'm impressed. With velcro already attached they were very easy to use and took some pretty touch punishment under the grids. And the fact that I didn't have to think about them at all is a huge plus.

I have other gels but the Honls win hands down for me. They are not the cheapest on the market but as far as I'm concerned worth every penny. For me sturdy, good quality and reliable wins every time. :)

Coming soon: Strip Soft boxes for the off the camera flash.

Small Flash Resources - Updated

2010-10-19T18:31:00.001+11:00

Back in June 20120 I posted my resource list of resources for learning about small or off camera flash. I've updated it with a few more resources and thought it might be helpful to post again. :)

If I've missed your favourite OCF site, please let me know and I'll include it. :)

DVDs:

- "Light" DVD lighting tutorial by David Honl. Very informative, easy to watch and understand. Definitely one of my favourites. :)

- OneLight Workshop by Zack Arias. Another one I haven't seen but if it's anything like Zack's Creative Live Studio Photography Workshop, it will be fabulous. :)

[Note: There seems to be a problem with the One Light Workshop webpage at the moment, so I have linked to Zack's Blog].

- Strobist.com Lighting Seminar - David Hobby . Loads of info over multiple DVDs, required more than one viewing to take it all in.

- Sessions with Joe L. - Not cheap, but worth it. Download html and quicktime files to be played on computer only.

- Motivational light with Bert Stephani [DVD Download] - I haven't watched this one yet but it looks good; has info on both studio and small flash lighting.

- Speedlight Mastery with Damien Lovegrove [Hardcopy], plus other DVDs.

- "Lights, Camera, Capture" by Bob Davis. A really great book/DVD combination. The book is great, and the DVD alone is worth the money. The DVD also plays in standard DVD players, not just the computer which is an added bonus.

- Understanding the Canon Speedlite 580EX II / 430EX II Training DVD ~ Tim Mantoani. I found it a good introduction.

- Canon Speedlite Crash Course.- Michael Andrews. I haven't personally seen this one but have heard it's good for the beginners.

Books:

- The Hot Shoe Diaries: Big Light from Small Flashes by Joe McNally Slightly Nickon-centric but still lots of great info and ideas.

- The Moment It Clicks by Joe McNally More about his philosophy of shooting than nuts and bolts but still really useful.

- Mastering Canon EOS Flash Photography by NK Guy. Very comprehensive but a lot to take in. One to read in stages. :)

Online Training:

Kelbytraining.com - various different training courses in portable flash units, mostly Nikon based but most of the courses are also applicable to any portable flash-light system.

Subscription based, for around $20-25 dollars a month depending on your currency. Minimum sign up is one month, so I tend to opt in and opt out depending on new courses.

Other:

- http://speedliting.com/ A really useful website and forum for Canon users. :)

- Master Lighting guide to Flash Photography by Scott Robert Lim [Interactive PDF download] - Interactive PDF with embedded audio and some video plus lots of web links.

Lots of really good info on lighting principles, some small flash specific info, but definitely worth it and in my opinion reasonably priced. I'm about half way through this one, but I needed to stop and let some of the useful but technical stuff sink in.

"Light" By David Honl - A Review

2010-10-17T21:49:00.002+11:00

Late last week I bought myself a copy of photographer David Honl's lighting tutorial DVD "Light".

David's presentation style is relaxed and friendly. In 75 minutes over two discs David Holn shoots and explains ten lighting set-ups, explaining along the way what he is doing and why he is doing it. And to top each one off with a lighting diagram.

One of the criticisms I've read in other reviews of this DVD is that too much time is spent talking about non-photography. Granted there is a cooking segment with David's wife Claudia Christian and a friendly conversation with Billy Mumy about his acting days. But take these in the context of a photographer getting to know and make his subject at ease, and I think they add to the content.

Although David Honl also produces his own line of excellent lighting modifiers this DVD is not merely a sales tool for his own products. I watched this very entertaining and informative DVD in one sitting, and it's something I will certainly be watching again. Highly recommend. :)

Make use of those small spaces :)

2010-10-03T15:13:00.001+11:00

Sometimes when we're shooting we rue the lack of space. If we just had a little more room...

But bigger isn'at always better. It might just be the challenge of the lack of space that gives you that magic you're looking for.

In the shot to the right, the fabulous Michael is standing in a narrow corridor opposite a doorway to a storage room.

A small strip softbox powered by a small off the camera flash is position inside the room pointing towards Michael. The softbox is positioned far enough back in the room that the wall inside next to the wall acts as a natural gobo.

Michael is poisitioned on a 45 degree angle to the camera to allow the camera to pick up lthe details of the ight catching on the chain and buttons of his waist coat.

The light bouncing on the white wall behind him is providing that pale backlight to the darker side of his face.

With the right positioning, a small space and single light can be just the thing for creating that iamge your looking for.

Social Media is your professional reputation

2010-09-26T16:30:00.001+10:00

It may be stating the obvious: if you post something online, sooner or later someone is going to read it. Which is the whole point of posting online.

Twitter, Facebook, and Myspace [just to name a few] have become part of everyday life. Social media can be a really useful networking tool. But it can also come back to haunt you if you post online without engaging your brain first.

I am never failed to be amazed by people who use the same social network to both advertise their business or services, and vent about their personal life in such colourful words that would make their grandmother faint dead away.

Even if you maintain independent sites to separate your personal from business blogs with powerful search engines like Google, it's doesn't take long for potential clients or employers to track you down.

It is vital to understand that your social media is your professional reputation.

Some time ago I was looking to cast a shoot and was considering two new models whom I had no worked with before. A quick search online quickly ruled out the first model. Even though their model profile was quite professional, their personal blog was any but professional. The second model got the job.

I completely agree that what someone does in their own time is their own business - until it is posted online. Then it becomes part of their professional reputation, for all the world to see.

Social media can be a wonderful thing - but use it for good, not evil. Or it just might come back to bite you where it hurts.

It's not what light you use, it's how you use it.

2010-09-19T17:39:00.001+10:00

Evey now and then a discussion pops up online about the pros and cons of studio lighting vs small off the camera flash units. Some argue that studio lighting is the only way to go, whilst others champion the small flash.

I am a big fan of both, and use whatever I need at the time. Studio lights outside, small flash inside; and as in the example above a combination of both studio and small flash.

There are definitely pros and cons to both systems. Studio lights are have the strength and sensitivity but are heavier and more cumbersome. Small flash units are light and very portable but have a more limited range and rely on battery power.

Price is also a big issue for many photographers, and the small flash units are definitely more affordable. To coin a phrase "use available light - any lighting you have available". :)

Lighting modifiers - now that's whole different can of worms, to be looked at another day. :)

The Dame was Loaded

2010-09-09T19:06:00.002+10:00

"Neither of the two noticed how I entered the room, although only one was dead." - The Big Sleep by Raymond Chandler

I have always loved Film Noir movies - especially the atmosphere created by the stunning lighting. I can forgive a movie many sins if the lighting is sublime. :)

The lighting for the this photograph was a two light set-up.

1. A Canon 580EXII flash unit on a stand with a small 3 foot x 8 inch strip soft box.. The soft box is at the same height as the model's face.

2. A bare 580EXII on a very low stand to rim light the hand and the gun.

A few not so obvious things to think about.

Model height: The man is sitting down so that the woman can position the gun behind him at the angle i wanted.

Female Clothing : The coat and glove were important additions to the overall "1940s at night" feeling. But just as importantly, the coat and glove catch the rim lighting in just the right way to stand out against the dark background. [Which incidentally like the shoot in the previous blog, is created by lighting, not by any backdrop].

Another interesting thing about the coat is that it was the wrong size for the female model - but that didn't matter because all we needed to see was her hand and wrist. She is holding the sleeve in place with her other hand.

Which goes to show that you don't need big budgets or expensive wardrobe to creative intriguing images. A small budget can go a long way... which also describes the budget a lot of film noir motion pictures.:)

Side note: "Painting with Light" by John Alton originally published in 1949 and still available, is an intriguing insight into some of the lighting tricks of the classic Hollywood era.

It's almost all about the light.

2010-08-16T18:08:00.001+10:00

You've probably often heard it said that photography is all about the light. Etc etc etc. Personally I think it's almost all about the light. That, a little hair gel, the right outfit and a rockin' attitude. :)

Here is a nicely lit image of my model Luke, taken before the shoot. Two small strip softboxes close by on either side, front light by a square softbox.

Luke is standing in the exact same spot as in the image above. No backdrops or manipulation to darken the background. The dark background is created by the way the shot is lit.

As you can see from the lighting diagram, I removed the front softbox and left the two small strip softboxs. [These measure 90 cm/3 feet by 20 cm/8 inches].

These were placed very close to Luke and positioned slightly towards the camera, so that Luke was light by the feathering of light.

Because the light was positioned towards Luke and slightly forward, almost none of it fell on the background - you can see a hint of dark red but not much.

The camera was positioned on a tripod with it's legs fully extended [I was on a small step ladder], with the camera angled downwards. Luke gave me the right attitude and we nailed the shot. :)

Technical details: F9, 1/200, ISO 100.

If you're seriously interested in learning the ins and outs of lighting, I highly recommend David Hobby's Strobist.com [link below]. It's a great place to get your started.

As a side note I'm often asked where I get the clothing for my shoots. Most of it I source myself and I'll be covering this in a later blog. However I did want to mention a work of caution when shooting real uniforms. You can run into copyright issues using registered names etc and it's definitely something you need to take into consideration. Special thanks to JC for permission to use the uniform. :)

Playing with Fire [And a few rules].

2010-08-07T18:25:00.009+10:00

Almost a month a go to the day I undertook the massive step of laser eye surgery. Although painless, it was the scariest thing I have ever done, [No reflection on my excellent doctor]. That's why I was away for so long.

My first shoot post-op was with the fabulous Drew. A personal shoot for my own portfolio, the themes were lose and easy and open to lots of fun. What started off as lighting the male form soon turned into Steampunk Arch Angel.

No matter what I'm shooting at the time, I'm always mindful of my number one rule: "Don't hurt the model".

When we're literally playing with fire for a shoot there are a couple of other rules I call into play.

1. Know what you are doing before you start.

A photographic shoot is not the best time to learn the intricacies of a small blow touch, especially if like this shoot, you are indoors. My husband Martin, who is very experienced in handling this kind of equipment was on hand to ignite and extinguish the blow torch.

2. Always have an assistant with the right fire extinguisher ready.

Fire can be unpredictable and very dangerous. It is vital to have an assistant standing by with a fire extinguisher just in case things go wrong. Make sure your assistant reads the instructions on the side of the extinguisher before the shoot; incredibly obvious perhaps, but also easy to forget to do.

3. Look Up before igniting the flame.

Know the diameter of the space you are shooting in, and LOOK UP before you start. The image above was shoot in a space with ten foot ceiling, so it was important that the model [who was quite tall] not extend the blow torch too high.

4. Working with trust.

When working on any shoot where there is the extra element of danger, it is really important to work with people who have proven they can be trusted, and who also trust you.

I've worked with Drew on four or five shoots prior to this one, and we have a good working relationship. Drew is professional and reliable. I can trust him not to do anything stupid with the blow torch and he trusts me to look after him [see rule number 1 above].

Fire can be a very dramatic element to add to your photography but please be careful. No shot is worth risking yourself or anyone else. :)

A little "down time"

2010-07-08T20:10:00.003+10:00

I'm facing a little down time for the next week or so; but I'll be back. :)

Back to the Beginning [or Don't Forget What you Know]

2010-06-20T17:07:00.014+10:00

Way back in January I blogged about my plans for 2010, including more complex concept shoots and I've been having a lot of fun. However every now and then it's good to go back to the beginning to remind yourself of what you know.

For me the beginning was simple clean backgrounds; no special effects or complex sets; leaving the focus for the subject and the lighting. :).

Yesterday I had a shoot with one of my favourite models. I wanted the images to be uncluttered and clean. So I went back to the beginning. :)

First of all I used my large half-dome strip light as the main light. The small square softbox was placed behind to one side, to act as a rim light to give some separation of the black backdrop. The focusing spotlight on a tight beam to give a little kick to the model's hat [more obvious is the larger version of this image here]. If I didn't have the spotlight I would have used another tightly controlled light for this.

Quiet often when I start a shoot I have a very clear image in my mind of exactly what I want to create in the camera; but sometimes it's more of a feeling. I know I want Film Noir, I know I want moody. A place to start rather than a place to finish.

Back to the beginning. Which sometimes is the most fun. :)

Small Flash Resources

2010-06-06T15:42:00.005+10:00

More and more photographers these days are wanting to learn about small portable flash. Here are some of the resources that I found useful; all available from Amazon.com unless otherwise stated:

Websites:

Strobist.com: An excellent website by David Hobby. Covering many aspects of small portable flash, it is the "go-to" site for many photographers. I highly recommend the "Lighting 101" section as an excellent intro for the those new to this type of photography.

Speedliting.com: A great website by Syl Arena. Includes great articles, workshop details and a forum for Canon Speedlite users [although everyone welcome]. One of my favourite sites. :)

DVDs [Hard copies and downloads]:

Understanding the Canon Speedlite 580EX II / 430EX II Training DVD ~ Tim Mantoani - I found this DVD a good introduction to the basic principles of shooting with the Canon flashes..

Strobist.com Lighting Seminar by David Hobby [available through that website]. Loads of great information over multiple DVDs, multiple viewing required to take it all in. :)

One Light Workshop with Zack Arias. I haven't seen this one yet, but I hear very good things about it.

Canon 580 &430 EXII Speedlight DVD Crash Course: by Michael Andrew. I've not seen this or heard much about, so would be very interested to hear from anyone who has this.

Sessions with Joe L. [DVD Download]. Not cheap, but worth it. Download html and quicktime files to be played on computer only.

Motivational light with Bert Stephani [DVD Download]. Covers both studio and small flash lighting. Informative and lots of fun to watch. :)

Speedlight Mastery with Damien Lovegrove [Hardcopy]. Plus other DVDs. Another DVD on my list to get, so no review yet.

Books:

The Hot Shoe Diaries: Big Light from Small Flashes by Joe McNally. Slightly Nickon-centric but still lots of great info and ideas. :)

The Moment It Clicks by Joe McNally. More about his philosophy of shooting than nuts and bolts but still really useful].

Lights, Camera, Capture by Bob Davies. An excellent Book/DVD combination covering all sorts of really useful information. The DVD is worth the cost of the book alone. Highly recommended. :)

Online Training:

Kelbytraining.com: various different training courses in portable flash units, mostly Nikon based but most of the courses are also applicable to any portable flash-light system.

Subscription based, for around $20-25 dollars a month depending on your currency. Minimum sign up is one month, so I tend to opt in and opt out depending on new courses.

Other:

Master Lighting guide to Flash Photography by Scott Robert Lim [Download]. Interactive PDF with embedded audio and some video plus lots of web links.

Lots of really good info on lighting principles, some small flash specific info, but definitely worth it and in my opinion reasonably priced. I'm about half way through this one, but I needed to stop and let some of the useful but technical stuff sink in. :)

I know there are other resources out there, these are just the ones that I'm familiar with. I'd love to hear about others I haven't come across yet. :)

Disclaimer: I'm not affiliated with any of the above, I just know what I like. :)

Forge forward or regroup.

2010-05-16T21:32:00.001+10:00

Sometimes life catches you by surprise and kicks you in the back. When this happens to me I usually try to work through whatever I need to with a camera. The emotion and the drive helps me create images that are very powerful for me.

However life hit me with a big one recently and my reaction has been to fall back and regroup. I need to conserve my energy to deal, and to take care of myself. So this afternoon I lost myself in some of my favourite photography books. George Hurrell, Cecil Beaton, Herb Ritts... stunning black and white images dance before my eyes.

People are sometimes surprised by the books on my shelf. I think they are expecting Tim Burton or Charles Adams, or something like that. Not classic portraiture and fashion.

I take my inspiration wherever I find it. In classic photography, in Hitchcock lighting, in the turn of a phrase. Recharging your batteries is great but don't forget to recharge your inspiration too. :)

Lighting Inspirations

2010-05-02T21:10:00.003+10:00

One of the things I love to do is watch old black and white movies; classics such as Boris Karloff in The Mask of Fu Manchu or Edmond O'Brien in D.O.A. Back in the days when colour was not an option, atmosphere and mood could only be created with light and shadow.

The lighting is these movies are simply stunning; even if genre or plot is not to your taste, turn down the sound and just watch the magic.

I am reading a very interesting book called "Painting with Light" by one of the masters of cinematic lighting, John Alton. I am not a cinematic photographer and I have no ambition to get into moving pictures. However as a photographer who tells stories through photography, I am always looking for ways to build on my work and capture the images in my imagination.

"Painting with Light" looks at different lighting challenges on set, from candlelight, firelight to mystery light and special illumination. Even though I'm in a different branch of photography and certainly don't have access to a complete film studio, there is still a lot that can be learnt from the cinematic lighting.

It might seem overly obvious to say that lighting is all around us, and yet I often pause in the middle of what I'm doing to look at the light or shadow. And wonder how I can use it in my images. I take my lighting inspiration where ever I find it. :)

Looking for that certain something...

2010-04-26T20:18:00.002+10:00

I spent a couple of hours this afternoon browsing through modeling sites looks for models with that certain something.

What that "certainly something" is, will vary depending on the photographer. For me I know a model has it when they catch my eye, and immediately I can see the [photo shoot] scenario possibilities.

I've talked before about how for me attitude is more important than experience. The other important factor is intelligence. If a model is intelligent, [or not] you can see it in their eyes. I want to work and shoot intelligent people. Not just because they are often easier to work with, understanding direction, concept etc. I am drawn and inspired by intelligent people. As long as they have the right attitude. ;)

The availability of models with what I'm looking for seem to go in cycles. Feast or famine. So I'm always on the look-out for new models. On model sites. On the train. In the street. Almost everywhere I go. Not everyone is interested in stepping in front of the lens, and I understand that.

But every now and then I get a "yes" and magic happens, even if they've never modeled before.

My first magazine cover!

2010-04-10T11:34:00.006+10:00

I am very excited about my very first cover- on the quarterly alternative digital magazine Sublime Rush!

I was also thrilled to be interviewed as part of an article on dark artists and am in some very good company indeed. [You can find me on pages 86-93]. :)

Sublime Rush is an outstanding magazine founded by Edinburgh photographer RockstarVanity and is definitely worthy of your support. [And not just because I happen to be in this issue. ;)]

Please note that this is an alternative magazine that is NOT family friendly - viewing with discretion is recommended.

Concept Shoot Part 1: Prop Preperation

2010-04-04T14:55:00.005+10:00

One of the things I most like to shoot are "concepts" - image that tell a story [or even just part of it. :)]

One of the most important parts of any shoot is preparation - more so with concept shoots. Occasionally you can "wing it" but if you have a very specific image in mind you want to create, preparation is the key.

I recently had a really fun concept shoot with the lovely Samantha Doll which involved amongst other things, a baby doll in a bowl of yellow jelly. As a big fan of jelly [with ice cream and generally] I knew that it would take:

four boxes of Jelly to fill this particular large bowl; and
several hours to set.

I also knew that dolls, which are hollow and not solid, tend to float. I didn't want the doll floating in the jelly; I was after more of a "bath of jelly" effect.

For other "evil doll" shoots I have weighed down the doll by removing the head and filling the body with ceramic pie weights. However this doll was rather expensive and I didn't want to risk damaging her by removing the head if I could help it, so I decided to go for the "brick approach". :)

After placing the doll in the bowl and positioning her limbs to where I wanted them for the shoot, a half-brick in a plastic bag [to protect the doll] was placed gently on top. Jelly mixture was made up and poured into the bowl from both sides so that the bowl was evenly filled up half way. It's important that the jelly level did not tough the plastic bag as this would leave a mark that would show up in the final photo. The bowl was then placed in the fridge to set over night.

The following day the brick was carefully removed and a second batch of jelly made up and added to the bowl to bring it up to the level I needed for the shoot. Because I had been careful that the original level of jelly did not touch the bag the brick was in and because I used the same brand/flavour in the final image the jelly looks as if it all came from the same batch.

For this particular shot I chose Lemon Jelly for it's transparency and contrast to the pattern on the model's dress.

Cleaning the doll after the shoot is also a time-consuming process. Jelly dissolves in hot water; however as the doll is not water-proof it took a long time to clean out the jelly that had seeped into the joints and let her dry out. Yes I could have just pulled off her head, arms and legs and done it quickly that way. However I didn't want to risk damaging the doll as she definitely has more shoots in her future. :)

Working with Models Part 2

2010-03-27T15:02:00.003+11:00

So you’ve worked out your shoot concept or ideas, booked the model, prepared the space, got all your gear ready the day finally dawns and your model arrives on time.

In a perfect world all has gone well, you’ve done all your preparation, the model has brought everything you asked her to, any clothing or props you’ve provided fit perfectly, you have no technical glitches and the planets are aligned.

What do you do next? No, panic is not the right answer. :)

Steadying the nerves
As the photographer you need to take control. Not always easy to do when your nerves are tap dancing in your stomach. I find a great icebreaker in the studio is to play with the lighting. Even if the lighting is exactly the way I want it, I make little adjustments here and there and shoot lighting “test shoots”. This will give you something else to focus on besides your nerves, and also ease your model into the shoot if they haven’t done a shoot before.

Good Communication
I can’t stress this one enough. Communication can make or break a shoot. Whilst I’m playing with the lights I talk to the model, making small talk at first especially if I haven’t worked with them before. This gives me a chance to gauge how much direction they might need during the shoot, and also explain how I operate.

For example my feedback during a shoot is completely honest. If I say something looks fabulous I really mean it and if something isn’t working I will say so immediately. In the case of the latter I always briefly explain why so the model knows if it’s the pose, the lighting or perhaps even a prop that needs to be changed. Models, especially less experienced ones, sometimes need a little reassurance.

Don’t be afraid to give your models direction, be it changing their pose a little or moving to a completely different pose. Make sure you give the model positive feedback as well as direction. This is all part of fine-tuning the creation of your image. :)

It’s also important for the model to feel that the communication goes both ways. If they feel uncomfortable it will show in the images, if they don’t understand something they should ask. A good working relationship takes time and energy and is definitely worth the effect.

Whilst I’m always on the lookout for potential new models, I do a lot of return booking. It’s always a joy to find fantastic models with a professional attitude and work ethic. I definitely save my best shoots for models who have proven their salt.

Less than Professional Attitudes
Unfortunately not all potential or even experienced models have a professional attitude. How you handle these models is completely up to you. Some of the pitfalls of less than professional models are models who turn up late, models who cancel at the last minute and models who don’t show up and don’t call to let you know [also known in the industry as “flakes”].

I completely understand that some times in life circumstances completely beyond our control get in the way. But picking up the phone and taking a moment to let the photographer know what’s going on is common courtesy and not too much to ask.

Model Divas
Then there are the models that do turn up but at less than professional in their behaviour. This is another scenario where you as the photographer need to step in and take control. You basically have two options: to accept the behaviour and keep going; or to end the shoot.

Personally I usually go for the second option. Life is too short; there are too many other people I would really like to work with to waste time on a diva. Even if you are a complete novice, no one should have to put up with poor or rude behaviour.

Avoiding the Pitfalls
So how can you avoid the pitfalls? Unfortunately there are no guarantees but you can certainly minimise the risks.

Do a reference check; contact other photographers that this model has worked with. If the model is completely new to modelling, meet first for coffee and a chat. Try and get a sense of their personality.

Be Optimistic
Fortunately the divas and unprofessional attitudes tend to be the exception rather than the rule. And every now and then you will come across that magic model who has a completely professional attitude and who understands exactly what you are trying to achieve.

For me working with models like this really helps me to push myself. I take more artistic risks because the working relationship is built on trust and I know that if the concept doesn’t work I won’t feel stupid. I’ll just move on to Plan B.

Working with Model Part 1

2010-03-14T20:19:00.004+11:00

I’ve been asked to write a bit about how I work with models so here is part 1. :)

There are several ways I choose a model:

I have a specific concept in mind and want a particular look;
I have a specific concept in mind and want someone that I have worked with before that I know can handle it; or
I really like a model's aesthetic, which inspires the concept.

I am often asked where do I find my models; the short answer is “everywhere”. The long answer: I often use Model Mayhem when I am looking for new models. However I also use dancers, actors and occasionally people I have meet or seen on the street and given my card.

Once someone has agreed to model for me and we have set a date, I send the model a detailed e-mail, with all the details of the shoot. Where, when, what they need to bring, if hair or make-up is required before arrival or provided at the shoot, how long the shoot will take, a map of where the shoot is, and who else will be at the shoot [make-up artist, assistant etc].

I also include a copy of the model release, which they need to bring and sign on the day. It is also important to state what permission rights you are going to give the model regarding the images from the shoot [i.e. display only, permission to manipulate etc]. It's important to do this up front so everyone is informed and there are no surprises.

Model Releases:
Two words on model releases – use them. By signing the model release the model acknowledges that you own copyright on the images [which you do] and just as importantly, that they give you permission to use the images. Everyone I shoot signs a model release – even my husband. :)

Living in Victoria, Australia I also made sure that I am familiar with the Victorian Privacy Act. Check out the local privacy laws where you are; information is power and you never know when you might need it.

There are lots of free model releases online that you can download and modify. However most of these are American and therefore not necessarily appropriate for photographers outside the US. A lot of professional photographer organizations supply model releases to their members. It is important that you get one that is appropriate for where you are.

I sourced mine through the Arts Law Centre of Australia which is a fabulous legal resources for the Australian Arts Community. Arts Law is also a great resources for other legal documentation such as licensing agreements etc. This is not a free resources but definitely worth it.

Escorts and Chaperones:
Personally I don’t allow escorts or chaperones at my shoots. I know many photographers are happy to allow escorts, however this is a personal choice. It’s up to you to decide for yourself.

Rule #1:
I have a few rules when it comes to working with models. The most important one is “don’t hurt the model”. I never place my models in danger of injury or embarrassment. It’s important for the model to feel at ease; this makes for a more pleasant shoot and definitely better photographs.

For me a successful shoot is not just creating great images. I want the shoot to be enjoyable for the model as well as myself.

Paying the model:
I am often asked the question do I pay my models? I know what they really mean is do I pay my models money. In my personal opinion there is no such thing as a free shoot. You’re both investing your time, the model may be providing clothing for the shoot, you are providing photography equipment and your skills and knowledge etc. And in you’re not paying your model in money you’re paying them in images.

When I first started working with models I booked professional working models who knew what they were doing. This allowed me to concentrate on the photography, and I learnt a lot at the same time. I know not everyone can afford to do this when they first start out, but I highly recommend at least working with an experienced model whenever you can.

So there is a basic introduction to working with models. Part 2 to come soon. Please leave any comments or questions below. :)

Five non-photography items I always take to a shoot...

2010-03-06T18:29:00.003+11:00

Here are the five non-photography items that I always take to a shoot, regardless of whether I'm shooting portraits, landscape or sports.

Duct tape. The world is held together by it. Used for keeping wardrobe in place, marking a spot on the group for the model to stand after a break, just to name two.
Batteries, and lots of them. Great to Flash units and Pocket Wizard and other remote triggers.
A full size towel, preferably a thick one. Not only great for sudden downpours or stepping in puddles, but really handy for wrapping things up in, providing shade or even a little privacy.
A small linen dish towel. This one is for the gear only.
Bungie Balls. Great for holding things is place, or attaching flash units or pocket wizards to poles, tree branches etc. A little hard to get hold off in Aus, I found mine on eBay.

So there you have my list of five. I'd be interested to hear of anything I've missed that you feel is a must-have non-photography item on every shoot. :)

Breaking that rule

2010-03-03T21:52:00.002+11:00

One of my few personal photography rules has always been: don't shoot with the flash on the camera. The majority of the time it gives you hard, flat, very unflattering light, that does horrible things to skin tones. Well last week I was forced to break that rule and the results were definitely not what I expected!

I was shooting some fun portraits in an open plan office high up in the building. Think lots of natural light mixed with lots of flourescent lighting. Looks bright enough to the naked eye, but alas not to the camera.

I was shooting without a tripod so had to keep my shutter speed up. I try to stick to ISO 100 if at all possible [one of my other rules]. I wanted to use my Speedlite as fill light or even to overpower the existing light without blowing everything out. At first I experimented with the Speedlite off to one side, controlled by my radio triggers.

This worked for a while but when I moved the flash to the exact place it needed to be, the triggers stopped working. Sounded by computers, power cables, Ethernet connections and all manner of things electrical, I'm not surprised at the technical hitch although it was a right royal pain at the time.

Trying to travel light, I didn't have my flash bracket with me [or the cable needed]. So I had no choice but to attach the flash to the hotshoe of my camera; but what I did have was my Lumiquest Promax [more about the Promax in a previous blog].

With the Promax securely on the flash I finished the shoot; multiple portraits around the open plan office as well as one or two in smaller offices. Sometimes you don't have a lot of choice and have to make the best of what you have.

While I'm not sure that this technique would work in every circumstance, it worked really well in this one. I was really happy with the photos; the Promax gave me nice soft light and allowed me a little creativeness too [like the light that seems to be coming from the book in the image above].

I'd packed the promax because I liked the defuser it uses, and more importantly, it packs flat. Definitely a plus for me when I'm shooting on the run and have to carry all the gear with me. If I can only take one light modifier with me, this is often my first choice.

This wasn't meant to sound like an ad for Lumiquest; and I certainly have no affliation with the company [but hey I'm open to ideas guys... ;)] On the day the Promax really worked for me and gave me what I needed. And for me that's part of the fun; finding what works for me and what doesn't. Which reminds me, I have a Rayflash around here somewhere. It's really time that I tried that one out... :)

My new mailing list is finally up and running! :)

2010-02-23T18:25:00.005+11:00

Apologies for the lack of blog the last two weeks, I've been really busy on some projects, including the lauch of my Photographer's mailing list! :)

The mailing list is all about photography and studio tips and hints, as well as any useful websites that I come across from time to time.

If you'd like to be added to the mailing list, simply drop me a line with your email address and "mailing list" in the subject line. The mailing list address is: image @ morganacreely .com [without the spaces].

More soon! :)

Avoiding reflection in glass

2010-02-07T16:52:00.004+11:00

Yesterday I had an image pop into my head that at first seemed fairly simple. A clock surrounded by baby dolls, representing a "biological clock" [which is what I call the image. :)]

Camera specs: 66 mm, f2.8, 1/4, ISO100

The easiest way to arrive the composition was the put the clock* on the floor and then arrange the dolls around it. I then placed the tripod over the dolls and shot towards the floor. I chose to use a tripod for this shoot so I could keep the camera in exactly the same place whilst playing with the lighting.

[*Yes, the clock really does run backwards; it's not photoshop trickery. :)]

I tried a few different things; side lighting, grid spots, a snoot but in the ended decided on a softbox fairly close to the composition. I wanted some fairly even "wrap-around" lighting and it needed to be a light source that wasn't going to show up in the glass covering the clock face.

As you can see from the diagram the softbox is placed camera right, fairly low to the ground. I think placed a silver reflector on a stand at the top of the image, and white reflector to camera left which I ajusted manually and help in place whilst I took the shot. This allowed me to test out several refector angles for different effects, although I basically went for the "slightly leaning forward from the top angle". If you don't have a reflector stand or someone to hold it for you, small step ladders, chairs or stools can work in a pinch. :)

With the use of two reflectors, I was able to light the dolls and clock evenly, getting nice wrap around light without the light reflecting any "hot spots" in the glass the clock face. It was a fun shoot, although it's starting to scare my how many dolls I have to date. Even scarier is that I need a whole lot more for a shoot I have in mind, but that's another story... :)

So much I want to learn...

2010-01-31T21:59:00.002+11:00

Many photographers long to study photography at college or uni. Unfortunately we don't all have the time/money to do this. But don't let that stop you feeding the brain - there are a lot of fantastic resources out there; sometimes you just need to go looking for them.

The first thing to do is to work out what it is you want to learn more about. For me it's the very technical side of lighting. Reflection, refraction, why light does what it does - that kind of thing. My friend Jeff is definitely well versed in all thing tech, so I hit him for a recommendation and here is it: "Light, Science & Magic"..

If like me, you don't have a tech background, don't let technical books psych you out. It's all about finding the right book to ease into a topic, and I highly recommend this one.

Portable flash lighting, often referred to as "Strobist" is definitely something I want to become more familiar with, and www.strobist.com is an invaluable website. I'm currently working my way though "Lighting 102" - sometimes you have to backtrack a little if you don't know what it is you don't know. ;)

Another great way to learn is to follow your favourite photographer's blog. A few of my favourites include Joe McNally and Chase Jarvis. I don't always agree with what they say, but it's always thought provoking.

Another online resource I really like is Kelby Training.com. This is site full of training videos for photography and photoshop. You subscribe monthly or annually and have access to their entire library. Granted there is a lot of videos that I will never watch because they're not relevant to me personally but there is definitely something for almost everyone. :)

Offline keep an eye out for workshops run by local photographers or photography clubs. And always shoot as much as you can. All this theory is a wonderful thing but there is no substitute for practice.

Study the images of your favourite photographers and try to reverse engineer them. What shape are the catch lights? Which direction is the light coming from? Are there any shadow and are they hard or soft? Like the way someone has lit their image? Think about how you could make that lighting work for you.

So don't despair if photography college seems like a dream out of reach. With patience and perseverance you can create your own custom photography course.

You've got to be really passionate about what you do.

2010-01-25T11:57:00.003+11:00

Photography can be a sheer delight when everything is working well; and sheer hell when it feels like the universe is determined to oppose you. It's time like this when you're got to be really passionate about what you do.

When I first started out as a photographer I used to get really frustrated when things went wrong - a lot of the time because I wasn't sure how to fix "the problem". What do I do now? How do I fix this?

I was very fortunate to have someone I could turn to for advice and technical assistance; and occasionally for moral support when the problem just refused to be "fixed".

What kept me going and still keeps me going, is my passion for what I do. Yes it's great when the images work out the way I want them to, but for me it's not just about the final outcome. I love the process and the "doing".

A couple of days ago I had a shoot with a gorgeous model and had some very clear images in mind that I wanted to capture. I'd done my prep work, testing the lighting set-up I wanted to use and the props were all organized. All this prep should make a smooth shoot, right? Nope, the universe had other ideas.

No matter what I did, the lighting set-up to perform as it had in the testing. Even with the technical back-up it became clear that it just wasn't going to happen that day. There was only one thing to do - move on to something else.

Whilst I'd blogged before about how having a back-up plan can really help, I admit that these days I tend to improvise on the spot. I don't stress about coming up with a "Plan B" because I know I'll come up with something. Being prepared to take a risk artistically means in the beginning a lot of things I tried didn't work. But I just kept on shooting, taking risks those risks in my personal projects and after a while you start to get a pretty good feel for what will work for you and want won't.

Sometimes you don't have the luxury of "Plan B". I spent yesterday afternoon shooting a Motorcycle Speedway club meet. I'm new to sports photography, and am still learning the ropes. I have no control over what I'm shooting, so all I can do is practice practice practice. Keep shooting as much as I can, and learning as much as I can. I know if I keep at it my sports images will improve.

If you're really passionate about what you do, this passion will get through the frustrating ~~problems~~ challenges and help you to keep going. It will mean you keep picking up your camera even after those shoots when you finally realize that no matter what you do it just isn't going to work out the way you want it to.

Eventually that passion will lead you to some really amazing images, the magic ones where you sit back and think "wow, did I really create that photograph?" I might take you longer than you'd like it to, but believe me it's definitely worth it in the end. :)

New Toys Part 2

2010-01-10T12:06:00.039+11:00

One of my goals for 2010 is to spend more time working on mastering off the camera flash or "strobist" techniques. So last week I decided to treat myself to the Lumiquest promax system.

To attach the 8020 to the flash unit I used a Lumiquest Clinch Strap, although some photographers like to permanently attach velcro or the like to their flash units.

The first thing I did was create a basic "crib sheet" with each "setting" and some combinations so I could see at a glance the different effects.

With identical camera and flash settings, I took photos of my gorgeous husband as he pointed to each accessory on the list as I used it.

A pdf of the cribsheet can be downloaded for personal use here.

Camera: Canon 5D, Manual mode, 1/200, f2.8, 51mm.
Flash: Canon 580 EX II, Manual mode, 1/4 power. Flash triggered by Pocket Wizards.

You'll notice there is one extra setting in the crib sheet: soft box.This refers to the Lumiquest Softbox III. I wanted to compare the softbox to the diffuser, so I added it for good measure. [Personally I prefer the diffuser. :)]

A good friend of mine said to me "You really like the Lumiquest stuff, don't you?"

Basically I like anything that works for me, and a lot of the Lumiquest accessories do, but then I'm also a fan of V-Tec/Interfit [their globe and beauty dish discussed here] and Honl accessories which I will be talking about in a future blog.

Putting the bite on 2010!

2010-01-02T18:58:00.007+11:00

Happy New Year everyone. May 2010 be everything you want it to be.:)

I'm not one for New Year's resolutions, but there are definitely some goals I'd like to achieve this year:

- Bigger concept shoots [with models].

Bigger doesn't necessarily mean spending large amounts of money; but it usually means a lot more leg-work, more research and more preparation.

- More local landscape shoots.

I really enjoyed shooting landscapes when I was in Canada; so I want to spent more time shooting the landscapes around me here in Victoria.

- More location shoots.

I definitely want to do more model location shoots. Again more planning required, but lots of fun. :)

- And work on a couple of techniques I would like to master.

Something else I am also hoping to get up and running this year are individual mini-workshops. One-on-one sessions, playing around with concepts, brainstorming, trying new things and generally having a good time. I'm really excited about this idea.

I'm also looking forward to working with some new models over the next couple of months, as well as some of my favourite models from earlier shoots. All in all, 2010 is looking like it's going to be a good one. :)

Speedway love... plus camera!

2009-12-27T17:27:00.002+11:00

I've been a motorcycle fan most of my life [it was my main form of transport way back when] and a follower of Speedway since my husband Martin introduced me to it on the tv. Sadly, as a sport that originated in Victoria [Australia] there are not a lot of local meets any more. So I jumped at the chance to attend the Victorian State Championship at the State Motorcycle Centre at Broadford.

Anyone who is familiar with my work will know there is a distinct lack of sports photography in my portfolio. In general sport is just not something I'm passionate about - however one of the three exceptions is speedway. :)

Once again I was fortunate to be shooting with my husband who knows a lot about both sports photography and speedway. But even if I didn't have this guidance, it wouldn't have stopped me having a go - and that's what it's all about.

I wasn't there to create exceptional images, or even great ones. I was there to have a really good time watching the races, lapping up the atmosphere and shooting just about everything that moved on two wheels! Good pictures were a bonus. *lol*

So grab your camera and get out there amongst it. The only way to improve is to keeping shooting, and having a great time watching something you love can be good consolation when your images don't quite meet your expectations. But then again you just might surprise yourself. Either way you have nothing to lose. :)

A little Christmas Mayhem. :)

2009-12-06T16:53:00.025+11:00

Whatever your feelings about Christmas [reverence, delight, indifference, or dread] it definitely lends itself to a photographic possibilities.

I was due to shoot my Christmas card last weekend but as mentioned previous, I ended up shooting something completely different. With only a few weeks to go, I decided to run with some fun ideas with my "Evil Babies".

How would evil babies celebrate Christmas? What mischief would they get up to? And thus a photoshoot was born. :)

Components:

Baubles
Tinsel and Christmas hat
Evil Babies x2
Evil Eye
Small board
Backdrop/curtain
Syringe, scalpel and blade
Tools [small screwdriver, hammer, sizzors, door wedge]
Two small sandbags
Large silver reflector

Leaning the small board against the wall on top of my shooting cabinet, I draped the green curtain over the board and cabinet, securing the sides with sandbags.

First I shot the larger Evil Baby [whom you might remember from such images as "Cook to Perfection" and "Simply but Deadly Effective"]. The Santa hat is full size one, made smaller and held in place by dressmaking pins. Breaking the baubles turned out to a lot harder than anticipated. The expensive glass ones might break easily but the discount variety are made of tougher stuff indeed!

Using a small tack hammer so that I didn't completely destroy the bauble in one hit, I watched in amazement as it bounced off the surface of the bauble. Finally after several attempts I soon learnt the trick to it.

Shooting Evil Baby II in the large bauble was a little trickier. Round objects don't tend to stay upright with unevenly weighted babies inside them. This is where the door wedge came in handy.

Rather than breaking out the strobes, I used natural lighting from my large frosted windows plus the large silver reflector. Why a large reflector rather than a small one? The camera was quite close to the subject. By using a large reflector I was able to position it myself and move it around as needed, and still reach the camera's trigger. With a smaller reflector I wouldn't have been able to reach both simultaneous.

I hope you found this shoot as much fun as I did. Bigger versions of the finished photographs [for more detail] can be found in the galleries on my website.

Happy Holidays everyone! :)

When in doubt, Go to Plan B

2009-11-29T20:24:00.013+11:00

It happens to everyone at some stage - plans go out the window due to the weather, ill health, technical difficulties, or when the universe just seems to be plotting against you.

So it's always good to have a "Plan B".

I was looking forward to a fun shoot this weekend with one of all-time my favourite models. Unfortunately she was struck down by a nasty bug and we had to postpone the shoot. Disappointing but it happens. [Rule number 1 - look after the models! ;)]

Time to move to "Plan B".

I've been spending more and more time lately creating conceptual images without models. It was planned that way, but when the ideas hit me over the head like a large Viking mallet wrapped in soft velvet I don't say no. Having a few ideas up my sleeve for a rainy day means that I can switch themes at very short notice [with just enough time to pop up to the local supermarket. :)]

Shopping list: one packet of pre-mix salad, a punnet of cherry tomatoes and 2 loaves of bread.

"Baby Food": Spreading the salad out in the white dish kept in the cupboard for such occasions, I sliced the cherry tomatoes in half, replacing the ones in the salad premix [as these are usually not the best quality]. I only used the top halves of the tomatoes as they tend to be more symmetrical and pleasing to the eye. It also gives me the excuse to eat the bottom halves. :)

The salad plate was placed on a white tablecloth on a table next to a white wall, rotated to minimize any shadows around the doll. A reflector was also placed at the other side of the plate. I shot the plate from directly overhead with the help of a step ladder. :)

On to the second image: "White Bread Baby". The set-up of this image was a little harder. I had already cut down the legs from the a second doll at approximately the ankles. After my very kind assistant cut the end of the loaf very neatly, I made two small holes in the bread in insert the legs - definitely not as easy as it sounds. Fresh bread is spongy and easy to squash accidently. This is where the second loaf came in handy; I was able to tear small pieces from the second for repairs. [It also help prevent my props from being eaten. ;)]

This time I used a second light to ensure an even all-over light on the wall behind the bread. I decided on a nice tight shot to put the focus of the image on the feet.

So think about what you can do for "Plan B" just in case your original plans have to be postponed. Your Plan can be a little change [shooting indoors if it's rainy] to something completely different if, like my shoot above, your model is suddenly unavailable. I often hear photographers bemoan "so much to shoot so little time". With a Plan B you won't feel like time has been wasted. :)

Who are you?

2009-11-22T12:00:00.002+11:00

When I first started out as a photographer I thought of myself as a portrait photographer because that was my passion. Whilst I an still very passionate about portraiture, it's no longer all I shoot. As a result I've had to reassess my own self perception.

Does it really matter what labels you apply to yourself?

How you define yourself influences how others define you. As a portrait photographer I wouldn't be the first person to come to mind for a corporate or product shoot.

It's important that you have a clear idea in your own mind of who you are as a photographer - this will effect how you want to market yourself and who your market is.

Changing the way I think about who I am as a photographer has also changed the way I look at my photography. The shift in mindset has given me the push to expand into genres that I wouldn't have ventured into before.

These days I think of myself as a "conceptual" photographer, which covers everything I shoot, especially my portraits but also applies to my landscapes.

You might still find that if you're known in one area as one type of photographer, the label might be hard to shake. In some circles I'm constantly fighting against the label of "horror photographer". There are some incredibly talented photographers out there who I respect and admire. My problem with the label applied to me is simply that it's inaccurate - whilst some of my images definitely fall into the "horror" or "macabre" genre, this type of photography is only part of what I do.

As an interesting side note the the most common question I get when people learn I'm a photographer is "do you do weddings?" I think this is because most people only come into contact with a photographer at a wedding. Wedding photography is not for everyone; knowing where you don't want to go is just as important as knowing where you do.

Wait, I can use that!

2009-11-08T18:11:00.011+11:00

Late last week I arrived home to cement dust everywhere. Repairs had started on a small section of the studio wall. My intial thought was that I wouldn't be able to shoot in our small studio until the work was completed. But once the dust had settled and I could see the work in progress there was no way I was going to let the fabulous temporarily exposed brick go to waste...

It's not just about making the best of a bad situation, overcoming obstacles etc etc [insert your favourite cliche here]. It's about taking what you've got and running with it. And what I had right then was a tall narrow section of exposed sixty year old brickwork crying out for a shoot. Fortunately I had one booked for the very next day. :)

"Take No Prisoners". Model and Actor Andrew Wilson.

The exposed brickwork with it's rough groutting and imperfections really lent itself to concept of the shoot. As part of the wall was next to a very large frosted glass window I decided to shoot only with natural or available light. Although this meant that I needed to shoot at a higher ISO than I normally do [640 for this shoot] I felt that the additional "noise" wouldn't detract from the shoot, and the diffused side lighting would give me softer shadows.

Later that afternoon, as I was doing "post" on my images I suddenly found I had sun glare on my monitor. Usually the studio windows have a large curtain across them, but this had been removed for protection during the repair work. The glare was coming from an amazing late afternoon golden sun that was flooding into the studio. Depending on the weather/season I know I have anywhere from a minute and a half to ten minutes at the most to make use of this gorgeous light.

The chair was already there; I grabbed a small side table and an assortment of "stuff" to place on the table. My first choice [a white candle in an ornate candlestick] was too blown out by the light. I liked the look of the book but felt it wasn't enough on it's own, so I grabbed the martini glass and filled it with red coloured water from a bottle I keep handy. [That's a blog for another day...]

In ten minutes it was all over. :)

For me it's the brickwork that really makes this image, that gives it an almost "loft" feel. I'm really happy with both sets of images and I'm glad that I captured the brickwork because for me it has a fleeting beauty all of it's own. In two week's time it will be all covered up again and time to call in the painters. Hmm now there's an idea for a photoshoot... ;)

A Change can be Good

2009-10-25T19:01:00.004+11:00

Even from my early days of portrait photography I've tended to be drawn to a particular style ; low key, high contrast, lots of shadows and dark spaces.

Playing to my strengths and working on improvements is a good thing; but sometimes it's also fun to break out and try sometime completely new.

Exhibit A: "Reserve Bank" [right] is definitely not my usual style and a lot more challenging. Photographing white on white is a lot harder than it looks!

I started out thinking "This image needs to be high key, so that means a big bright light and a white background for the dark blood to contrast against". Sounds good in theory right?

My first set of images where completely overblown. The top part of the syringe disappeared into the background and the bottles of blood looked like they were fading into another dimension. Interesting , but not the look I was going for right this minute. :)

I played around fine tuning the softbox and the aperture. Fine tune. Shoot a frame. Fine tune. Shoot a frame...

It took a little while, but finally I captured an image I like. It may not be my best work ever, but that's okay too. I had an image in my mind that I wanted to capture, and I learnt a little through trial and error too.

So take a risk and try something that doesn't play to your usual strengths and style. You never know what you might discover if you take that chance. :)

Side note: For those of you who read last week's blog on food photography, this week I used a tip I picked up. Dark liquids such as soft drink/sodas etc are often watered down slightly so that they are more transparent and easier to light. Although I used commerical fake blood in the minature bottles, the "blood" in the syringe is water and food dye as the fake blood would have been too dark, hiding the marking on the outside of the syringe. ;)

Food for Thought

2009-10-17T19:10:00.011+11:00

Often when we become very passionate about a particular genre or style of photography we spend lots of time looking at and learning more about that style. Makes perfect sense & I'm all for it.

I'm also a big fan of learning in general, and am forever diving into a book or watching a training video. Because you just never know when that quirky piece of knowledge is going to come in handy...

The last couple of days I'm been learning a few basics about food photography. Really interesting stuff after which I guarantee you'll never look at food magazines or TV commercial the same way again. Fascinating as it all is, I have no burning ambition to become the next great food photographer. So why I am doing it? It's all knowledge to be filed away for a later date.

For example, two years ago I was trying to do a conceptual horror shoot using a raw sheep's heart. No matter what I tried, I couldn't get the heart to look plumb and full. In the end I ditched the heart and went for a totally different shot. But if I'd looked into food photography, I could have come up with just the right thing to achieve the shot I was going for.

Learning about a new type of photography is also a goldmine for shoot ideas. How can you incorporate food into your favourite style of photography?

So basically yes indulge your passion for fashion/horror/artistic nudes; but don't be afraid to nose around in other photographic areas. You never know what little gems you might find that one day might be the one thing you need to nail that shot! :)

Simple but deadly effective...

2009-10-04T20:24:00.010+11:00

Sometimes it's the simple ideas that are the most effective. And the most fun to play with. :)

One evening last week I was sitting at my computer minding my own business when suddenly an idea hit me. A crime scene, with the perpetrator and witnesses gathered around the body. Death in Toyland.

Whilst not everyone might have half a dozen baby dolls sitting around waiting for their next big break, it's often not about having the perfect props, but being creative with what you do have. Which in this case is said dolls, a nasty looking knife, a bottle of theatrical blood, one studio light and a visually textured kitchen floor. :)

I spent a bit of time taking test shots without the blood. I wanted to make sure that the dolls were exactly where they needed to be in advance. I had a few other restrictions; even thought I was shooting from almost floor level, the smaller baby dolls needed to be propped up so that their faces could be clearly seen.

The positioning of the dolls was also important as I didn't want the dolls to be placed identically in a row. With all my images I am trying to tell a story.

Here's where a little thought and preparation came in handy. When I bought the dolls individually on a well known online auction site, I deliberately chose dolls with different facial expressions. I don't think this shoot would have worked as well if all dolls were identical in size and expression.

Crowd scene over, I removed half the dolls to concentrate on the remaining three. Cutting down the number of dolls changes the story again, and becomes less spectator and more intimate.

So basically that was the shoot. Which left only clean-up and pack-up. Idea to completion: approximately half an hour. A simple concept with props on hand, that was a lot of fun.

Simple, deadly and effective. :)

[Please Note: I know that conceptual horror photography is not to everyone's taste, and I am in no way advocating the mistreat or abuse of children.]

Shoot Preparation - Planning

2009-09-20T16:40:00.026+10:00

Planning for a shoot can be a lot of fun; or a headache. Or a combination of both. Personally I really enjoy the planning side of things, sourcing locations, clothing, models, props etc. Things don't always go according to plan, but I try to plan for that too... :)

When planning a shoot the first thing you need to ask yourself: What is the driving factor behind the shoot? Is it the concept/idea, the model, the clothing/props or the location?

So once you're worked out the driving factor the next step is source and bring all the elements together. A quick checklist will help you start to work out what you need.

Do you have:

A Concept
A Model
A Location
The Clothing
The Props
The Accessories

Do you need:

A Make-Artist or Hair Stylist
Any Special Equipment

Let's assume for the moment that you have the concept already and have a fair idea of what you need. So where do you find it all?

Models:

There are quite a few websites around for networking between models and photographers. The one I use the most is Model Mayhem.
Working with professional models can be a really great thing when you're first starting out, and worth every penny. When I first started out teaching myself about shoots in the studio I regularly hired professional models. This allowed me to concentrate on the technical side [lighting etc] leaving the posing and modeling side to them. I also learnt a lot just simply talking to the models about their experiences. There are some amazingly talented and very generous people out there. :)

On the other side of the coin, at least half of my subjects are not models at all. Friends, family, people that I meet out and about. I often approach people and ask if they'd be interested in modeling for me. I gave them my card, asked them to check out my website and let me know if they're was interested. Although this method came be a little hit or miss, given that my work doesn't appeal to everyone, it doesn't put the other person on the spot and you never know if you don't try.

Location: Anywhere you shoot is a location. It doesn't have to be big, fancy or expensive. It just needs to fit the concept. It could be your local bustop, your backyard or your living room or your kitchen [just to name a few places I've personally used. :)] Yes, having a studio is a great thing. But there is no substitute for really being there.

Having said that, one of the things you need to research for location shooting is permits - do I need one to shoot there? Don't assume that because you are in a public place [train station, park etc] that you don't need one. Everywhere is owned by someone so do your research upfront. Sometimes all it takes is to ask nicely, be friendly and respectful and say thank you afterwards. A little good old fashion courtesy goes a long way. :)

Clothing, props and accessories:

There are as many sources as there are styles. Borrow from family or friends, do a deal with a local up and coming designer or jewellery maker [use of designs for use of images].

Another great resource to keep an eye on is The Freecycle Network. You have something you don't want, you post a description and if someone wants it they contact you. No money changes hands - it's free recycling. :)

Sometimes your shoot requires a specific item that you just can't get any other way - you need to bite the bullet and buy it. If this is the case, don't forget about second hand stores or online resources like eBay. But if you are going down this route, make sure you give yourself plenty of time to get what you need. It might take some time.

Make-Up Artist or Hair Stylist:

Once again, Model Mayhem is a great place for networking. Perhaps you have a local beauty college nearby that you could contact? Or know someone who always looks fabulous and does their own?
A lot of the models I use do their own make-up and occasionally their own hair. Providing full hair and make-up might be in the norm in commercial shoots, these shoots also tend to have a budget where quiet often freelance shooters don't. If you don't have the budget and your model won't work without these being provided, thank them for their time and move on to someone else.

Special Equipment:
Like most of the above, beg, borrow or buy. And when all else fails...

Improvise!

I don't have the budget or the resources of Chase Jarvis, or Joe McNally. Some days I wish I did but most of the time I'm happy to do the best with what I have, and improvise. Yes I do a lot of planning, often worrying too much over small details, that's just part of who I am. But I also know that some of my best images come from improvising.
Can't get the exact prop I want, what can I substitute? Can't afford the location I want, how I get around this?

And then there's my favourite: "Oh while you're here let's try this..." I often get my best ideas at the end of a shoot, when I've captured what I was there to shoot and have time to "play". This "playtime" is actually something I build into my shooting schedule.

It also means on those occasions when the Universe is against me and things are going wrong fast, I have time to come up with alternatives. Beautiful heritage building, stunning model, gorgeous clothing and my remote triggers decide this is the best time to fail. Okay, regroup, rethink, oh look at those gorgeous windows let's see what we get with natural light.

That's it, my basic take on planning a shoot. I know I haven't even touched on the subject of equipment, and I've probably left out things that you consider absolutely vital. If so please drop me a line. Cheers. :)

Truth or Dare?

2009-09-13T16:59:00.030+10:00

I recently started playing an online game of my version of "Image Truth or Dare" with my girlfriend Miriel, a very talented artist. This is how it works: If Miriel picks truth, then I get to ask two questions about her as an artist and/or her work.

If Miriel picks dare, than I get to pick an element or prop [within reason] that she has to find someway to work into her next image. We each have up to seven days per turn. It's a lot of fun and a great way to come with shoot ideas.

Well it was my turn this week; I chose dare and the object I was given was a "rake" [any interpretation]. As I had to go to the local hardware store anyway, I picked up a couple of hand rakes whilst I was there - after all you just never know when they are going to come in handy! :)

The first one looked your standard garden hand rake - black and yellow handle, three-prong affair. [See B/W image above]. A good start. But it was the second one [right] that really inspired me. A nice solid wooden handle, industrial strength prongs and a thick scrapper on the other side. This was more of a weapon than a gardening tool. :)

After trying various different things in the studio, I decided that I needed something in the background with more contrast - like the white side studio door.

Even though it was an overcast day, the light was still very bright outside. The first image exposed correctly for the studio was too overblown for the outside part of the shot.

Rather than adjusting the aperture I increased the shutter speed to an 1/8th as I was shooting at a fairly slow speed of 2 seconds. This helped take away some of the blow-out but not enough. I didn't want to increase the shutter speed too much as I didn't need to alter all the light, just some of it.

Outside the door are some very handy drain pipes, so I wedged a large diffuser disc into the pipes above the doorway. This allowed me to defuse the light on the subjects face and bring back some details into the outside brickwork without decreasing the light on the bottom half of the image. [See close-up below - and yes there was a little hair-brushing between takes. ;)]

The final images of this "dare" are completely different to the ones that I had in mind when I started, but sometimes it's like that. One of the reasons I love to play games like image truth or dare is that it make me think and help me a create new images.

So thanks Miriel for the rake; I look forward to seeing what you come up with next time! :)

Alone

2009-09-06T12:24:00.017+10:00

This is a series of images that I've been wanting to shoot for ages, ever since we had wooden blinds installed. I wasn't sure how well it would work but I have to say I'm very pleased with the results.

A big thank you once again to my husband Martin for his willingness to step in front of the camera. :)

So how was this done?

The Speedlite portable flash unit is on a light stand, via an umbrella bracket, outside the bedroom window, pointing at the window. I tried different power settings before deciding on 1/2. The flash is trigger by a radio control unit.

Wooden blinds on the inside of the windows. The angle of the slats determined the thickness of the shadows.

To get the shot I wanted in a restricted space, the camera needed to be as close to the wall [i.e. as far away from the subject] as possible. Which didn't leave a lot of room for the photographer. So making sure I had the composition etc I wanted, I ran an extended trigger cord and docking cord to the laptop from the camera into the next room.

Photographer. :)

Staging for this series was fairly simple. It was less about what needed to be added [bourbon, cigarettes] and more about what needed to be taken away.

The only work that was done in post was a little tweaking of the temperature in some of the images, such as the one below.

Sometimes the simple techniques can be the most effective. :)

New Toys Part 1

2009-08-30T15:41:00.015+10:00

Last week I rang one of my favourite photographic shops inquiring about a grid spot for my flash unit. Whilst they didn't carry the brand I was asking about, they did have something similar. But what really got me in was the sheer enthusiasm on the other end of the phone. "We've just got a whole lot of new strobist stuff, it's like Christmas! You should come in and see it!" How can I resist an invitation like that? ;)

On the way up to the store I pondered the irony of retail politics, how a store will stock a brand but not it's competitor etc. Fortunately there are several outstanding photographic shops around Melbourne, so if I'm after a particular brand I know I'll get it eventually; it's just a case of working who has what. :).

I certainly hadn't been misled; there was a lot of really cool gear awaiting me when I finally arrived at the shop. After much chin-wagging and weighing up of "this vs that", I treated myself to a few bits and pieces, including a globe diffuser and a mini beauty reflector, both for my flash unit.

I'd wanted a beauty reflector for a while. The globe was something I wasn't sure what I was going to use it for, but it really intrigued me, so I went for it. And the little frustrating flash mounts that go with them.

I've started playing around with the globe in the studio. In the first series above, I used it as a back light, producing some interesting effects. The base of the globe is at the same height as the base of my subject's neck [thank you to my ever-patient and willing husband Martin :)].

Next I added the beauty reflector on a second flash head to the front left of the shot. The light from the beauty reflector seemed to fall off a lot faster, and was a gentle more kind light.

Interestingly the colour of the wall behind Martin has changed slightly with the addition of the beauty reflector, although both sets of images share exactly the same settings including white balance. [Alternations to blog images are restricted to cropping, resizing etc]. Oh well, something to think about.

Where the globe really came into it's own was on location. The shoot was early one morning, around 7.30 am. The final images we wanted to shoot were in a small rotunda in a park. As you can see from the image on the left, the background is fine but the model and foreground is under-exposed.

Adjusting the camera settings allowed me to properly expose the foreground, but really blew out the background [it's hard to tell how much in the image on the right, but believe me it was a lot. :)]

In the final image Martin is holding the globe high up to the right, behind one of the pillars. The globe provides enough foreground light whilst not blowing out the background.

I was really impressed with the globe at the location shoot as it gave me exactly what I needed. I did try the beauty reflector as well but found that the fall off was too much for the distance I needed between the flash unit and the model. I'd like to experiment with the beauty reflector in close up shots.

I am certainly no expert when it comes to small flash photography and accessories; but I think this makes me a good test subject. I certainly plan to spend a lot more time exploring these and other new toys. But for now it's time to sign off, clean up and recharge the batteries. :)

Watch those lighting tests shots...

2009-08-23T14:48:00.012+10:00

Last weekend I had a shoot with the lovely Darkismet. I love working with DK - she's lots of fun, patient, is willing to try crazy things and most importantly shares my passion for small sweet bear-shaped biscuits*.

So when I suggested the idea of gluing them to her face she wasn't phased at all! :)

I knew basically how I wanted to light this shot but I always like to play around with the lights a little as well, tweaking here and there as I went. I take quite a few lighting test shots, particularly to check this lighting against that, and partly because I can. :)

In the studio I shoot tethered to my PC with a trigger remote, and sometimes I'm so focused on the lighting that I don't even look at the models when I hit the trigger. [Some of my regular models like to pull faces when I'm not looking to catch me out, which is always fun].

My favourite image of the day was actually a lighting test shot [above right] - DK was having a bit of fun as I played with the lighting. As soon as I saw this expression I hit the trigger. To me this image says so many things.

Lighting sorted, it was time to start gluing! :)

Important note: when gluing anything onto another person it's really important that you use the right glue. For this shot I purchased theatrical spirit gum and remover from a local specialist make-up store. I would not recommend using just any old glue that you have around the house/studio as many commercial glues can be quite toxic.

The spirit gum is applied in two stages; first apply to the item and to the model, wait 30 second and then apply item to the model, thus the two layers of spirit gum bond to each other. This process can be somewhat time consuming, so be prepared. In any shoot involving the model's favourite treat it's always best to have two boxes - one to glue and one to eat. :)

Finally all the biscuits were in place and we were ready to shoot the second concept. Darkismet climbed and conquered by a small army of sweet biscuits. :)

Shoot over, it was time to remove the biscuits. Which unfortunately turned out to be a lot harder than putting them on. To ensure that the biscuits didn't fall over during the shoot I'd discovered I'd been a little too enthusiastic with the spirit gum, and even with the remover it took some delicate manoeuvres to remove them.

A big thank you to the lovely Darkismet, who took it all like a trouper and didn't complain.

Sometimes images are created with painstaking attention to details and planning. And sometimes they are created because you're in the right place at the right time and all is well in the universe.

Experience has taught me to be prepared for unexpected windfalls. Make-sure your model/subject is in the outfit and make-up before you start testing the lighting.

You don't want to lose that one magic bonus image because they're wearing that old jacket, the one with the stain on the pocket. :)

[*equivalent to a cookie in the US].

"Party Line"

2009-08-09T15:09:00.011+10:00

This week's image features a fabulous desk-top skeleton I bought recently whom I call "Herman".

Herman was bought specifically for an upcoming model shoot, but I must confess I've been dying to shoot him and when an idea popped up I couldn't resist.

As is so often the case with my image, the one I end up with ["Party Line" right] is not where the original idea started.

The basic idea was Herman with a telephone. It was that simple.

I knew which telephone I wanted to use; I really love the old black dial phones and it would be a great contrast to Herman. I also wanted the phone to stand out against the background, so I chose the red background [the wall is already that colour, and I have matching cloth for such occasions. :) ]

Here [left] is where the shoot started: "You keep my hanging on". A bit of fun, and easy to do once I worked out how to get Herman to sit up without his stand.

So with the original image in the camera I started thinking about what else I could do. What could I add to completely change the mood of the image? Enter tiny streamers courtesy of a "party popper". The scaled down streamers were the perfect size - anything bigger would have been out of proportion and completely overwhelmed Herman.

The image is a fairly simple one, but sometimes clean and simple works best. I try not to over-think an idea, or make it too complicated. Sometimes complex is what the shot calls for, but in case like this one, less is the way to go. :)

And there you have it - twenty minutes tops from set-up to clean-up.

Props for this shoot: a desk-top skeleton, a dial phone, one "party popper", and a small background cloth to match the wall.

This week's image was shot with natural light, late afternoon sun through an enormous frosted glass window which acts like a giant light-defuser. But if you don't happen to have a window like this, a plain white bedsheet or table cloth over you window will also do the trick. No use wishing for what you don't have it; you'd be surprised with what you can achieve with what you do have. :)

Next week I'll be working with one of my favourite models and a snack attack... :)

"Sweet Tooth" - Behind the Scenes

2009-08-02T17:21:00.010+10:00

This afternoon I decided to have a little fun and do a shoot with marshmellows. :)

Why marshmellows? To be completely honest, I'm not really sure.

Most of the time I have a very clear vision of the image I want to create. However sometimes a partial image just pops into my head and I'm happy to go with the flow and see where it takes me.

This does not mean that the shoot is unplanned. I know that I need to set up a black background in contrast to the white marshmellows and that there will some smoke involved, which greatly influences my choice of lighting. With smoke on a small object I always like to start with a focusing spotlight which is a great light for bringing out the texture of the smoke.

So the backdrop and lighting was set up and I started shooting. It was looking "lovely" but that was definitely not what I was going for. It needed something - a splash of colour. A little blood would show up nicely. :)

There are a few different options when it comes to fake blood. You can either use the commercial store-bought variety or you can make your own from the many varying recipes online. I tend to favour the store-bought because it's convenient and I know it washes out in hot water [although it does stain white plastic boning but that's another story. :)]

The other thing I really like about commercial blood is the control over consistency. If you want it to flow smoothly make sure you shake the bottle before opening. However if you want that thick sticky congealed look, and blood that tends to stay where you put it, don't shake the bottle at all and dip a cotton wool bud [also known as a "Q tip"] deep into the bottle as the heavier congeal has settled towards the bottom of the bottle].

Blood added - but there was still something missing - it needed something in the background to add another dimension without taking away the focus from the tooth. So I added police tape which I just happened to have in the studio. ;)

Studio - the word conjures up images of large white spaces, with fancy sets and backdrops and whatever you like. But if you're doing a small tight shot you don't need large amounts of space; so rather than setting up my big backdrop stand and metres of backdrop, I opted for the trusty folded black sheet over mirror on sideboard set-up.

I've used this set-up before so I know its advantages and its limitations. Choose your set-ups because they will help you achieve the image you are after, not because they are the easy option.

Placement of the smoke machine was important because the direction of the smoke would determine how it looked in the image. The smoke machine is on the left so that the smoke is easily lit by the focusing spotlight on the right, just out of frame.

Finally with everything in place I was able to create the image that I wanted; working through the above helped me clarify it in my own mind.

And yes, the wisdom tooth is real - I knew it would finally come in handy for something! :)