I was trolling though some of my archives looking for a couple of random beauty shots I did back in the film days and I came across these.
They are from a clothing company called Tegna Golf. It was a female specific brand for golf and leisure. If I remember right there was some pretty funky stuff.
It was an early morning start. My assistants Micheal Holmes and James Dewhirst loaded up the Cherokee with the gear, a background and prop/styling kits. We were a full load, so we actually had to bring the creative director, Joelle Hanna’s Jeep as well. So the crew from Carpinteria was myself, Micheal, James, Joelle and Lynda Martin. We were to meet up with the LA portion down on Abbot Kinney at some coffee shop. Well, people got lost, models got turned around in traffic and we all got to the studio a little late. I even remember the address 1332 Main Street
I took this photograph of one of the models, I can’t recall her name, outside between shots. I brought along my old Polaroid 195 camera. I used to use it all the time when I was shooting film to capture behind the scenes images on and around set. Today I had it loaded with Fuji FP100c.
Here is one shot on the Mamiya RZ with James the assistant standing in for one of the models.
It was a great day. I’m pretty sure we all had a great time and ate well since we were working in Santa Monica, right down with all the good cafes and restaurants.
We brought the film home to Santa Barbara and had it processed at Color Services. I remember the client asking for all the film as they didn’t know how each garment was going to be laid out on the pages. I reluctantly agreed but told them I would need the film back as I was the copyright owner of it and they could have it back as they needed it. I would have never done this before; they would have received a set of scanned contact sheets and chosen from them but with the timing and them being on the east coast, it just wasn’t possible.
You can imagine the rest of the story. They scanned the film, used what they wanted, stalled me for a year or so, then went bankrupt. In the end I was left with a pay cheque and around a dozen or so Fujiroids. It pissed me off to no end back then. I remember getting crazy poses out of the girls, whom two of had never modeled before. They were all very unique and not the normal looking California model types for catalogues. Here are the rest of the images I still have. Thanks again to everyone who worked on the shoot if I missed you name.
I have some more images over at WonderfulMachine. They are featuring me in the latest installment of their tearsheet section (you’ll have to scroll into it a bit). The images are some nice portraits I did for the Northern Ireland Cancer Fund for Children with AV Browne and Darcie Graham.
Darcie is gone from AV Browne now; she’s off doing a year at Hyper Island in Interactive Art Direction. I know some people might think that’s an oxymoron like the old military intelligence or Microsoft Works but Darcie will do great there.
Here’s a little more info on Hyper Island. It was started in 1996 with 32 students and was housed in an old prison. They now have almost a dozen long term courses in a variety of multimedia fields for around 260 students. They have two campus’; one in Stockholm and the other in Karlskrona. It is very much a real hands on school where students work on proper briefs and use real life experiences, both good and bad to come to the best results. The course run down looks like this:
Digital Media – 90 weeks, including a 30-week internship
Mobile Applications – 60 weeks, including a 16-week internship
Interactive Art Director – 45 weeks, including a 15-week internship
eCommerce Manager – 40 weeks, including a 14-week internship
Motion Graphics – 40 weeks, including a 13-week internship
Interactive Media Design & Management – 32 weeks, including a 12-week internship
They don’t have any photography classes so I probably won’t be seen in Stockholm anytime soon but the motion graphics class sounds interesting.
All the best to Darcie at school.
And thanks again to WondefulMachine for spreading the word
When I first arrived here, in Northern Ireland, I didn’t really know a single soul except for Olivia. If I planned on staying and making my living here I had to work. To work I would need to do what I feel I do best (well best besides making a pretty fine vegan chili), photography.
While working in North America I mostly shot products and beauty images for cosmetic companies. It was good work and I enjoyed it. It came relatively easy; work flowed and business was decent enough. I rarely needed to show my portfolio as most work came by referrals. That’s not to say I didn’t work hard on getting business. Every job I worked, I put my all into it. I made sure the client and the creatives were happy but most of all I had to be happy. I did some pretty nice work with some really amazing people. More and more over the years, the portfolios started gathering dust and the website got more and more hits. It seemed like the creatives were embracing the technology.
I moved to Northern Ireland, full-time, about three and a half years ago. Before that I was commuting between LA and Belfast for a little over a year. In that year I made the most of my time. I was visiting every agency that I could; making the rounds with my portfolio under my arm. I only had a couple of portfolios back then. They were custom made and not cheap all told in the end. I got some really good responses from everyone I met with. I didn’t have one “bad” meeting. I pounded the pavement for a few months, just getting my name around. In the beginning I didn’t have a car or insurance so I was renting one from a dealership who provided insurance. That was something like £75 a day so I had to make those days count. Learning Belfast, all the little streets and one way systems. It wasn’t long before I bought a GPS just to have for those days. I traveled down to Dublin and visited a bunch of agencies there as well. Good people, all of them. Some offered up promises they couldn’t keep, whether it was the collapse of the Celtic Tiger or forgetfulness or just a change of mind, there were a couple of sweet projects that just couldn’t be landed.
I often thought about a rep or agent. I had a couple previously in California. They didn’t produce much work but I thought they could be more effective for me in Europe, seeing as how I was new to the scene. I spoke with a few; almost signed with one but in the end nothing gelled. I’m happy for now, that I don’t have one (bar Wonderful Machine). I spoke with a few photographer friends but it was Deb Samuel who summed it up best, “you’re doing a fine job on your own now”. Yup, I guess I am, for now.
Enter an unnamed London photo agency a couple of months ago. They sourced me out (I think through Wonderful Machine as a matter of fact) to commission me to do a feature for The Guardian Saturday magazine. I was kind of weird, I’d never had an agent get involved in editorial work before, especially such a small feature. In the end they bowed out, there wasn’t enough pie.
The story was about Lauren Millar. Lauren’s story can be read here http://www.guardian.co.uk/lifeandstyle/2011/aug/26/my-baby-was-stillborn-experience
It was a simple shoot; no scouting, no pre production, no assistant, just in a out with a few options. Lauren and I agreed that the best location would probably be her place so after a quick survey I decided on three scenarios.
2. Lauren standing in the living room; both full length and cropped with the wallpaper as a background. Shot using available light.
As you can see by the link to the story, the image for the online version was cropped very tight and I understand the printed version was much the same. I’m happy with the images on a whole but I would have liked to have see them reproduced full frame.
Here’s a short little anatomy of an image for some recent stuff hanging up on billboards around NI. It was a project I worked on for the Northern Ireland Tourism Board through AV Browne. It involved a couple of models, a Fiat 500 and some picturesque coastline of the north. I had scouted the shore along the Tor Head road overlooking Cushendun before and knew a spot where you could see the coastline as well as the village.
So now that we knew the area we got permission from the landowner to do an early morning shoot there. Below are some of the variations that happened in the wee hours of the morning at sunrise. You can see we had to spark up a 2.5 kw HMI early in the morning when we didn’t think we were going to get any direct sun.
A wide shot, it still hasn’t warmed up yet at this point.
The sun is finally coming out in force.
Luckily the sun did show its face and as it dipped in and out of clouds, we had Davey and his boys from Keylight scrim off any harshness on the models.
And this is what we ended up with in the end. Great thing about NITB is there is no trickery in the images; so what you see is what you get. The final image we choose didn’t have anything between the sun and the models, just a light haze to cut it down a bit so we didn’t need the 6×6 scrim out front. We did manage to keep some direct sun on the village and the rolling hills in the background.
The client has decided to take the campaign in a different direction. I will be using the images in some form for a self promotion but I won’t be posting them up until the dust settles.
In the mean time, here’s a pretty picture to look at while you’re waiting.