As you may know, I had the amazing invite to join the Fstoppers team as a official staff writer. With that comes a lot of writing and potentially less personal posts. However, I plan to do my absolute best to save some of the more creative, unique content for this space. I’ve received a lot of amazing comments and feedback on some of my more recent work “Let Them Eat Wedding Cake” a feature editorial for February’s issue of NFocus Louisville Magazine. Much of that feedback was about the lighting and the entire aesthetic of the shoot. The entire concept was a play off “Marie Antoinette” and the whimsical vintage world of that age. It required a lot of planning, but was well worth the pre-production.
But, it was the post-production that truley played a integral piece to the entire puzzle. Getting everything right in camera is an important part of photography, but processing and grading is what can really breathe a totally new life into an image.
On the first set, I was tasked with shooting all 3 models in a dark corner, there was some ambient light flowing in through windows camera right, but I realized that my lighting just wasn’t right. I made an executive decision to composite everything. Just like that, my mind set had totally changed for the shoot. The rest of the day was comprised of shooting all for the compsoite. Gaining the proper background images and making sure I had everything I needed to tackle some pretty detailed post-processing.
Compositing; It’s a pretty simple process. Lighting and capturing each individual model, then snagging a couple of background images all on a tripod, all the same frame. Then, taking those images, combining them all in Adobe Photoshop and blending everything together. Perhaps easier said then done, but once you do if a few times, it turns into a pretty seamless workflow. I dive a little bit more into the technique in this video here. With strong deadlines, I usually have to farm out the initial masking and layering to my friend Chris Miske, who can usually knock them out in a day or two. Then I’ll take on the re-touching and color grading.
Our last frame consisted of a beautiful tile wall that screamed “Antoinette”. We wanted the background, but unfortunately there was a giant mirror attached to the wall with massive bolts. It was throwing light everywhere, so to keep things clean and easier and post, I hung my Westcott Scrim Jim over the mirror and made sure to get a shot of a clean tile wall which was adjacent to the mirror.
“I enjoy the challenge of creating a single image from a series of photos. With this image the lighting from each image was blended to create a stark contrast of the foreground and background composing a faint silhouette around the subjects. On every project a challenge with this image the most difficult element of the photograph was replacing the decorative plaster moldings. It took several attempts with many different types of techniques finally ending upon the one seen in the photograph.” - Chris Miske
It’s never easy to look at the RAW images and gain a vision of the final image, many think “behind the scenes” but the RAW image is very much the birth of something greater. That final photograph is always in my head and when compositing it’s post processing that makes everything come to life. When the light just isn’t working and you’re up for the challenge, give it a shot. It’s well worth the process.
Back in August, I was approached by Christan Turner of PinnacleTen to shoot a series of images in effort to re-breathe some life into her brand. We set a date, got a model and discussed ideas. The major vision was to create a “evolution” of fashion, which would eventually become the 10 image - 10 look composite.
For me it started out just like any other shoot. Fortunately, I had friend and master makeup artist Isidro Valencia by my side and I had worked with model Courtney Blanton on a few occasions. The day started with Christan lugging in hanger after hanger and shoes for days. It looked like a fashion bomb had gone off in the studio at Outdoor Photo Gear. What I found most interesting is that all of this wardrobe came directly from Christan’s closet. Initially I was shocked, but not surprised. What’s a stylist without a closet full of awesome clothing? Working with Isidro and Courtney was familiar ground, but I really didn’t know what to expect from Christan. What I came to soon realize; I adore her styling and respect her attitude for an original idea. She knows what she wants and that is the kind of player I like to have on my team. I had also never worked with hair stylist David Hudson, I was impressed with his energy and more importantly his work. Despite Courtney having short hair, he brought an edge that was much needed.
Once hair and makeup was complete Courtney jumped into the first look with a bang. When she steps in front of my lens, I never have really worry, she knows light and always plays the camera well. With our composite in mind I kept the same light setup and explored poses. Look after look we knocked out a series of portraits, experimenting with motion and unique positions. When all work was complete, we gave hugs and high-fives in celebration. But, the real work was about to begin.
Months passed and and the majority of the editing was completed, I decided to tackle the composite. With the help from my friend Chris Miske we made a “panoramic” style of image carefully position each model in our frame.
We quickly realized the issues, hands were in odd places, faces didn’t quite work and it was an uneven mess. I came back to Chris and we re-worked the entire image and made sure it was right, back and forth, back and forth. Blending the shadows is never an easy feat especially on a gradient background. When it was right, I knew it. A few hours and a lot of pixel peeping later, we had a solid composite.
I couldn’t wait to get it online and share it to the world. But, by the time the final image was delivered to my desk, the day had come and gone. I had to wait another 20 hours, if there is one thing I’ve learned this year, it’s to be patient and wait until everything is right.
This is an image I won’t forget, it plans to be a staple in my portfolio.
It’s been awhile. October has been the busiest month of my entire career. I’ve shot for 3 publications, a number of commercial clients and a gamut of random development sessions and test shoots. I’m finally catching up on edits and blogging. Amid all the hubbub I was able to schedule a shoot with new model Kristina Russ of COSMO Model And Talent Agency.
A few months ago, Kristina’s face came across my newsfeed and immediately I thought to myself “This girl needs to be in my portfolio”. I reached out to COSMO and Kristina shortly after and things unfolded as they should. After throwing schedules back and forth we landed on a date. Without hesitation I had a team on board consisting of Isidro Valencia, a masterful makeup artist. Hair virtuoso, Matthew Tyldesley and we all know the amazing Project Runway famed Gunnar Deatherage and his work.
I pulled a couple of inspiration images and after a few minutes had a clear vision of what I wanted to do. Long flowing fabric in a desolate desert with smoke or fire in the background, something outer worldly and very dramatic. It was the only look I really cared about, I wanted this image to magnify the possibilities and show people what can be accomplished with just a simple vision. You have to trust your team and as a photographer, they must trust you. Fortunately, this team is my dream team, we had all the right tools to bring my vision to life. I wanted to go big and that is exactly what we did.
Kristina, having never stepped in a fashion shoot, was very green. it took some time to mold her expressions and I had to really work with her to gain the picture I wanted. But, she put everything into the shoot and I was very proud of her for stepping outside the box with us and trying new things. We did three looks and pulled out all the poses; jumping, lunging, glamour and beauty. It was a real challenge that she needed before she stepped on some sets. By the end of the 6 hour shoot, I felt like we had something I could dig my teeth into and was extremely excited to get into the digital darkroom.
The black and white image was a uphill battle. I was fortunate enough to shoot an original jacket designed by Gunnar and I wanted to make him proud. Also, Kristina had absolutely rocked the look, so I needed to make sure the final image was top notch. After re-touching, I just didn’t know where to go with it. I wanted it to be sleek and edgy, but I didn’t know which road to take. It took a lot of time back and forth with color, tone and curves to get what I wanted. It wasn’t until I created the large triangle behind Kristina, then it all came together.
The image in the desert was all shot in the studio and compositied on the a stock image of Death Valley, California. it was comprised of three images, one of Kristina with the fabric, a stock image of a brush fire and lastly the background of Death Valley. Like the shoot itself, processing the image was one big experiment. I took things to new heights and played with new techniques, including shadowing, sharpening and frequency re-touching. It just goes to show, you don’t need a million dollar budget to achieve a golden image.
This entire shoot was built around patience. I sulked on these images for days. I would pull a few out of the batch and play around, then return to some commercial work. I didn’t rush into anything, I took my time and executed when the time was right. It’s not everyday you get to work with such talent on a simple creative test shoot in…. Death Valley. Joking.
Sometimes it’s hard to put into words what I do with my time or what I do for a living. I have my hands in a lot of things; marketing, graphic design, art direction, filmmaking and photography. Some days present completley opposite adventures, and I love every minute. This past weekend I arose at 8:00am to prepare myself for some football and fashion. I started the morning in the press box at Papa John’s Cardinal Stadium assisting Chris Humphreys with The Voice-Tribune and his ongoing project to create the ultimate gigapixel stadium image.
We decided to tailgate for awhile then return to the press box to setup the Gigapan to shoot 1,300 images that would eventually become one. By kickoff we let the device work its magic and headed down to the sidelines. I was thrilled, I not only felt like a special VIP, but I also felt like a dream was being fulfilled. I had always wanted to be on the sidelines of a big game or event and this was it.
It was refreshing to jump into a different style of photography and really be completely out of my element. I learned from others quickly and did my best to capture all the action. Shooting football isn’t easy. You lose sight of the ball quickly and unless you have a long telephoto lens, you have to constantly move from position to position. The results weren’t as good as I had hoped, but I certainly gave it an old college try.
Once the game was over and we had our Gigapixel image shot, we hightailed it out of the stadium. Ignoring the red sunburn and sweat, I grabbed a quick change of clothes and headed downtown to the Skyrise Fashion Show at the Muhammad Ali Center.
I walked in to a plethora of familiar faces and smiles, I felt like I was home. I setup and prepared to shoot the evening, but realized I was extremely early. At this point, the sunburn started to get to me and I felt like a heater burning up the room. I took my seat in a chair and sat down to relax and cool down. I love to shoot fashion shows, I can almost feel the same adrenaline that the models feel as they walk down the runway. There is a slight connection when the model glances towards my lens. Its very graceful and sometimes intense. Once the show began, a switch went off and I was into it. Luckily, there was some liquid courage provided.
It was a good first show for Anu and partners. She really made me feel special as my logo was on the step and repeat and I even had my own chair. I’m looking forward to seeing what SkyRise can bring to the Louisville fashion community.
Earlier in the day, Chris and I were discussing our respective jobs in the industry and photography. I think both of us are constantly amazed at the opportunities we’ve been given. And under 30 years of age, it’s humbling to even be able to get to do any of this, then make some form of living from it. For those that made this past Saturday possible, thank you.
When I first heard of the product in October of 2012 in New York City at PhotoPlus Expo I was immediately intrigued.
I don’t actually own a laptop, so tethering to an iPad tablet has been a long awaited process with trial and error. My first experience was with the Eye-Fi Wireless SD Card; a memory card you place in your camera, the card transmits a wireless signal and supposedly you connect to that signal source, boom, your tethered. Except it didn’t really work. Even set to low-res JPEG, transfer times were grossly long. Also, conflicting signals would constantly kick the connection. Among the many times I tried to make it work, it actually performed as it should, twice.
When I saw the CamRanger and all it could do, I was severely skeptical. However, I couldn’t help the excitement. I pushed for Outdoor Photo Gear to stock the product and as soon as the demo’s arrived I grabbed one and went to work. What I found was not only a flawless tether and transfer but also a multitude of options and control. I’ve had it for nearly 6 months now and it’s become such a crucial piece of gear that I’ve had to actually rely on it, both for capture and client.
HARDWARE
It’s all a very basic setup. The physical CamRanger is a palm size white dongle that connects to your camera via USB cable. That device then creates a wireless signal which your iPad, Android, Laptop or PC can connect to and there is no need for an existing internet connection. The free application, which CamRanger offers with the purchase, provides complete control of your camera and I mean complete control. The device is provided with a padded black satchel to carry or clip the device to your belt or tripod. The CamRanger runs on a rechargeable and replaceable battery, which will run 12 hours of usage before requiring a charge.
SOFTWARE
After registering the software with the dongle, the app opens to a very clean interface, with extreme ease of use. On the right, my camera settings, I can switch into live view or focus and even fire my shutter. On the top menu I can easily switch to bracketing, focus stacking and even time lapse, all with one touch. Diving deeper into options, the ability to rate images and even make notes has become a really exciting feature for clients. Transfer time is quick, If your shooting RAW + JPEG CamRanger will only download the JPEG and transfer time can run about 3-5 seconds. If you shoot in Continuous, simply turning off the feature “Auto Thumbnails” will prevent the build up of images downloading. However, the images don’t actually download to your iPad, they are simply “streamed” right from your memory card. With that said, it’s more of a viewing and control platform than tethering system, which I’m perfectly fine with. After all, who would really want to re-touch a set of images on their iPad with their finger? Not me.
ON LOCATION
I was hired to shoot a cover feature for a Louisville publication called NFocus Louisville. They wanted to put a unique aesthetic on Louisville’s theater and arts community and wanted a massive group shot, but not your traditional group shot. Knowing the dimensions of the large format cover and weighing in options, I threw out the idea of shooting the actors and their “characters” from directly overhead on a theater floor. With the help from creative director Gunnar Deatherage we formulated a plan and scouted Whitney Hall at the Kentucky Center For Performing Arts.
During the scout, I was sort of taken aback by the fact I was walking on the stage of which I had seen a number of touring Broadway shows. The stage was huge and lighting was plentiful. Luckily, they had a great staff who led us on the few catwalks hanging over the stage, some 60 feet over head. However, the catwalks were not completely overhead, so we made arrangements to use a combination of a lift and boom stand on the stage floor. I wasn’t completely confident that we could make it work, but one thing I did know is that I could fire my camera remotely with ease and could see the results in real-time.
The day of the shoot, we arrived early to setup. I began explaining what I wanted in the image with Terry, a staff production and lighting engineer. I described my gear list and we came up with the brilliant idea of rigging my camera to one of the lighting poles which could be lifted directly overhead. I was ecstatic and that is exactly what we did. With the help of some gaffers tap, metal rods and a few security lines including the Vulture Equipment Works A4 camera strap, we rigged the camera to point straight down. Lastly, I secured the CamRanger to the camera and set my focal length to 35mm as Terry lifted it 60 feet.
I switched on the iPad and set the CamRanger to live view, we went to every 4 corners and marked position with white gaff tape. This would be where the actors and actresses would lay. As long as they we’re inside the “zone”, they would be properly framed. Once the camera was rigged Terry brought up the house lights to 90%. Although it was flat light, it was more the enough to fill and provide a well lit shot. I fired a few test shots with the CamRanger app and everything was displaying as it should, I tweaked a few settings including ISO and shutter then “radioed” over to Gunnar to escort the subjects in. I headed up to the catwalk overhead to get an idea of posing.
As we began situating the group into their positions, we’d have to carefully move people around to make clothing, shape and their character pose work with the next person. We wanted it to resemble a child who had laid out his or her action figures on the ground. Not perfect, but organized. Once everyone was set I traveled back down to the stage floor and began snapping away.
You could hear the shutter fire every time I touched the “Capture” button in the CamRanger app. I switched to Continuous Mode, again right from the app, and rattled off a series of bursts to guarantee I had an image. The shoot wrapped to applause and the publication was floored and very happy with the results!
I went back to Whitney Hall for a second shoot the following week and struck up a conversation with the production head, Peter Bell. He was the one that suggested shooting from the catwalk and we shared a laugh as he said; “Well, I didn’t know you had this fancy technology to shoot from your iPad!”.
As I shook his hand and walked out, I smiled to myself and a warmth of pride came over me.
OVERALL
With any type of photograph you may be attempting to capture, this is a wonderful tool to guarantee you’re getting the shot right. I’ve showed the CamRanger to many photographers and every photographer that has used it or has seen me use it in action, has purchased one. I foresee it becoming one of those “essential” accessories in every photographers bag.
What seems like many moons ago, photographer and friend Steve Squall contacted me about shooting for his new apparel company, Tribe. At the time, I had only heard of Tribe and really liked the branding and attitude behind it, but really knew nothing about it. Over time, Steve and I became closer friends and I really gained a liking for what Tribe represented and more importantly, the product they sold.
MONDAY
After we “tested the waters”, Steve and I scheduled the shoot date for the official collaborative editorial look book for Tribe’s new collection called “Strike First - Strike Steady”. The time line hit me like a freight train and before I knew it we were 4 days out and had no location, no models, nothing. Glass Label, my film production company, had just completed a 48 Hour Film Project and my life was a frenzy of shoots and meetings. The day was Monday, July 22nd and we had scheduled the editorial for that Friday, July 26th.
Steve and I work on a different plain. I like to be “overly” prepared with a timeline, shot list, storyboard and whatever I may need to get the best results. Steve on the other hand; fly with the wind, run and gun, improvisation…. So, Monday I received a text from Steve asking about models, I went into pure planning mode. We passed back and forth about 20 texts and I send out a gamut of Facebook messages regarding the shoot. Fortunately, we had already scouted our models, but contact had to be made.
We had 3 of 5 models booked and on board. Our next goal was the completion of our team, we called in a favor from the talented makeup artist Isidro Valencia and brought on a stylist Megan Thomas to assist. Tribe founder Jeremy Richie rounded out the team as creative director. Our next step was concept and mood.
TUESDAY
We finally received confirmation from 4 of the 5 models and decided to move forward with the 4. We knew the aesthetic, but needed “conceptual characters” to forge from. Our aesthetic was simple; 1985, pacific northwest, summer, warm, lake & beach.While Jeremy spent time on story boarding, Steve had called in a favor from Brian Atchley who owned a small power boat. Will all those images in mind, we employed Brian to take us on a scouting trip UP the Ohio River.
WEDNESDAY
Over the course of my high school years I had spent many summers on the river and remembered a few cool spots, the only problem: it was going to be a long boat ride. As we jetted down the Ohio, memories flooded into mind and I soaked in the evening sun over a cold Pabst Blue Ribbon. What a life, I thought to myself. We hit two or three spots with average results, I honestly wasn't impressed and started to second guess the scouting adventure. There were no beaches or nothing that resembled what we wanted. After travelling up river 20 miles we hit a man made cove that didn’t catch my eye until we idled across to the lateral side. My initial thought; “This might work”, by the time we headed home; “That’s it”. The mountainous sand dunes and patchy grass was the perfect element to add to the overall aesthetic. The 45 minute boat ride home was a long one, especially because my iPhone died right in the middle of an epic Facebook update.
THURSDAY
With the location on tap and the mood board coming together, I was starting to feel confident. We still had to set a time and place for hair and makeup. Fortunately, my parents live near the Ohio River and about 2 minutes from our “cast off” dock. That evening, I was able to set a call time at 3pm, at my parents house, 24 hours before the shoot. Also, I was able to finally verify model Melanie Hernandez. I knew she would be a much needed asset to the team. I felt determined and excited to take on the shoot, but for whatever reason I was still had a tinge of nervous anxiety about it. The travel logistics weren’t in our favor.
FRIDAY
3pm came quickly, I showed up at my parents house to a barrage of cars already and waiting. I rushed up the driveway and opened the house up for load in. Isidro showed up shortly after and the process began! Unfortunately, we were pushing time. Minute by minute the sun was moving down and we still had a 45 minute boat ride to our location. By the time hair/makeup was complete and we arrived at the dock we were about 45 minutes behind schedule. The boat was filled to capacity with 11 people on board. We rushed down the river and didn’t slow once. Our sun had dissipated into a mild overcast evening, but we had plenty enough light to work with for 2 hours. Once we beached, we unloaded gear and I setup one light and a few essentials. While Dylan did some fixing up on the boat hair, I grabbed Melanie and dove right into the first set.
I started powering through shots with a steady quickness. I was all over the place, mostly on the ground rolling in sand and dirt. As Steve was capturing B-roll video and grabbing stills himself, I rallied couples, groups and individuals. Over an hour had passed and we were reaching our departure point. I still had to get in the water. I popped my camera in the underwater housing and jumped in the river, I had been looking forward to this moment for sometime.
Since the camera eye piece is only about an inch above the lens, when your camera breaches the surface of the water so does your eyes, nose and mouth. You can’t see anything and you’re holding your breath. So, I switched the camera to continuous mode and took a deep breath and guessed. The shutter rattled off like a machine gun. Focus and repeat. I did this for every model from depths of 6 feet to 10 inch shallow water. I had no idea what I had captured, but by the last individual set in the water, the sun has set and it was time to go, like right away. I broke down my light(that I didn’t use whatsoever) and jumped in the boat for the chilly ride home. It was a breath of fresh air and I felt very accomplished, despite only using natural light. From what I could tell the images looked fantastic and dramatic.
Once we arrived at the dock, we all said our goodbyes and bailed. Steve and I meet an hour later for drinks and a calm celebration of our success.
The editorial was released two weeks later to a wonderful applause. Despite Tribe closing a chapter and shutting down their retail store the day after the release, the editorial has solidifiedtheir online presence which is were their sole focus has shifted too.
Just think, this all came together in 4 days, imagine what we can do in 4, 6 or even 8 weeks. Plans are in place, this whole thing will come full circle.
Things are moving at a pretty fast pace these days. I have so much work I’ve shot and most of it being publication work, I have to wait… and wait for release. Nevertheless, a shoot like this comes along and its quite the opposite. Shoot, Edit, Share. Time is everything.
Chris Caswell contacted me a month or two ago to shoot another campaign for Heyman Talent Agency. The last campaign was such a success and so much fun, I immediately cleared my schedule and agreed.
Not only would the advertisement be for Heyman, but also a portfolio piece for the 6 models that are set to head north to New York City for agency meetings at the end of June. Planning started immediately and we came up with several ideas and locations. It wasn’t easy by any means! We went back and forth on who was apart of the team, where we would shoot it and what date the shoot would be scheduled on.
That seems to always be the hardest part, it’s never the execution, its simply the planning beforehand to make it happen. After a week or two and a couple of meetings we finally landed on a date and had our team in place. But, location was still up in the air. First, we had our eyes on a rock quarry on the east end of the city, then we had plans to shoot at a beautiful poolside location called Lakeside, both turned out to be broken leads. Chris finally made the executive decision and set the location to a remote part of Waterfront Park. Honestly, I wasn’t confident we could make it work, but, we had to make the best of it.
Since Heyman Talent photographer and coach Chris Kaufman would be on board and on location, whom mentored young stars like Academy Award winner Jennifer Lawrence and Nicole Scherzinger famed Pussycat Dolls, we reached out to WHAS11; a local news channel to potentially cover the shoot. It wouldn’t be the most enthralling news in the world, but future stars and any news about J-Law can attract an audience quickly. The bouncing of dates and locations made scheduling a live report nearly impossible to plan. Nevertheless, after a plethora of emails, in the end we were able to get a crew out to film the shoot and work a couple of interviews.
Day of the shoot; I woke up worried about rainy weather, I went to bed worried about the deathly sunburn I had received as a result of the head pounding sun. The day was flawless and everything went off without a hitch. We managed to squeeze in two very different sets on the Waterfront without the result looking as if we were actually in a park.
For months I’d been eyeing a Westcott Scrim Jim and it finally arrived a few days before the shoot. I was anxious beyond belief to break it out on a hot mid-summer day, this was perfect opportunity. The 2-3 stop silk created a gorgeous overhead light and its the sole reason these image came out as they did.
The entire team played a crucial part in the success of the day. I want to personally thank the fantastic team we had on board that day, as well as a special thanks to Cheryl Franck who brought in a king’s feast of food for the models and staff.
Below, I display the side by side comparison of the SOOC version and the edited version. This is a composite image and I spent a lot of meticulous time with the highlights and color.
I’m frequently asked the question, what camera is that? Or, what is your workhorse lens? I’m an extreme advocate of “it’s all about your eye, not your camera”, however in my field of commercial and print photography, lighting and gear play an integral role in quality. Whether I’m on assignment shooting a run-gun event or on location for a 12 hour fashion shoot, I have my setup on lock and a full proof system that works for me. As a disclaimer, this may not be the setup for you. Note: I’ve worked my absolute ass off to obtain these expensive products and I strongly endorse everything you see.
Featured below is not only a list of my gear and gear I regularly use(don’t own), but also some insight into my lighting setup and a few images showing just how much stuff I jam into my Gura Gear Bataflae 18L!
At some point early in December on a crisp Saturday afternoon Josh Eskridge, my assistant Chris Miske and I set out on an journey to find a trashy motel for Josh’s documentary “Exposure” and his “Evolution of Style” concept. We had met beforehand for some lunch to discuss initial plans for the documentary, but decided that a nice Saturday scouting wouldn’t be a bad idea. After driving over to Indiana and all the way over to Dixie Highway we settled on a small motel named Biff’s. The shoot can be seen in the documentary HERE.
During that scout we ended up passing a mysterious and large house, completely abandoned off the side of the road, well within viewing distance from the highway. We decided to take a gander. We rummaged through the house and took a stroll across the several acre plot of land with shacks and garages. At that moment we knew we had to take full advantage of this location and setup something. Something big.
The house was wrapped in vines and looked as if it had been flooded hundreds of times over. From the top floor you could see the Ohio river bank. On this plot of land laid the remnants of a shipping yard or place of business. A large concrete flood wall ran the course of several hundred feet and rusty oil tanks sat decaying. This place was a photographers dream.
A month passed and we had finally wrapped up the “Exposure” documentary, my “GAGA - A Portrait Series” was getting started and things were hectic, but we knew we had to get this shoot on the map. We told no one of our elementary plans and kept everything under wraps, even when casting the models.
Long before this shoot even came into the picture, I wanted to do a shoot inspired by an image from Joe McNally. A woman in a swamp holding a lantern, her mysterious expression told a thousand words and gave the impression that she was searching for something and something was missing. Influenced from that image I began brainstorming concept ideas, but kept it to myself until I could formulate a plan.
TALENT AND TEAM
Becky Patterson, a stunning tall brunette from northern Kentucky was first to join the team. Josh had done some fitness stuff with her before that I claim are some of his best pieces, so when her name was brought up, I was 100% game. I couldn’t of been more happy to have Becky on board and was excited to work with her. She was immediately in-tune with the project and really got things kicked off for us.
Conveniently enough, Sarah Terry had moved from overseas(Wales, UK) to Louisville, KY because of her husbands work, who happens to be Rob Terry, a wrestler in the TNA. She had sent Josh and I a simultaneous message on Model Mayhem inquiring for a photoshoot. When Josh and I discussed this, we decided she would be a perfect fit for this shoot. Browsing through her portfolio we noticed she exalted an elegance and boldness that we needed.
In late January I worked with Katie Justis on a cinematography project for Scooter Ray. An incredible redhead who has one of those “all eyes turn when she walks in a room” type energies. Josh happened to be on the set and I seem to think that a decision was made right then and there, her poise and charm was the final piece of the puzzle.
The models had signed on and everything came full circle when we rounded up our fashion team of Isidro Valencia and Liz Lane. I had worked with Isidro on the “Exposure” documentary so I was stoked that I finally had the opportunity to shoot images for his fiercely creative makeup. Isidro not only brings original and striking makeup to the table, but also a lovable humor that can raise morale in seconds. Liz is just a blast, I also worked with her at the “Evolution of style” shoot for “Exposure” and her work speaks for itself. She could turn a horses mane into a Diana Ross curls, color it silver and style it for Vouge. That woman knows her hair. Both artists were ecstatic to be apart of the project.
BREAKTHROUGH
February 11, 2012 we created a secret group on Facebook and set a date of March 31, 2012, right around the time my GAGA series would be coming to a close(or so I thought at the time). The ideas started flowing and I really like what I was seeing. Our original thought was to put the models in some elegant and outlandish outfits and counterbalance them with the broken down aura of the location. The closer the date became the more I began to think of the story.
It wasn't until March 17th, that Josh and I discussed plans for the “Searcher/Specter” concept for entire back story. I always wanted to the “searcher” theme, but never had the right resources, insert the group “Epic Abandoned House Shoot”. This was the ticket. Once I brought up plans for my concept, the ideas snowballed. Josh had been wanting to do some “levitation” images, where models, through camera composting, are perceived to be floating in mid-air and he showed me several examples, perfection. Why don’t you be the what my “characters” are searching for? Souls, ghosts, etc.
SEARCHER/SPECTER
I would be representing the “light” or “searcher” side, a more natural beautiful look, warm colors and graceful posing. While Josh would be the “dark” or “specter” side, a more edgy, contrasted counterpoise with restless lines.
Not only would it be a great narrative through imagery, but also a great way to cross promote each others work. An 100% team collaborative effort and something that Louisville fashion industry had never seen. Many photographers and models in this industry are out to get each other and knock people down to get to the top. What I’ve learned from my days in music is that only team work and keeping solid relationships alive and rich can get you where you need to go. This was a true example of how professionals working together can create a wonderful body of work.
My style is dark, I like shooting in the dark and creating a very dramatic ambiance. So this was the perfect excuse to really challenge myself and forget the 2 light setup and settle for the reflector.
EXECUTION
I pretty much packed up every single prop and piece of gear I owned. Hair and makeup started at 10am, the energy in the air was alive. It was beaming with excitement and I think everyone could feel it. It was something we had worked hard on for months and the time was now. When Liz whipped out a wal-mart bag and started making a wig on site, I was like, here we go! Then Isidro takes out a sheet of paper that had been cut up to look like Swiss cheese and started applying black makeup on top of the paper over Sarah’s face, I was floored.
We met our goal of heading out by 3pm and we packed in 4 cars and trekked out to the abandoned house. Our sets would begin by trading off models, I would begin with Katie and Josh would begin with Becky and Sarah, once Josh closed up his sets, I would begin with Becky and Sarah.
After un-loading all of our gear and getting a big stretch in, I whisked Kate and Katie away to the far end of the grounds where my infamous “concentration camp” wall gleamed. We setup shop on the outer side of the wall in a set of chest high weeds, placed one light with a diffused beauty dish, 45 degrees camera high right and popped off a few shots. Made some adjustments and ended up at 1/125, f/13, ISO 100 for the perfectly balanced shot. We borrowed a Vagabond-Mini from Josh for the flood light prop which Katie would be handling to “search” for her “specter”. We actually tried to use a fog machine but the Vagabond just didn’t have enough juice to power it. Working with Katie is always a pleasure, her posing is aesthetic and queen-like. She had a scorching hot flood light in her hand and steamrolled through it like it was no big deal. We did 5 sets with Katie in that look, mostly natural light and a reflector. After about an hour with Katie, I browsed through the images and knew I had what I needed, Katie went right into hair/makeup to prepare her “Specter” look.
There was some downtime to change up looks which gave me the opportunity to scout around for Becky’s “Searcher” shots. At this point we had company; two teenage fellows had come around curious. They seemed almost starstruck that all this was going on in there usual hangout spot, where I’m sure they get away, drink alcohol and cause a ruckus. I think everyone was like “who are these kids”. Instead of kicking them off set or ignoring them, I ended up chatting with them and Josh put them to work! One of them had a point and shoot camera and started snapping away. It was fun to have our own little paparazzi that day.
We started Becky’s sets, like Katie, on the far end of the grounds near a broken down garage and two decrepit shacks. I gave Becky a small LED light, I needed the prop to be different from the others and but still poignant. Her posing would be the thing that made or break the imagery, so it needed to stand out. As soon as I laid out my vision, Becky was on it. Boom, Boom, Boom. Her posing was technically unique and to the point, which made for some excellent shots. Because of her fitness background and stature, she pulled off moves that many models couldn’t fathom doing. It took some time to lock in the light, I had a hard sun to work with, but I played that to my advantage using it as a kicker light. After we nailed a few small sets with Becky on the grounds, we moved into the house and concluded her session with a dramatic one light set, which I ended up scraping in post.
We stuck to a schedule and knocked it out of the park. I had a few sets to wrap up with Sarah and we were done! By this time Isidro and Kate had to say their goodbyes and hit the road for previous engagements, but the rest of the team pushed through to the end.
Once I started with Sarah Terry, I really didn’t know what all Josh had shot, all I knew that it was going to be good. I had to bring my A game with these images. We we’re losing light fast, so things we’re rushed at that point. Josh had finished up with Katie and all eyes were on me to wrap the entire shoot. We started on the top floor of the house, I had Sarah hold a $20 fake battery operated lantern I had bought from Amazon.com for a previous shoot, but had never used. The lantern was clunky and almost distracting, so the composition would have to be just right or the shot was a waste. I decided even in low light to shoot mostly all natural with no artificial flash. It went against my better judgement and did what I try to usually avoid, that is, cranking my ISO above 800. Fortunately, my camera and a decent handle on noise and we nailed some solid ambient light shots. Sarah had done this before… her portfolio had been impressive and I was sort of nervous to be shooting her. But, once we got into the groove, every shot was my favorite! She had a class and rhythm to her posing almost like a ballerina.
We moved at a fast pace and 30 minutes later we were outside setting up my last shot, at this point the sun had set, so I setup one speedlight on 1/64 power and used the little natural light I had left to score a beautiful pose which was to become my final shot of “Searcher/Specter - A Portrait Set”.
Throughout the entire evening my phone was buzzing off the hook from people partying/watching the UK vs. UL Final Four basketball game and here we are in the middle of nowhere. I didn’t care, I was high on the success of the day and couldn’t wait to roll out the images. After a quick group shot, we packed our gear back in, threw on a quick change of clothes and headed down to Wicks for some beer and pizza.
SUCCESSION
Two weeks later Josh and I met and coordinated the simultaneous image upload and rolled out the coolest collaboration I had ever done. I was very proud of what we accomplished and what I gained. I reached outside of the box and challenged myself on location and in my office to develop some outstanding work that every member of the team can be spirited about.
Thank you to the entire team for an experience I shall surely not forget.
