I’ve mentioned before that for 10 years I was fortunate enough to have a holiday home in Turkey. On one trip shooting at dawn I captured this chap Asur Teber who was a security guard at one of the beachfront hotels in Gumbet.
He was more than willing for me to capture his picture in fact I eventually had to make my excuses to get back for my breakfast !.
He asked for me to send him a print and I always believe if people have given me their time and ask for a copy of the image it’s the very least I can do and always deliver on that.
I’m not sure if I mislaid his details but I decided to deliver the print the following year to the hotel. Unfortunately he apparently lived in northern Turkey and no longer worked at the hotel.
I left the print anyway in the hope it might one day find it’s way to him.
Mature Travel In The Pesky Sun
This mature travel lifestyle shoot was something I had planned for a while but my workload and that of Jerry and Annabel my models seemed to hinder things.
My fab studio base at The Monks Yard was also a factor as the site was moving a short distance to a larger and even more beautiful location at Horton Manor.
The image assets I planned to create were to be composite images (backgrounds and the models captured separately) so ideally, I wanted to shoot in natural soft light and add the sunlight where I needed it with my own lighting for complete control.
I did say I didn’t want any rain but the fabulous sunlight we received on the shoot day was also unwanted (yep no pleasing me) so shade was required to get the lighting as I needed….but no problem.
Shooting images this way can solve many problems one being the costs and logistics for the client taking a large crew and models abroad for long shoots.
It’s not that I’m against jetting off and shooting models in situ I have shot this way for many years it’s simply about providing alternative solutions and getting the images the client needs.
I have to admit I do love the freedom shooting this way provides me with both creatively and being able to move quickly from location to location without the logistics of moving so many people.
Being in a beautiful country and heading out (often on my own) at dawn to capture backgrounds for a lifestyle concept I have is wonderful.
Capturing the model images to blend into the location images requires some pre-planning to match not only the lighting and perspective but several other factors too for the image to work seamlessly.
For this reason and the fact I enjoy the process, I always like to shoot all my own image elements needed but occasionally I have no choice as with the cruise ship images here to use stock shots.
Isn’t compositing cheating?
I do admit to having moved the bay of Bodrum and surrounding mountains a few feet for better composition in one image many years ago but then the image was a personal shot and not used to sell a visit to Turkey.
There’s definitely a responsibility to be truthful when shooting to sell a holiday location and you always have to consider that on every image created this way as it’s easy to seek perfection.
The locations you see here are as I captured them with nothing removed from the scene…honest!
It’s been a another busy year shooting assignments especially video work.As a result fitting in shoots and producing new work for my book has had to take a back seat.
Finally this last few weeks I’ve had a break from commissions and produced a shoot with a couple of models, stylist and makeup artist for my travel lifestyle work.
Ive also had time to commission a complete rebrand and update the website to reflect the changes.
Also coming shortly are some beautiful custom promotional packs that will be sent out early next year to individual clients.
So this shoot was shot in two stages.The backgrounds were shot on location in probably my favourite place the Greek island of Rhodes.
My love affair with Greece goes back many years and taken me to many parts and this was my 3rd visit to my favourite place of all.
I had planned to shoot some Aerial work but decided against it as to do what I had planned legally was going to cost a lot of money to get permissions needed so maybe that’s a plan for another visit.
I planned the locations I wanted to shoot before leaving England and once on the ground set out before dawn to get the best light and of course avoid the bloody tourists !
Rhodes did not disappoint I was rewarded with some incredible views and gorgeous light and my job of capturing was easy.
Once I had returned it was time to edit my collection and create several backgrounds to which I planned to place the models.
The image below of Lyndos was created with 18 images.The reason was I wanted to use a longish focal length lens rather than a traditional wide angle that is often used for landscapes.
This would allow me to capture my interpretation of what Greece is all about, historic temples, mountains and of course the sea.
The longer lens would compress and bring all these elements closer together creating a softer more tranquil look that helps make up my style of work.
The second image below is captured at Mandraki Harbour in Rhodes town and was a multi image composite.
I was around 22 years old when I came here for the first time and spent the night at Mandraki harbour while waiting to catch the early morning ferry to Kos.
My memories of the place where of the statues at the entrance to the harbour and these distinctive arches.
Memories are a funny thing and the image below fits perfectly with that but the reality was that the locations were not as close together.
Not a problem I removed the car park and positioned my tranquil memory of the harbour entrance in position.
I also replaced the rather plain floor with something more elegant.
I realise none of this is something that would be tolerated if shooting to promote the location for a visit but hey it’s how I remember it !
Below are a few behind the scenes images shot here at our studio base. Not as glamorous for the models as being in Rhodes (or as warm as it was late October).
The location was perfect enabling me to concentrate on capturing the correct light quality, shadow quality,perspective etc to blend the models into the backgrounds.
A great team is vitally important to to pull everything together.I called upon Natasha Musson who I have worked with before to organise the styling and makeup artist Suzanne Peppard.
The models were supplied by Gingersnap who Ive also worked before on many Business Lifestyle shoots over the last few years.
Our models Katie and Sal were great professionals even when the cold took it’s toll.
This is the first image completed from a recent trip to Rhodes.
The location for this image was the medieval castle courtyard of the Palace Of The Grand Masters in Rhodes old town.
The models however were captured a little closer to home and composited into the scene taking great care to seamlessly blend all the necessary elements together.
Commercial Lifestyle Photography “The Anniversary” From Silage Pit To The Romantic Waterways Of Venice
Commercial lifestyle photography means being not only well planned but also fully briefing everyone involved.
I’m an honest chap but I do confess that when briefing the models for this commercial photography photoshoot I left out the fact we were shooting in an old farms silage pit!
It all started a month or so previous while shooting a worldwide commercial photography advertising campaign for my client Mimecast.
One of the mature models on the shoot that day was the very experienced (and ex Milk Tray Man from back in the ’80s) Tim.
Tim like myself was keen to update his Book with new images so we agreed to collaborate on something to benefit us both.
An Anniversary weekend was the concept that Natasha my stylist came up with during our meeting to discuss ideas for the shoot.
It was perfect and from that point, various ideas started to develop and I decided that Venice would be a perfect backdrop for an affluent couples romantic anniversary weekend.
A quick casting with model agency Ginger Snap for a suitable wife for Tim and Andrea was approached and sold on the glamorous concept!
Unfortunately, budget and time restraints meant no Italian location shoot (or jolly as the wife would call it) with models in tow were going to be on the cards.
My original plan was to fly out to Italy and capture the background scenes I needed but work and other commitments meant it might be a while before I could do it.
I did however already have several images in my archives that were perfect for my vision for the shoot and a selection of these were shortlisted.
By studying the images for camera perspective, light quality and direction I made a shooting plan needed to seamlessly composite the models together with the locations.
I’m very lucky I have access to wonderful studio spaces when I require one.
On this shoot however I needed to blend the models into mainly daylight scenes and In my opinion, recreating daylight with artificial light rarely blends as seamlessly as I’d like.
My preference (when possible) is to use the real stuff! Once I had the correct quality of natural daylight I could then add some extra lighting to add any modelling if required.
For example, in the dancing image in St Marks Square, the dawn light was pretty soft but did create some light modelling as you can see on the lamp post.
With this in mind, a flash diffused with a 7ft umbrella was added to the right of the models to help melt the models and background together or if you prefer “sell the fake”.
So why shoot in a silage pit? The silage pit was my shooting preference for a couple of reasons. A, For the most part, I needed overcast soft daylight and the bright concrete wall’s and floor provided good natural reflectors giving fairly shadowless even light.
B, This also had the added bonus of providing a clean uncluttered background to aid the masking in post-production.
On top of this next to the shooting area was an open-sided barn with a roof.
This would allow some protection if the weather decided to get worse (rain) or better (sun) both of which would have not been welcome in producing the images.
It also was a handy area for setting up the laptop so we could preview the images and do quick composites as we went along.
A great team effort saw the day come together perfectly apart from one light that didn’t want to play ball which was quickly replaced.
Big thanks to our models Tim, Andrea and their agency Ginger Snap. Stylist Natasha Musson and Monks Yard for the use of the Venetian parts of the old farm!
Behind The Scenes[awesome-gallery id=9712]
Slice of life, A brief photography trip to Porto Cristo
Last Day Porto Cristo is an image I captured on a brief photography trip while in Majorca one October.
It was the last day of the holiday season for the island and most of the tourist areas were already closed up ready for the winter which is always slightly depressing to see.
I had decided to take a quick photography trip to visit the small coastal town of Porto Cristo to try and capture some “local life” at the town’s beautiful small beach in the late October light.
It did not take me long to work out my viewpoint which included the amazing cliffs and houses that reminded me more of the Italian or French Riviera than of Spain.
A short while elapsed when my slice of local life came in the form of a small fishing boat which left the rustic jetty to venture out to open sea and my image was complete.
I’ve lived by the coast pretty much all my life and as a result it has featured in much of my work over the years and still inspires me to create new work.
This beach scene was captured during a visit to the Algarve in Portugal last October with the model being captured last week at the beach in the south west.