HAPPY CHINESE NEW YEAR - 2012!

HAPPY CHINESE NEW YEAR!!!!

It's meant to be the Year of the Water Dragon according to the Chinese Calendar, with the new year beginning on Monday 23 January, 2012.

I love second chances, for me having the Chinese New Year after the 1 January, is like getting a second chance to begin your year and turn around your luck, hopefully.

So here is a little photo I thought appropriate to ring in Chinese New Year, its from a fun little shoot I did last week with one of the coolest teams, Gemma Elaine of http://www.embellishedmakeup.com.au/ and international model, Paige Craswell, who's currently back in Australia after her stint in Asia.

Will post on website soon for better pixel quality.

I dedicate this photo to Gemma's burned hands, poor thing burned them while lighting the starlights for the shoot & she didn't stop for it - she's my hero.  So glad I wasn't the one lighting them and holding them, cause I'm such a wuss sometimes.

PS, can you just guess what song I was editing this photo to?   Fireworks by Katy Perry was only too appropriate! hahaha

Tips for Organising a Fashion Shoot

Okay, so over the past 2 and half years I've worked with literally hundreds of people, probably taken thousands of photos and from every one of them I've learned something new.  So at the beginning of the year I started to think about summarising what I thought, in my experience, were key elements needed for organising a fashion photoshoot.

Some will argue that their style lends itself to spontaneity and by planning or conceptualising a shoot, would remove the spontaneity, the vibe or emotion contained within the images.  But in my opinion, some amount of planning is required, whether its from charging up your batteries & packing your bags to go about shooting something spontaneous, to coordinating with a third party on a time or place to meet to shoot. That's called planning and at the same time I have opened myself to the fact that despite as much planning and organising that goes into a shoot, that the unexpected is always expected. Whether its unco-operative weather elements, someone failing to show up on the day, a shoe busting, running late and of course, when all the elements magically line up and all the personalities on the day hit it off and the shoot goes off on a tangent, in a different direction to the original idea and yes you can still create spontaneous magic despite having planned a shoot down to the last full stop.

So here are some of my thoughts in what goes into making a successful fashion shoot. Notice I have specified the nature of the shoot as being "fashion" related, to differentiate from portrait, wedding or any other kind.

1  ORGANISATION

As mentioned before, not everyone will agree that a fashion shoot has to be organised to the very last detail, that it can just evolve from something organic.  However, that said, personally, I like some form of organisation, as I feel more confident about what is expected of me on the day, even if its just a vague guideline that I can build upon & work towards. For me it all begins with a single idea for there to be evolution.  And of course, there will be shoots in which a client has certain expectations such as the budget, the time schedule, casting of the model to suit the brand or purpose of the shoot, and ultimately the expectant result or outcome of the shoot - the images.....the product of all the hardwork culminated. And you will be expected to meet the client's expectations, so probably best to be able to work within the confines of "organisation".


For me, the easiest method when I am personally organising or heading a shoot, is the setting up of a mood board, or what some refer to as a story board.  Anyone who has worked with me on one of my personal projects, can vouch for the detail that goes into my mood boards.  I am constantly researching and compiling all into a mood board can sometimes take me hours to lay out. 


So at this stage, you may be asking, what are the basics that go into a mood board.  Basically, a mood board sets out the storyline of the shoot, kinda like a synopsis if you may.  Structurally, everyone may lay theirs out differently, but usually I like to set out each person's role in the team, including their contact details, the location, a time sheet or schedule of the times designated to each task, the brief which is a paragraph or two explaining the objective of the shoot, the purpose (whether it be a look book, campaign, beauty or editorial), the narrative of the shoot and a description of the artistic direction.  Following this outline, I'll then itemise any specific guidelines for the artistic direction of the makeup, hair, wardrobe styling, model's/ character's direction (emotion & posture) inclusive of reference photos I may find that closely depict the vision.


An essential aspect of organising any shoot, is giving substantial notice to all parties of the details, such as time, place etc.  Personally, following initial contact with everyone on the basics of the shoot such as date, time, and location. I then like to provide the mood board between one or two weeks before the shoot date, so everyone has the specifics and have had a chance to peruse it and get the overall expectation of the shoot.


In contrast, I've been involved in shoots organised by other third parties, whereby days before a shoot, nobody has a clue what the shoot is about, what start time or where is the location and in fact, only the night before I'd receive an email or worse yet a facebook message with the details.  The danger is not only in the late notification, but the method of delivery.  Leaving it to last minute, I would not personally risk notification by email or facebook message as there is no guarantee the person would have been online the night before or even the morning of, to read it.  My suggestion if leaving it to the last minute, is to call the person or if you must, text message them with the details, but calling is best as that way you can guarantee they have received the details from you.

2  COMMUNICATION

Another crucial element to having a successful photoshoot outcome is COMMUNICATION.  Sometimes personalities will clash but its important to always maintain professionalism, focusing on the end goal and looking past personal differences in such situations. 


Communicating ideas is not always easy for everyone.  Some may express it in words, others use reference images and some will draw or sketch the concept or use a combination of all methods. As mentioned previously, mood boarding or story boarding is one of my preferred methods of communicating before the shoot.  However, you prefer to communicate the idea/ concept, it is also important that you keep an open mind and get feedback or input from the other parties involved, after all everyone is specialised in their particular areas and you sometimes you may not understand the feasibility of doing something without getting the opinion/ advice from lets say the makeup artist or the photographer etc.  For instance, find out how long the hairstylist needs to create that particular look, so you can factor that into the time on the day, or whether the model cast has suitable hair or facial features to carry the particular look you envisioned.  You show the photographer a reference picture of what or houw you want the shoot to be executed, check with the photographer on what they need to execute it, for example, do they need natural light, a particular time of day that is best suited to shooting, a studio, a particular prop, fabric or shiny jewellry etc etc.  Once you know and understand what the photographer needs, then they can communicate that to the stylist as well who may also be required to help source appropriate accessories, props, or location scout. 


Likewise be clear on the words or terminology you use to describe things.  For instance, you may brief the photographer that you want the overall "edgy" and "urban" look and then tell the stylist that the shoot is "punk rock".  Firstly, understand the terminology that is used in fashion and styling to some degree and then express the idea coherently to all parties, don't express it one way to one person and then describe it a different way to another team member.  That's when it all gets muddled and confusing.

3  HAVE ALL THE CONTACT INFORMATION


Sounds silly, me highlighting this as a key tip, you may think its a given in organising a shoot, but you'd be surprised how many people organising a shoot forget to ask for direct contact details of all parties involved.  Then comes the day of the shoot and someone is either running late or a no show and nobody has heard from the person nor has their contact details to speak to them urgently.  Contacting them via Facebook, Twitter, Model Mayhem or whatever or even via email is not sufficient for when you need to contact a person instantly.  So part of being organised, is obtaining everyone's contact details as mobile, email or if you have to pick up someone (their address details).

4   COURTESY

Well the expression goes "common courtesy" ain't so common after all.  And I've seen first hand this happen all to often, not only in photoshoots, but in every day life.  I have either been waiting for people to arrive at a location they told me to be at for a particular time and they don't show up until 2 hours later with not so much as a phone call or text message in this day when everyone seems to be plugged into their mobile phones.  In fact, in that instance, I had to call them after giving them an hour to only be provided with a lame excuse that they were running late because of so and so....  I wondered how long before they would have contacted me to tell me that, if I had not contacted them after an hour.  I thought to myself "Thanks for letting me know cause you know I'm a Psychic and I can read your mind. 

I'd like to stress we are not mind readers nor do we all own our very own crystal ball.  Call or text the person in charge of the shoot or at least any member you can get hold of to let them know you are running late, or just not going to show up.  Time is precious on shoots, don't waste other people's time.  If they at least know you're going to be late, they could organise to do something else while they wait on your arrival.  It's called TIME MANAGEMENT.

If you are not going to attend a shoot, where possible, at least have the decency to notify someone on the team.  Emergencies do happen and while our crystal ball might me out of service, it would be nice if you can take a minute to call and advise of your non-attendance.  Remember, this industry is a lot smaller than you think, especially with social media and word gets out and reputations are easily created in people's minds if this is the first or last impression you leave with people.  If you possibly know you can't attend a shoot in advance, notify the team leader as soon as possible to give them a choice at least to either postpone the shoot or re-cast someone else for the task. 

If you weren't ever planning on making it to the shoot, then simply DON'T MAKE PROMISES YOU KNOW YOU CAN'T OR AREN'T GOING TO KEEP.  People will quickly get tired of you being a "time waister" and label you "unreliable" and such is the nature of the business.  You don't know who's friends with who and who's gonna talk about you next.


5  HYDRATION & SUSTANCE

Even on paid jobs, there is often food and drink catered but I think the same should also be provided on trade based shoots, after all who ever is organising and leading the shoot, should at least look after the people recruited for their time, skills and tools of the trade for free with at least some nibblies and water, if take-away can't be organised on the shoe string budget.  Shoots can unpredictably go longer than a few hours and yes, contrary to popular belief, MODELS DO EAT FOOD and if you'd especially like that your model performs on the day, at least hydrate him/her and nourish them with some nibblies to give them energy.

Personally, its a rule of my own, that when I organise personal projects of my own, it's my way of appreciating and thanking everyone involved with some nibblies, finger food and drinks and I'll usually check with everyone before the shoot on whether they have any particular dietry requirements to hopefully cater for them specially.  Maybe that's just my Caribbean hospitality coming through but if this is not your way of doing things, then at least notify the team members to bring their own food and drink on the shoot, so they don't turn up to a remote location with no food packed & nothing in close proximity. 

Everyone is different and works differently, some will provide snacks and drinks, others will give you a parting trinket or gift as their way of saying thank you for their contribution.  And I think its always nice when you feel appreciated for your time and efforts especially when there is no monetary benefit.  If you do that, you won't ever have a problem finding people wanting to collaborate with youon your personal projects.  But heck that is just me, its not any mandatory "rule" that you must feed and water your team.

6  CASTING THE CREATIVE TEAM


Over the years I've learned patience in executing my personal photoshoot projects/ concepts and not just settling for everyone and anyone who is available because if you want to create anything with a particular vision, it takes the assembly of the right team to realise it.  You'll discover this applies particularly to commissioned magazine editorials and client based shoots. 
It's not simply casting the right model suited to the brief, but having the confidence in the abilities of the photographer to get the job done, or the makeup artist, the stylist or hairstylist.  If you've not worked with the person before, ask to see samples of their portfolio in order to make a judgement on whether they can achieve what you envision.  I've learned even a portfolio of work can be deceiving of someone's abilities, as some creatives go to the extent of "poaching" other people's images claiming it as their work or they've worked with some "amazing retouchers" and the quality of their work is all smoking mirrors.


So my advice is cast the team of creatives you know can guarantee you the job well done, meets the brief or otherwise hold off on execution until you've assembled the team you want, rather than settling for someone you know nothing about or feel "ify" about testing their skills on a big project.  That's what testing is all about right? Experimenting with a model, or a makeup artist etc to determine later on if they'd be suited to a project down the track.  It's better to wait and postpone and get it right the first time, than just doing it "for the sake of getting it "done & dusted" and it falls below expectations and everyone involved is disappointed in the outcome.


7  AND LAST BUT CERTAINLY NOT LEAST - ATTENTION TO DETAIL


Lately, when someone tells me "Awww you can fix that in photoshop right" it makes me cringe and I want to scream "No! I'd rather correct now if we can, than have to spend hours tampering with it in photoshop and potentially compromising the pixel quality of the image".  Sure, at the beginning when I was learning more about photography and photoshop, I was careless myself and would learn to fix my mistakes in photoshop, which I guess in hindsight was a good way at learning how to use photoshop by taking bad photos & trying to turn them into something better.  But now with more experience and having heard so many times from other photographers "GET IT RIGHT IN CAMERA FIRST" that it saves you heaps of work in post processing and that means time, quality and money in this industry. 


Attention to detail doesn't just pertain to the photographers, to ensure all the other elements in the scene are in order such as the hair falling in place, no fly aways, no stuck lashes or misbehaving eyebrows, bra straps showing, chipped nail polish and the clothes falling how they are meant to be worn.  It takes a team to get all these elements right in the first place and the photographer's job to compose and capture it all.  From the model's fingers to his/her toes, everything means something and so should be considered in the final production.  The onus mainly falls on the photographer to see through the view finder that all the elements in the composition in order, in addition to having all the camera & lighting elements just right.  But it also helps when the stylist is at hand to cast a second eye, as the stylist probably gets the whole picture more than anyone, or at least pays more attention to the wardrobe and accessories and how they feature.  I like to involve everyone, so I want the haristylist to jump in and fix the hair or the makeup artist to stop me and say, "Wait, let me touch up the lips, or put a coat of fresh nail polish".


I confess, in my early days, I'd be a quick shooters, just snapping sometimes (unconsciously is probably best way to describe it) and my only real focus would be on what the model was doing, her face and the composition of the background.  Now I take fewer shots, cause I take more time in getting it right in camera and getting the few shots I need, unless we're having so much fun we lose control or its for a client that I'd spend more time giving them a variety of takes on the model, from which to choose.


Attention to detail doesn't just apply to the composing of the image by the photographer, but also the stylist or makeup artist as previously explained.  From the choice of nail polish coordinating with the makeup if its a beauty shoot, to hair bands on wrists or stud earings forgotten to be removed from the model, to the layout of the props in the scenery.

EVERYTHING MATTERS AND EVER THING MAKES AN IMPACT ON GETTING IT RIGHT OR MISSING THE MARK ALTOGETHER!

This is why it takes a "creative team" to create beautiful images with impact, its true the photographer might be the glue-factor in pulling together all the elements but it takes the passion, support, communication and creative flare of the whole team to produce a MASTERPIECE!


Sorry about the very lengthy read, some of it you could say - were things I had to get off my chest, but I hope it was helpful or reminded you of little aspects to keep in mind for when organising your next photoshoot.

Word Pictures to inspire for 2012

Have been saving away picture quotes I find all over the net, to compile into this one big blog full of words of inspiration (with a few cute pics thrown into the mix).  Thought what's a more appropriate time to share than the beginning of a new year.  Here's to 2012! Make it your year! 

HAPPY NEW YEAR TO MY READERS, FRIENDS, FAMILY & CO-COLLABORTORS!

This is dedicated to you and me!

Behind the Scenes of Le Jardin Secret editorial shoot

So recently I posted the published photos of the fashion editorial titled "Le Jardrin Secret" which got featured in Dutch magazine, f.ART (Yes you read correctly!, pretty sure the english word "fart" is not the same translated in Dutch). Its actually a magazine dedicated to fashion and art.

Anyway, pretty sure contrary to the French title "Le Jardin Secret" (The Secret Garden) that its no secret for the location of this shoot - yes! you guess it - it was the Mt Cootha Botanical Gardens in Brisbane.  This shoot met with some delays, as the original date we all set out to shoot very early one morning, we got to Mt Cootha and the rain clouds had followed us there, that we had to pack up and go and re-schedule for two weeks time.  I think we were all a bit devastated the first time around, as we all got up bright and early and made the trek to the Botanical Gardens, only to be let down by the pouring rain. We finally shot it the second time around in the first week of Spring, how appropriate I thought.

Sheri applying makeup to Eliza for the first look

Sheri Vegas, the makeup artist, was instrumental in organising this shoot, she briefed us on her inspiration for the makeup - makeup that was inspired by the texture, lines, colour and blending of shades of particular plants which she drew her inspiration in designing her face charts. They were inspired mainly by the rose, the fern and the orchid.  She wanted the models submerged in a natural habitat and the wardrobe styling to also reflect on another level, the texture, patterns, shape, flow and colour of the flowers and plants she drew inspiration from. It was Briana's job, as the stylist, to put together this floaty, frilly and sometimes colourful wardrobe to compliment the colours of the makeup. While I was tasked with the job of framing all the looks against the beautiful backdrops of the diverse natural enviroment established in the Botanical Gardens and hopefully create a dreamy atmosphere that takes you beyond the confines of the Gardens.

All shots were taken just using natural available light and sometimes the help of a reflector.

Both Sheri and Megan working on Eliza at the same time

Me shooting Eliza up the tree

To the say the least, it was a long day, with 6 wardrobe changes, two models, each sporting a new makeup and hairstyle - so Sheri and Megan were constantly busy turning over the models to me to shoot alongside Briana with her sharp eye for styling detail.

Sheri applying Eliza's last look for the day

We're off to find a pretty spot to shoot Eliza's last look

It was a collaborative project, with each of us communicating easily and sharing ideas on how to put together the overall look of the editorial.  The models on the other hand, made my job VERY HARD!!! Eliza and Bridget gave us so much variety, they were amazing to photograph, getting just as excited as us in the process of modelling the clothes against such beautiful gardens.  Eliza, probably the most enthusiatic when she jumped at my suggestion to drape herself over a hedge and then when we spotted this beautiful tree, she was like "I can climb that", I think we were all at first startled and we look to Eliza's Mum and she's like "She does this all the time, put nothing past her" and then we all unanimously were like, go for it then! Funny part though, was Eliza had not exactly worked out the coming down part of the tree, and there we were yelling for random male strangers to come help her down and by the time help came, Eliza managed to find a way down the tree safely, all the while carefully protecting the garment.

Get in there Eliza and hide amongst the bushes!

Unfortunately, the only behind the scenes shots we had from the day were all of Eliza, as her Mom was behind the scenes with us, snapping shots with her mobile.  Have to say thankfully we had Eliza's Mom to take some snaps behind the scenes, wish we had done the same for when Bridget was being photographed by me, as often on my shoots, I hardly remember myself to take some behind the scenes.

So thank you to Mrs Hall for the lovely behind the scene shots.

I love this shot Eliza's Mum took of her, on their drive back home, Eliza obviously exhausted from climbing trees, jumping in bushes and hoping onto rocks in the pond alongside some bearded dragons.


Finally, narrowing down shots to edit for the collection, was my hardest job, as I said before, the models gave soooo much variety and the backdrops all so beautiful, in the end I like narrowed it down to 32 shots which I've edited and there are still more photos that are calling out to me to do.

So here are the shots that were chosen for f.ART's publication

And here are some other shots I couldn't resist.

Eliza lying across a hedge, pretty sure the gardeners would have been pissed off if they say us squashing their plants

thanks for checking it out / reading my blog

And GO TEAM!