The final shoot of the day was with Jess Boyack. By the time of thinking about the shoot I think everyone was exhausted. With no outfits booked we decided to make it a bath shoot and use a simple length of material for cover.
The bath in question was on wheels and it was moved into position in the carpark mid afternoon with the hope that the sun would warm the water up. That was of limited use and despite the addition of a couple of jugs of hot water it was fairly cold.
I ended up grabbing left over flowers from another shoot and by the time we shot had quite a number of people helping out.
Jess Baider was the model for my third shoot of the day and for this shoot I wanted to do something different. Earlier in the day I had seen a dress design by Jen Carlton made entirely of metal, and I managed to denogiate with the photographer who had it booked to use it first.
I also built a set using a whole lot of wine barrels. I had positioned a backdrop behind them to remove a rather ugly background. This proved to me almost a waste of time as the light falloff was such that it was almost in complete blackness.
I was using a single light with the 7 foot umbrella and a reflector to add in a little fill light.
Part of the arrangement was to swap out the metal dress for a design by Evem and this was used in the second half of the shoot. We also ventured outside at the end of shoot for a little variety.
Model: Jess Baider
Dress: Jen Carlton Leather & Hide
Headpiece: Black Widow Fascinators
I had shot Hayley before as part of my honours set. When she arranged to use a gothic style dress then it was obvious that we were going up to the attic as it was the ideal location for such a shoot. That of course meant lugging all the light gear up four stories. I set up a small shoot area and decided to add in a couple of props of my own.
After working through several of the rooms up there we moved down to an open space at the top of the ramps where the ivy was changing colour. We also tried a number of images with falling leaves.
Headpiece: Black Widow Fascinators
Day two of the Great Trentham Collaboration did not start well with my first model of the day being one of a number who failed to show up on the morning. There was also not the same level of energy level in the room.
Fortunately for me one of the other photographers in the room was in a similar position and so she agreed to be my model. I had brought along my own red dress and a few props and having checked that she was not averse to fur, we headed out for a couple of locations around the base of the main grandstand.
The third shoot on day one of the Great Trentham Collaboration was with Ashley-Jane Cole. I had shot AJ three years previously at the waterfall in Upper Hutt and again when she was at a recording studio as she is a very talented singer/songwriter.
AJ had chosen a swing dress from Deranged, which styled up for a ballet theme. Her makeup was done by Eden Gibbons.
On the upper level of grandstand was a cafe with a Fence look so I made up of a large mural for my first set of images.
We then moved up in the attic area where the large windows surrounded with wines provided plenty of great light and interesting backgrounds
We then moved to the outside and particularly around the base of the vines that encase the building.
The second shoot on day one of the Great Trentham Collaboration what’s with Jordan. Unlike Kasey, Jordan had spent the previous hour in hair and makeup with MUA Charlie Timmins.
She had chosen two outlets from Wellington designer Evem. Unlike my first shoot of the morning, this time we moved around the racecourse. We started in a small space that I have discovered behind the make up room they have good natural light and a piano and us I thought it would make it interesting start.
We then moved outside and into an area this that is used on race day to stable the horses just before they come into the birdcage at the start of the race. Jordan does pole fitness and so she had no problem climbing up in the staples for a number of shots.
We then moved around the course and shot in a pavilion that is quite often used for outdoor weddings.
And then into an area that is immediately in front of the old grandstand. On our walk-through of the venue the week before I have noticed a old piano in the area and thought that this would be a great prop. As it turned out when we first arrived it was being used buy another photographer. So we moved a little further down and again Jordan showed her gymnastic ability.
I been noticed a number of windows and thoughts that we might be able to capture reflections on them. This was true however the glass had the remnants of sticky tape on it which I could not remove. Fortunately photoshop can.
For my final shot we moved a large gate in-place and Jordan made out that she was trapped.
The schedule for the Great Trentham collaboration was split into two groups each day with eight photographers in each. There were eight slots allocated to shoots, and seven to makeup. In the two weeks leading up to the event the various designers associated with it posted images of outfits that they would have available. This generated discussion between the models and photographers and lead to outfits being booked for various sessions.
I took a very relaxed approach and I let my models book their own outfits.
The first shoot in Group 2 started at 9 o’clock. This meant that the model did not have time to go through makeup and had to arrive already made up.
My first shoot on day one was with Kasey. She had selected an Egyptian outfit made by Charlotte Kelleher of CKfilmDesign. The outfit consistent of several parts and therefore we needed to assistance of Paul Irving.
As the morning was cloudy I decided it was a perfect opportunity to head to the roof of the grandstand which is essentially an open air seating area. I took a series of images in a different styles of the outfit including static and walking shots. I also had a play with my lensbaby composer lens. Unfortunately there is an issue with this lens on my the D600 in that the camera cannot control the aperture and so all shooting is wide open at f2.8.
At the end of the shoot we moved indoors and I used a white screen setup to shoot some images that I may look at using in composites later on.
I’m really pleased with the images although later in the day I would have probably chosen a different location, but that is always the way when you start early.
I have just had the most amazing two days of photography at what was called the Great Trentham Collaboration. Two Wellington photographer Shonty Rogan and Paul Maka organised a two day event that brought together 24 photographers and models, a dozen makeup artists, and six fashion designers, with clothes ranging from street wear to costumes. This was the second year that it had been run but this year was much bigger than before.
It was held at the Trentham Racecourse which is a very large complex with a multitude of rooms and areas to shoot in. It was so big that despite 12 photographers shooting at the same time there was very little competition for space, and when there was that was easily managed. We were originally told that we had full access to both of the grandstands but on the day the security guard needed to unlock the members stand was sick and so we only had the old grandstand to play in. I doubt that that caused much of an issue to anyone.
The old grandstand is four stories high including an amazing adandoned attic space, that practically everyone used at one stage. The windows faced the afternoon sun so were perfect for natural light, while other spaces were with easy reach of power supplies. All in all it was a great location.
The photographers were broken into two groups and each day was split into 4 1.25 hours shooting session. So at any one time 12 photographers and models were shooting, 12 photographers were on break downloading their images from the previous shoot, and 12 models were in makeup.
The two days went very smoothly with the only glitches being caused by models not being available due to illness. All photographers stuck to their allocated times and while the makeup in some cases took longer than allowed the time allocated for the photography was sufficient to make up the time.
It was a true collaboration of everyone’s effort with photographers also helping each other out either my being assistants or in allowing their gear or sets to be set up.
I have recently taken to wearing a fitbit and it told me that over the two days I walked nearly 33 kilometers, at lot of which was going between floors. It is no wonder that my legs were sore at the end of the weekend.
I have quite a lot of photos to process and keeping in my previous practise I will post about each separate session so that I can profile the images.
In Palmerston North there is an old brick kiln that I was shown a number of years ago, and which I have always wanted to shoot in. I had a shoot set up about 2 years ago but the model flaked. Back then the site was fairly open and as a result there was a bit of graffiti and vandalism to it.
So when Whanganui model Samantha wanted to do a lingerie shoot I suggested the venue. As it turned out access to the site is now a lot more restricted, however I was able to track down the right person to contact and access was arranged.
Unfortunately when I turned up at the arranged key collection place at the arrange time, no one was home and I was unable to raise anyone on the phone. So I drove back to kiln where I was meeting Samantha and her boyfriend Ben, who I had been assured was well versed in the fine art of holding reflectors.
We waited around until the schedules time for the shoot hoping that the key would show up. However when it didn’t we made our way through a hole in the fence as I figured that I has permission to be there. Unfortunately once inside we discovered that steel bars had been installed on all of the entry points into the structure.
Rather than the whole shoot turning into a bust we decided to use the building and accompanying area for the shoot. While it did not have the same impact as the look I was going for I am still pleased with the resulting images.
We started with simply lingerie looks and then built them up with masks, capes and lengths of fake sur. In the end I tried a drape of material.
I received a text later in the evening apologising for the muck-up with the key which was caused because the guys wife had forgotten to put it outside when she left the place. I hope that on the third attempt I will manage to shoot in there but that won’t be until next year now.
Late last week I answered a Facebook post from model Alex Hunt looking for a photographer to shoot on the weekend. I discovered that she wanted to expand on some lingerie images that she had taken previously and I suggested that we shoot at Palmer Head gun emplacement as I thought the contrast of soft fabrics and the graffiti covered walls would create dynamic looks.
We arranged the shoot for Saturday afternoon but left it until the morning to confirm as the forecast was for gale force winds, heavy rain and thunderstorms. Saturday dawned fine and while a little breezy was not anything that we could not handle. We therefore decided to the do the shoot.
I picked her and her friend Lillian up and we headed up the hill. To our shock and dismay we discovered that the whole site had been treated to a new coat of grey paint. Our urban look was therefore replaced with industrial.
Despite being inside the opening in the building and how exposed it was meant that the wind was a constant issue. We shot in two locations in the building and used a combination of a single flash in a bounce umbrella as well as natural light.
We started with the lingerie that Alex had brought with her and then we moved onto using one of my drape material. I even incorporated a fake fur that I bought sometime ago.
We even tried some of my longer drape materials out in the wind but didn’t really achieve the look that I would have liked. The strength of the wind made shooting outside quite difficult and some of the places that I may have considered just too dangerous.
At the end of the shoot I managed to get a shot of Lillian who had the most amazing eyes, but didn’t consider herself photogenic. She could not have been further from the truth.
Editing the images was an absolute breeze and I was able to deliver them to Alex the next day. We plan on doing some more shoots together.