Ginger pigs

May 3, 2012

Very quick post this time, just to show some behind the scenes snaps from a shoot last week. Animal photography is always a challenge, but can be a lot of fun. I spent Friday on location in a muddy field in East Sussex persuading a pig to pose nicely on a short-lived white background. Cinnamon and her companions were more interested in trying to chomp through the flash cables and run through the paper backdrop than anything else, but we got the photos we needed in the end, with the help of a lot of food and back-scratching.

Torture tests for Manfrotto light stands and Hensel flash cables – fortunately they stood up to the pigs’ best efforts to eat them:

Cinnamon is tempted onto the set…

and decides that modelling is overrated.


Thanks to Alison, Clive, Lynn and Becky, and of course to the pigs.

Shooting underwater in the Caribbean

March 15, 2012

At the risk of sounding smug, I recently got back from a week shooting underwater in Guadeloupe for Luxair with BDDP & Fils.

The brief involved a woman snorkelling down from the surface and swimming along the bottom. We were hoping to shoot at a depth of around 6-8m, but although the weather was great, there was enough wind to stir up quite a lot of sand in the shallower areas, so we had to go deeper. The location would have been a tough job for any normal swimmer, as we shot at 13m. Luckily for us, we were shooting the 2011 female world record holder for static apnoea, Sophie Jacquin, who can hold her breath for almost 7 minutes, and who had no problems with swimming down again and again. You can see some pretty amazing films of her swimming underwater here - she just keeps on going. I of course was sitting on the sea-bed in full scuba gear, while the art director worked on her tan in the dive boat above.

Technical details as usual: we shot with a Canon 5D MK II, 17-40 f4.0 L, and an Ikelite housing with a super wide 8″ dome. We were shooting pretty wide areas, too large to be able to light practically with underwater strobes, as the light fall-off would have happened too fast to cover the whole image, so I was limited to shooting with available light. Fortunately, there’s plenty of that in the Caribbean, and I was able to get 1/250s at around f5.6 with 100 ISO most of the time, which kept noise to a minimum.

I did some tests with a UR Pro CY filter to compensate for the lack of red light, but in the end the sun was so bright that we were able to get all the colour detail we needed by adjusting the white balance on the RAW files in Capture One, without losing all the light that the filter would have cut out.

We had several days shooting underwater, partly in the sea, but also in a swimming pool and an aquarium with turtles. I was nervous to start with – the people in the aquarium warned me that while one of the turtles was friendly, the other was more aggressive. Apparently she took someone’s ear off a few years ago, although they might just have been saying that to wind me up… She did come over and have a look at me a few times, but the aquarium staff were on hand to push her away with a pole. I was shooting with a 17mm lens, so she was only a few centimetres away in this picture – it was a privilege to be able to shoot so close to such fascinating creatures.

We’re now working on the post-production, but here are some behind the scenes shots of our trip.

Thanks to various people who gave me a huge amount of help preparing for this shoot. Glenn at Newhaven Scuba was amazingly patient with all my questions about locations. Steve at Ocean Optics spent hours advising me on the best way to deal with the various technical challenges. The Guadeloupe aquarium allowed me to dive with their turtles, and took us out in their ridiculously fast twin 225 HP engine RIB (v. nice, I want one) for our scuba diving days.

Campaign for Boggle / DDB Paris

January 24, 2012

Here’s a campaign I shot for Boggle through DDB Paris recently. We’ve just spotted it in Creative Review‘s round-up of last week’s best work. We produced about 15 images, some English and some French, and had fun shooting some extra anagrams that unfortunately didn’t make it through the ‘rude’ filter…

Agency:  DDB Paris
Client: Hasbro
Creative Director:  Alexandre Hervé
Creatives:  Frédéric Lahache, Pierre-Antoine Dupin
Art buyers:  Sophie Mégrous, Quentin Moenne Loccoz
Account managers:  Marie-Laure Dangeon, Juliette Ferré

Helicopter shoot in Sicily

January 16, 2012

I recently spent a week shooting from a helicopter in Sicily – lots of fun! When I’ve done aerial work in the past I’ve always shot with Canon SLRs. This time we were shooting for a campaign with a multitude of formats, so I used a Hasselblad H3DII-39 in order to have plenty of room to crop into, and took a Canon 5D II as a backup, with a 24-70 L 2.8 and 70-200 4.0 L. I prefer the 70-200 f4.0 to the f2.8 version as I find it sharper when stopped down, and it weighs a lot less.

Feeling geeky today, so skip this next bit if you’re not interested in technical details… The Hasselblad is limited to 1/800s, whereas the 5DII is good up to 1/8000s. On paper it looks as if the Canon should get much sharper pictures, but my experience with the Hasselblad was so good that after shooting with both the first day, I didn’t bother with the Canon for subsequent shoots. Most shots were sharper with the Hasselblad despite the Canon’s higher shutter speed, although as I needed to keep the ISO as low as possible to minimise noise, I didn’t shoot above 1/2000s with the 5D.

One of the big problems in helicopters is vibration. Image-stabilising lenses don’t help, as the vibration is too fast for them to counteract. Bracing against seats or fuselage doesn’t work, as every part of the helicopter is shaking. To minimise vibration you have to make sure the camera is not touching anything when you shoot. Handholding a Hasselblad gets pretty tiring after a while, but I think its weight actually helped: it’s such a heavy camera that it moved around less than the Canon. The combination of the Hasselblad and G-force almost pulled my arm off when we were turning fast though.

The pictures we were shooting have been combined with studio shots in post-production, so maintaining a constant shooting angle was crucial. We shot most of the pictures tethered to my MacBook Pro, using the Hasselblad capture software, Phocus, to preview the images and overlay the layouts. This was the first time I’d tried shooting tethered for aerial work, and I was pleasantly surprised by how well it went. Obviously not as easy as in studio or on location, but definitely worth doing if shooting for montage. And no, we didn’t take a Wacom tablet up with us.

The most important element in getting good pictures of course was having an amazing pilot – thanks to Andrea from Air Panarea, who was an absolute star.

Aerial photographs

January 12, 2012

Here’s a series I shot for the January issue of the French magazine, WAD. The aerial pictures were taken in Sicily, and we shot the clothing images in studio to match up with the landscapes.

Thanks to Andrea at Air Panarea for his amazing flying skills, to Mario Faundez for styling and to Stéphanie Buisseret for art direction.

BASE jumping with Dan Witchalls

December 14, 2011

Had an amazing shoot recently with Dan Witchalls for WAD magazine. You may have seen him on Channel 4′s documentary about BASE jumping, The Men Who Jump Off Buildings (the link will only work if you’re in the UK).

We crept into a building in Wapping in the middle of the night, and waited on the roof until it was light enough for Dan to jump off the roof. It was too foggy to see much in the background, which was a shame as we would have had an stunning view of London, but watching Dan plummet from the roof was exciting enough on its own.

While we were waiting for dawn, Dan gave me a guided tour of the London skyline. It went something like this: “Those lights over there are the Millenium Dome… done that… Crystal Palace antenna… did that one…  Guy’s Hospital… done that… the Shard… done that a few times, and did the building that was demolished to make way for the Shard… Stock Exchange… done that… Barbican… done that…” You get the picture. If you watch the C4 documentary, you can see him jumping off Nelson’s Column. Frankly, terrifying.

Here’s one of the pictures I shot, and a little film we put together of his jump:

Film credits:
Joseph Ford
Dale Reubin
Dan Witchalls

Photos in new book: “50 years of advertising photography”

December 6, 2011

I was delighted to be included in a new book by Gabriel Bauret, published by Éditions de La Martinière in Paris, titled ’50 years of advertising photography’. It spans campaigns from 1960 to 2010, shot by 68 photographers ranging from Elliott Erwitt, Richard Avedon, Annie Leibovitz, and Andy Warhol, to … me. My head’s feeling a bit swollen ; -)

Here are a couple of pictures of the book:

More fun for WAD magazine

November 2, 2011

More fun for WAD magazine’s autumn issue, out now – a portrait of Martine Rose buried under a pile of her new designs for Caterpillar and some more crazy people risking life and limb, this time flying from a balcony:

Thanks to Curtly Thomas for styling, Ezana Ové for hair & makeup, Charlie & Anna @ D1 Models, Jody Daunton / Alex Rowland for photography / styling assistance, and Angela @ EF for the great location.

 

New portraits commissioned by ISART Digital

September 26, 2011

I’ve had a busy few months, with campaigns for Mastercard with McCann ParisCarrefour supermarkets with Publicis Dialog, Intersport with Agence H and Ibis Hotels with Y&R Paris, plus editorials for WAD magazine. In between the other jobs I spent a couple of weeks working on a corporate project for a 3D / CGI / video-game college in Paris, ISART Digital.

There were two parts to the project – we began with a mammoth studio portrait session – 30 people, each with 20 minutes in front of the camera. Here are some of my favourites:

More pictures from the second half of the project to come later. Thanks to Adrien for makeup and hair, and Romain Sandt for assisting.

Update on Crucial M4 in Macbook Pro

June 29, 2011

Here’s another post for photographers looking to optimise their 2011 Macbook Pro. As you may have read in a post from a couple of weeks ago, I’ve installed a Crucial M4 256GB SSD in my MBP (2.3 Ghz, 8GB RAM, 750GB 5400 rpm HDD, matte screen).

Simple summary: I’m not going back to HDDs – this laptop now flies, with one small but significant reservation: the beachballs. There are lots of posts about this issue, here, here, here… Every now and then my computer freezes, I get a spinning beachball for about 30s, then it carries on working.

My experience of the beachball hangups is mixed. It’s annoying when it happens, but it doesn’t affect my primary workflow badly. Last week I shot tethered for 7 days solid, and while I had the occasional freeze, they didn’t stop the tethered captures arriving on my laptop, just prevented me seeing them instantly. The annoyance is offset by the huge speed increase – my Hasselblad H3DII-39 RAW files display instantly in Phocus, my digital assistant can zoom to 100% to check focus immediately, and bulk processing times are ridiculously fast.

It’s a different story when using the MBP for admin tasks – email, iCal, browsing with Safari or Chrome etc. For some reason the number of system freezes is much higher when I switch between multiple programmes (I’ve checked the memory use and I’ve always got plenty of RAM free when it happens). When doing anything but shooting tethered or browsing through libraries of RAW files I get enough system freezes for it to be pretty disruptive.

This is less of an issue for me as day to day I use my 2.8 Ghz 8-core Mac Pro, and the laptop is only for location work, but I would hesitate to recommend the M4 to anyone planning to use their Macbook Pro as their main system. Having tiny boot-up times is great, and it’s nice that programmes open instantly, but the SSD doesn’t make a significant difference to general use of any admin programmes. The speed boost is most noticeable when opening/saving files in CS5 or when viewing 20GB libraries of big RAW files in Phocus or Capture One where the 420 MB/S read times actually make a difference. You won’t see a speed increase opening up a 30KB MS Office document, but you will definitely get annoyed waiting for your computer to respond when it freezes every half hour.

To see what I’ve been shooting, click here.