So, Charlie asked me to take over on a shoot she has planned.
Ella Brown, MUA, needed some photos to evidence a 30,'s 90's and present day wedding makeover.
It was a bit rushed. Comms was good, but they didn't have a mood board, etc. So I just winged it - which in experience terms was a good thing.
Here are some of the results.
And these are some "edits" I made of them...
A few matters came up while talking with a fellow student, and I've discussed them with Jamie, and he suggested putting the points across in my Journal, so here goes.
The first important matter is that I am NOT shooting subjects what I am already "comfortable with" for these projects.
This course is - very much - about education and learning to me. I didn't come here to be a better sports photographer, nor to simply punch out portrait after portrait, or fashion shot after fashion shot. I'm self assured enough (Arrogant enough?) to believe I'm as good as any - given the same chances and equipment. I already know how to do that. I also know a fair bit about street photography, and although I used that particular skill within "Weston Out Of Season," I also went down more uncomfortable avenues during that - hence (for example) why I went with things like the postcards, etc. It's also why I used "permissive" shooting, etc..
The same can be said for my "Light: The Language of Light" project for the Reflective Personal Project. I considered the "Safe" options (Hockey, Rugby and Soccer would easily have got me good grades) but I wanted something to stretch me.
I could have punched out perfectly "nice" portraits or fashion and been safe in the knowledge that they would have been "acceptable" within the framework of the course, but I've chosen to go down the avenue of the light project.
Instead of "keeping it safe" in somewhere like a studio, I've been chasing the Northern Lights @20 below, or frequenting subways in the midnight hour. Or - even when I'm in the studio - I'm pushing things (The 15 second exposure, with LED cloak and single flash is an example of this). Or instead of just doing "nice" portraits, doing portraits designed to envisage a widow getting the "Missing In Action" telegram is another. Empowering a sexual assault victim is another...
I think this is the only way to move ahead. Challenge myself, measure myself, and to "Take Risks." It's who I am.
Ultimately, that approach may cost me marks. It may tick people off when I want to show a paraplegic as a fully empowered person. It may even cost me marks because my "Light" images are not as good as someone else could take them. But, hopefully, the last image I take for the project will be better than the first one I took... Which is all I can hope for.
The second issue that raised its head was based around my attempts at the ARPS (And ASISLP and ASIFGP).
I UNDERSTAND that I will be awarded the ARPS when I get my BA (Hons) - IF I get my BA (Hons) - but I want to get it as an "Award" because my peers looked at the specific images I created, and awarded me it. I want to earn the letters, not have them attached like a sticky note to my degree...
She's changed her name, but she'll always be a Rogue Rose to me...
I used this shoot to expand on my "Light: The Language of Photography" Project, but also for generic fashion and portraiture.
This was a fun shoot. I've known "Rogue" for a while, and shot her a few years ago.
Lighting was kept within limits - mainly two soft boxes with varying levels. I did the "Light cloak" thing with her, and experimented with a UV light in the background. Some highlighting of the hair with a keylight from behind...
Sam asked me about this shoot, so I approached the client.
The brief was to shoot a series of still life / product shots for their launch. No budget.
I got the product (Razors) and made a basic set-up.
The main issues were reflections, and I had a great number of problems getting images that didn't show reflections in the wrong place.
Eventually, I created an enclosed light tent, which minimized the reflections, and produced passable images.
After a period of to-and-fro from the client regarding edits, etc., he fell silent. This MIGHT have been my mail server, or it might have been his, I'm not sure. I had some issues around that period, so the shadow of suspicion would tend to be on my server.
However, he then wrote directly to my tutor...
After a brief discussion, I returned the client's equipment, and left it as that.
This (to use a colloquialism) just turned me off product photography. The client wasn't professional, he expected the world for nothing, and continually asked for edits. Then he wrote directly to my tutor.
The technical elements of the shoot were quite interesting - if annoying - but I suppose, even from failures, come lessons.
Sections and Links:
Actual links to work experience, which covers all these points:
Zombie Bride shoot:
Media Students Shoot:
MUA - SCi-Fi Shoot
Working with models Article:
Fashion Shoots. It was suggested by Jamie that I use fashion shoots as a part of work experience:
Sections and Links:
Assembling the exhibits
The sections and links are:
Group Roles and outcomes
Poster, Logo and other marketing
Overall evaluation / conclusion.
The headings and links for this are:
Create Pool Profile
Create Rate Card
Identifying Business Opportunities
Online Presence Review
Physical and Online Portfolios
Well. Here goes. Nothing ventured, nothing gained.