Two days of my repartee was the trial that Matt & Jenna braved through for two Who shoots the other week. One for Radio Times and one for the Times Magazine. You can imagine the confusion with all conversation involving the word 'Times'.
Suffice to say that these were two pressured short shoots, but with a bit of sweat and tears, all elements shot and completed.
Radio Times wanted shots for a variety of uses including composites (and very much in character), whilst the Times wanted a more 60's fashion feel along with an Augmented Reality film.
The great thing about these two actors is that I explained the shot list once, and they just 'got it'. I can't tell you how unusual this is. To understand how cover shoots work you need a real sense of artificial closeness as required by layout, along with a varied of positions and presentation in sympathy with the lighting. Matt & Jenna are great and delivered all the right expressions and passion for the course of our shoots.
The Augmented Reality video had to be completed in the last 40 mins of our time and (as usual), was a steep learning curve. Pre-lit, we still had to reset the Canon for video and awkwardly frame the video upright to match the cover shape, along with a crop. Sight lines were marked, but the timing and exact performance were decided upon at the time. Good job these two are used to green screen work.
Unfortunately the sound mike's battery packed up on the last take, and so we had to add Jenna's laughter from a previous one. The title's destruction was completed to brief by Seed Animation and I am glad to hear my clap making the final cut.
Who knows if AR is the future, but plenty of magazines currently seem keen to try it out. http://m.youtube.com/watch?v=MypVkBW3klE
It's not easy writing anything about someone who's job is to write about anything, but write it REALLY WELL.
I've been snapping Caitlin Moran for many years now. Sometimes for the Times, where she writes both a column, and for the magazine where she is often required to tolerate such extremes as camping at Glastonbury, and doing extended photo shoots with me. In fact shoots with me can go on long enough, that they make it into her writing. I'm not sure if pride or horror should accompany her description of sobbing after 8 hours of being photographed by me-a story that made it into her bestseller 'How to be a Woman'.
Still, we get along fine, and I think I know why as she says here-
"I have such insane love for any photographer who SORTS HIS FUCKING LIGHTS OUT before people come on set. You'd be amazed how many don't, and faff around while you stand there, with all your vibe slowly draining."
Another couple of cover shoots featuring Ms Moran w…
The thing about a commission is that it is rarely straightforward. A while back, Radio Times called to ask if I would like to photograph Sir David Attenborough (again), but with a few 'props'. Hmm,props ..ah yes of course-lion cubs, nice and easy.
The idea developed into a simple Lion face/David face picture, except of course, you can't quite plan what might happen.
We turned up at David's house on a rainy day complete with backdrops and the usual disturbing amounts of kit. David looked worried when he saw it all. 'Can't we just do a quick snap in the garden?' he said. 15 mins later after much convincing, David let us in to set up in the available space. Thing is, I just wasn't sure exactly what was possible. The lion keepers suggested that milk might be the answer, but endless shots off a milk bottle would not be ideal.
So, lights up and a table in place, I started to try and direct the shoot. Big mistake. David immediately engaged with the little be…