studio shoots

Kendra

KendraLee403 - Version 2 (1)
(Click on the Image to be taken to the shoot gallery) I've been fortunate to shoot with Kendra on a couple of other occasions to date, and I've always been very happy with the results of our shoots. I recently found myself with some studio time booked, but no model sorted, and decided to give Kendra a shout, to see if she'd be free. Fortunately, it coincided with the company year end, and Kendra was looking to use up holidays, so was happy to collaborate.  We arrived at the studio with a few ideas in mind, and a good few reference shots to take inspiration from as well.

We shot in a couple of the more 'none-standard' places in the studio, like the seating area for those not usually involved in the shoot. And, one of the more unusual things we did this time though, was actually step out of the studio, and spend fifteen minutes or so shooting in the industrial estate where the studio is based. We wanted to catch the last light of the day, and whilst we got a number of good shots, we also got a good number of curious glances-a tattooed model in bikini and denim shorts is not the usual kind of work person usually found there.

We shot a number of things-not least, I wanted to experiment with a couple of retro styled setups. Not exactly unusual for me, but even so, it's always worth trying new things now and then. We also shot against the plain white backgrounds of the studio, and got some great bikini images there in particular. Indeed, Kendra posted a couple of these images in their raw form, and has piqued the interest of Inked magazine, and she's been invited to meet with them as a consequence.

And, as usual with Kendra, for all the ideas and images we came away with, we also came away with ideas for another two or three shoots. We hope to put at least one of these into action soon, with an outdoor shoot over at Kew Gardens. Again, this is a shoot I'm already looking forward to.

Kendra

Kendra 2013

KendraFPIcon
(Click on the Image to be taken to the shoot gallery) A quick blog about a recent shoot with Kendra Lee, a model I first shot some three or four years ago. We've not managed to shoot since, but thought she'd be great for a recent shoot I had planned. A small retro hotel type set had been built at a studio near where I live, and I wanted to take advantage of shooting there, before the set got taken down. Kendra would be ideal for what I had in mind, and thankfully, she was free to join the shoot.

The images on the set were all shot with ambient/available light, which was a mix of standard lightbulbs, and the modelling lights from the studio flash heads. I wanted a down-at-heel motel feel, and I'm pretty happy with the images we got.

This one was also shot with my Fuji X-100, rather than my usual D300s. The more I use the x-100, the more i'm enjoying it. I reckon this may well be the camera that I just carry with me most of the time from now on.

Kae Kae Qi

KaeKaegalleryicon
(Click on the Image to be taken to the shoot gallery) I shot with Kae Kae just before Christmas last year, but being more than somewhat busy since the shoot, it's only just now that I've started to work my way through them, and make some headway. In some ways, this isn't surprising-I got so many great images, it's going to take more than a little while to finish editing all my favourites. It took me long enough to determine which images were my favourites, for a start...

I found Kae Kae via a casting I posted on Modelmayhem. As ever with ModelMayhem, the response to my casting was fantastic. I had interest from a lot of very accomplished and excellent models, and it was as difficult to determine who to follow up with. Of course, a model expressing an interest in collaborating is as simple as them typing 'interested' in response to the casting, so I shouldn’t be getting big headed about the response to the casting, of course, but even so, it’s very flattering.

Now, a bit about castings, and how I seem to end up making a casting just days before a shoot goes ahead. I have this habit of booking studio time, and sometimes a make up artist, a month or so in advance, and usually before I've secured my model for the shoot. As the shoot grows closer, it's inevitable that the day job gets heavier and heavier, and all the plans I had to do an early casting, get proper mood boards sorted and so on, go out the window. So, usually, with just a day or two to go, I'm in a mad scramble, making a posting, and rushing to get a shoot in place.Sometimes it doesn't come together, and sometimes it does. This time, it most certainly did.  
Indeed, along with Kae Kae, I've also collaborated with another of the models who responded to the posting, and am planning on working with a third. 

Anyway, back to this shoot. Kae Kae was a new model to me, and had some great, and varied, images on her portfolio. She's recently moved to the UK from Australia, and I was lucky enough to be one of the first to work with her over here. 

As noted, there wasn't much time to plan for the kind of images we wanted to get from the shoot. I threw together a mood board of images inasmuch as I could in the day or two we had, and we went from there. Kae Kae's comms were great before the shoot, and we had a great shoot on the day, and I’d most certainly recommend any photographer to work with her if there’s a chance to do so. More images will follow in the next few weeks.

Ianthe Rose Cochrane-Stack

ianthe-181
(Click on the Image to be taken to the shoot gallery) A very short blog this time. I had the opportunity to join a shoot with Ianthe Rose last week. It was a very last minute thing, but I'm not one to pass up the opportunity to shoot a model like Ianthe. Ianthe is a fabulous model, and great in front of the camera.

I came away with a load of great images, and narrowing it down to the fifteen or sixteen or so I wanted to do post production on was difficult. To be honest though, the selection took more time than the post-production. The images needed hardly any real attention, with most of the changes being tweaks to the image composition, rather than any fixes needed. Ianthe is definitely a model I’d really look forward to photographing again.

Darcy Troy

Darcy1-404
(Click on the Image to be taken to the shoot gallery) Sometimes I'm lucky enough to be asked by a new model if I'll shoot with them. That model might only have one or two shoots, or even one or two images posted. Sometimes, though, I'll see something that makes me think... yes-this could be a productive shoot. Sometimes it works out, and sometimes it doesn't. This was one of the occasions where it worked out magnificently.

That said, it's fair to say this was The Shoot That Almost Didn’t Happen. Pretty much everything that could go wrong, did…

To start with, a text from the studio first thing in the morning to say that we were going to have to cancel the shoot. Something super urgent had come up, and it was going to have to be done that evening, so the studio would be closed. Frantic texts followed, and fortunately, within a couple of hours, we were back in track. The studio had rearranged stuff, drafted in helpers, and the shoot was back on. Hurrah!

And then the make up artist fell down stairs.

Yup, a text in the afternoon from my planned MUA to say that she had fallen downstairs, and was on her way to casualty. By now, I was beginning to think the shoot was jinxed. With a model who'd travelled up from Devon the night before, enduring five hours of trains each way just to attend this shoot, cancelling wasn't really an option. Fortunately, a quick text to the studio, and Adrian had a make up artist sorted within an hour. And, a fabulous make up artist and hair doer upper at that-the wonderful Carla Levy. Hurrah! What else could possibly go wrong?

Okay…. how about, the model arrives, but her friend accompanying her is in excruciating stomach pain, and is in tears. Darcy is also visibly distressed, and surely the only thing to do is to head straight to casualty. No, say's Darcys friend-just carry on, I'll be fine in a short while. Through clenched teeth and sobs. This seemed to be up there with the
Black Knight from The Holy Grail claiming 'tis but a flesh wound', as far as inappropriate self-diagnosis goes, but she's pretty insistent that Darcy gets on with the shoot, and refuses to budge on this, claiming she'll join us in the studio shortly.

So, we head to the studio with a somewhat distracted Darcy, and start to prepare for the shoot. Fortunately, about half an hour later, Darcy's friend came into the studio visibly restored, and seemingly none the worse for her experience. From there onwards, finally, things started to take shape. We had a limited time to work in, so got straight into the shoot. Fortunately, it was a lot less eventful from this point onwards. The aim of the shoot was to give Darcy a range of images across different genres, and considering the hoops we had to jump through to get the shoot up and running, I think we've achieved pretty well with the images here.

Akasha Asylum

Sammy2-547
(Click on the Image to be taken to the shoot gallery) A nanoblog to get some images from a recent shoot with Akasha Asylum, an alternative model from London, online. This was our second shoot, the first being a fairly casual saturday afternoon in the park shoot, in which we got some good images. We got some great ones in the second shoot though, including a happy accident when I was using the surface blur on Photoshop. i wasn't planning on using it so extensively in the images-I was planning to just blur the floor to ensure the focus was on Akasha, but when I saw the result, I decided to keep most of the surface blur.

Sophia St Villier: De Lempicka

Sophia1-261
(Click on the Image to be taken to the shoot gallery)

Sophia St. Villier is a model and burlesque performer that I'd wished to photograph for a very long time. If you've ready many of these blogs, I'm sure you'll find the 'wanted to photograph for a long time' theme prevalent. I guess this isn't so surprising-I'm sure that like me, many other photographers have a list of people they'd wish to collaborate with as long as Claudia Schiffer's legs. And, given that I have to fit my photography around a time consuming job-i'm not complaining, as the job pays for my photographic escapades-the list of potential collaborators continues to grow faster than the opportunity to shoot.

Anyway, I digress. Sophia. Sophia is a fabulous model with an already exceptional portfolio of images, wonderful red hair, and an amazing look. And as noted, a portfolio already filled with some exceptional and diverse images. Whilst wishing to collaborate with her, I wanted to be sure that I'd be able to ensure images that would add something to both our portfolios. Whilst looking through Sophias portfolio, I was particularly struck by one image, which to me had the feeling of a Tamara De Lempicka painting. De Lempicka was a painter who's work is best described, I'd guess, as art deco in style. Whilst you may not know her name, you'll doubtless be familiar with her work, but if not, check out this site.

Taking this one step further, I thought it would be great to do a shoot with Sophia, based primarily on the 1920’s era De Lempicka portraits. So, I proposed the theme to Sophia, and she was happy to collaborate on this. Putting together the mood board of images by De Lempicka was essential, and It allowed us to draw out key elements of the 20's De Lempicka portraits that would lend themselves to a photographic shoot. Strong lines, satiny materials, strong contrasts, and so on… 

We'd be limited to a studio shoot for this one, but fortunately, one feature of De Lempickas portraits is that they are usually a very tight crop, with just enough of the surrounding room to give atmosphere, and presence to the image. And, whilst it would have been wonderful to get out into some fabulous oak panelled room with period art-deco style furniture, we would have doubtless been hunting for weeks to find a location. So, we settled for the studio, and using whatever we could get our hands on. Of course, the intention was not to slavishly copy the portraits, but to take inspiration from them, allow them to inform our shoot. All things considered, I think we did okay. Sophia showed up with some fabulous dresses and fabrics, and I for my part brought along an epically sized red satiny thing, and flowers, all of which ended up getting used in the images. All in all, I'm very happy with what we were able to come away with.

Of course, given that the images were to have a 'painterly' feel to them, the post-production work would be different from usual. I wanted the images to have the sense of a painting, but without the heavy handed 'filter' approach, where a third party filter would be whacked over the image to give a very quick and dirty, but ultimately thoughtlessly processed image. So, I set about experimenting. I'm sure there are photoshop gods out there who could do a way better job, but actually, I'm very satisfied with what we got. 

We also, in the final fifteen or twenty minutes or so, photographed a short sequence of burlesque performance images. Whilst Sophia has any number of fantastic performance images, it was something I wanted to try out, and again, we came away with some great images, which I'm certainly very happy to have in my portfolio. 

Joceline Brooke-Hamitlon: Part One

joceline1-2-573
(Click on the Image to be taken to the shoot gallery)

I was fortunate enough to have my first collaboration with Joceline Brooke-Hamilton late last Summer. Another model I'd aspired to work with for a very long time, Normally Joceline would priced well beyond my usual shoot budget, and not surprising, really. She's a truly remarkable model, with a massive and well earned reputation. I was fortunate enough to take advantage of a late cancellation, and managed to get four hours with Joceline lined up.

The only snag was that this was at Jocelines local studio, down near Reading, which meant I had to plan the journey- two trains from London, and then a hefty taxi ride at the other end. And, a new studio. Obviously, most shoots have two basic elements: model, and location. If it's possible, I like to be familiar with one, or the other. If you already have a rapport with your model, but it's a new location, then fine. Equally, if I'm shooting a model, but in an environment that I'm comfortable and confident in, then that's fine too. But, new model and new location/studio, not my favourite. Did that once to arrive at a studio, only to be told that they didn't actually have their own wireless (or wired) lighting triggers, and thought I would be bringing my own.
What?

Combine this with a model who I've admired for the longest time, a model that I was sure that I'd want to work with again, very little preparation time, and not surprisingly, I was a little apprehensive.

I needn't have worried, however. Within seconds of finally arriving, Joceline came bounding up to introduce herself, and immediately put me at my ease. Very sociable and great company, there were quite a few moments where we actually stopped shooting, and chatted for a few minutes. I had to keep reminding myself that we were on the clock, and I had a limited time with this fantastic model.

We shot an absolute ton of stuff, the very great majority of which is great-Joceline really is exceptional, But, as with most shoots where I get an embarrassment of riches, it's taking me no little time to get to narrow down the images, and master them up. (in a manner, this is why I often prefer tf shoots to paid shoots. The obligation to master and forward images within the agreed timescale is a sure fire way to get me to actually do the editing work in a timely manner. Still, this was an opportunity to shoot with Joceline...). I'll post more images from our shoot over the coming weeks, but to get things started, I've started off with a selection of the nude studies from our collaboration.

Miss Lucy Fur: The Valentine Shoot

LucyFurIcon3
(Click on the Image to be taken to the shoot gallery)

I recently completed my third shoot with Lucy Fur. We had a brief shoot at Ingatestone Hall last year, and was so happy with the results that we arranged a Christmas shoot together. Both are covered in earlier blogs. We got some great images that we've both been very happy with, and which have also been the subject of great feedback from others. So, when Lucy suggested a Valentines shoot, it took me just a few seconds to reply with a 'blimey yes!'. Actually, I may not have said 'blimey'. It may have been a shorter, much more vulgar, sweary word.

Obviously, as a Valentine themed shoot, pink was to be the order of the day. Pink lighting, pink background, pink candy stripe lingerie and fascinator, and, well, general pinkness. And some hearts, on pants mostly. We also scoured ebay looking for suitable props, and were fortunate enough to win a set of eight red and pink heart shaped cushions. You probably didn't notice them in the shoot. Not least because the seller didn't contact me for three days after I'd won the things. She actually eventually contacted me right in the middle of the shoot. Pah. Still, I guess that means we've got our first set of props ready for next year… ;-)

Anyway, back to this years shoot. We started off with some lovely candy striped lingerie, matched perfectly to a wonderful fascinator borrowed for the occasion from Miss Kitty Hats, who you'll find at this link
here. We tried a couple of lighting setups for this one, both of which turned out to be pretty cool. We changed the lighting and background completely for our next set, something a little bit cheekier. Literaly. We photographed some great lingerie, with a sheer lace heart cut out of the bottom, the images being something of a nod towards vintage pinup style shots. Next up we draped a massive sheet of satiny red material (the one ebay purchase that did arrive on time!) as a background, coupled with an absolutely wonderful corset which Lucy brought along. Much darker images than you might imagine for a Valentines shoot, but as Lucy noted, the images turned out to be 'very OMalley….'.

We then moved back to a very pink background to shoot the same outfit, and got some of the outstanding images of the shoot for me. We also managed to squeeze in a fabulous latex outfit which Lucy brought along, with matching shoes and handbag. This was only the second time I'd shot latex, and was happy to have the opportunity to do so again. For these we stepped away from the valentine feel a little, but returned for the final couple of shots to round off the session. First of all, incorporating some candles spelling out 'with love' which I actually picked up from the newsagents on the way to the shoot. An opportune find, but which got us a great image from the day. Next up was me hanging precariously from a very tall ladder to photograph Lucy top down. I thought it would be funny if I pretended to be falling from the ladder towards Lucy. Lucy didn't find it anywhere near as funny as me, actually, and I think I can safely say that I've now experienced Lucy's proper telling off voice. Won't be doing that again in a hurry, I can tell you…

As usual, clicking on the image above will take you to the gallery.

Morgana, photographed in London



Morgana
(Click on the Image to be taken to the shoot gallery)

Whilst I"m not usually a fan of studio based group shoots for various reasons, and tend to not to attend too many, occasionally there will be something which persuades me to join one. The neon shoot last July was one such, and the opportunity to get a few shots with Morgana was enough to persuade me to join a recent 'MeetUp' shoot in North London.

The promo for the event described Morgana as 'the alternative legend Morgana', and that sums things up pretty well. If you're not familiar with Morgana's work, a quick google of Model Morgana will fix that, and make it pretty clear why I'd be happy to put aside my indifference to group shoots, and sign up for this one. Additionally, I'd already exchanged emails with Morgana, having used one of her corsets in a previous shoot, when shooting her good friend Lucy Fur, so not least, this was also a good chance to meet her properly.

Of course, one of the reasons I'm not usually enamoured of group shoots is that in order to keep things running smoothly, the lighting setups need be functional, and, in order to keep six photographers happy, pretty much suited to all. So, broadly speaking, you will end up with a setup that's comparatively straightforward. No harm there-most of my lighting setups are usually one light, two max, with very occasional straying into the rock'n'roill bleeding edge dizzy heights territory of three lights. I'm that crazy, me. Anyway, my point is, simple lighting does not automatically equal bad lighting, but I do like it to be my own lighting, rather than someone else's. If someone else has set up the lights, and told you the aperture/speed for the shot, I find it difficult to feel that it's 'my' photo. Anyway, I managed to end up being the last of the photographers to shoot for each of the lighting setups, which meant that I could actually experiment a bit with the lights, and change them round a bit.

For two sets, I didn't change anything, but for one set, I thought there was potential for something a little more dramatic in changing the lighting. The light was originally set up with a big octobox, with the model far enough away from the white background to drop it out to grey. But, nothing dramatic. Adrian Jones, one of the other photographers had brought along some pretty impressive antlers for his own image, and was gracious enough to let me use them for a couple of shots. Very gracious-I know that as a photographer, having sourced a prop, and set everything up for the image *I* want, to have someone then go 'cool-I'll do that too!' is more than a little galling. So, hat's off to Jonesey, for being so genuinely generous in letting me steal his antlers for a couple of shots. Anyway, first thing I did was take the ambient lights down to leave just the light from the proper lamp, and take the soft box off it, so that we'd get much more direct light, and stronger, much more dramatic shadows. This resulted in a couple of images from the session that I can definitely call my own.

But, this does highlight the good side of group shoots-meeting other photographers, and seeing how they interact with the models, and how *they* get the best out of the situation. It's always interesting to see other photographers work, and there's always something you'll learn from seeing this interaction. After this shoot, for example, I know that I'll be taking much more of an interest next time I'm anywhere near an antiques place, or second hand junk shop-as I've realised now, you never know when something might show up that may well make an image some way down the road.

So anyway, Morgana. Blimey. I have to say, out of the images I got, I could pretty much have picked a dozen or so at random, and been very happy to post them. She's an amazing model, and I'm looking forward to collaborating with Morgana again just as soon as I have the opportunity, but this time having much more control over the setup, and full control over the concept of the shoot. In the meantime, click on the image above to be taken to the gallery of images from the first shoot, and check out the iPad wallpaper, featuring Morgana,
right here.





Elle Jonas in London

ElleJonas2-499
(Click on the Image to be taken to the shoot gallery) I photographed Elle in a somewhat last minute fashion almost a year ago. We go some good images-not least, it was pretty much my first attempt at shooting high key art-nude-but as it was such a last minute thing, we didn't have much time to do any planning. If I'm honest, this time wasn't so much better, but at least we scrambled together a dozen or so photographs for a very short mood board, to at least give us some pointers as to where we would go. Additionally, on arrival at the studio, we found some huge letters which had been discarded by one of the other units near to the studio, and were just stood waiting to be binned.


So we nicked 'em. Obviously. Be rude not to.

kayleigh
Unsurprisingly, the shoot went in a different direction to the mood board. This isn't unusual for me. Rather than slavishly copying the mood board, I like to take it as inspiration, and see where the shoot takes us. I've had some great results in taking this approach, and this shoot was certainly no exception. This shoot gave the perfect example of this.

Elle was particularly inspired by an earlier image of mine. A nude, except for a pair of ballet style boots, and which I've included here. Elle wanted to get something similar. Ish. There's no point in trying to reproduce the earlier image-that was a single, spontaneous moment in a shoot a long time ago, as the model was attempting to carefully stand in the incredibly awkward boots (and forget about walking anywhere…) to prepare for the 'proper' shot.
ElleJonas2-630 - Version 2


It served as great inspiration, though, and I'm equally happy with the shot which came out of my collaboration with Elle. Still a (mostly) nude, still boots, but not anonymous, very powerful eye contact, very different lighting and finishing, and a highlight shot from the sitting.

In the post production, on a lot of the images I went for slightly heavier processing, to get a different light and tone to the images. I wanted something cooler (temperature wise) , stiller and more 'fashiony' (that's a word, right?… yes???) . I also finished up a number of the images in mono, and that again gives several of the images a slightly different feel…

Anyway, in the overall, a shoot that I'm very happy with. You'll find a selection of the images in the gallery which you'll get to by clicking on the image at the head of this blog. And there’s an iPad wallpaper from the shoot
here.

Miss Lucy Fur, photographed in London

LucyFurIcon2
(Click on the Image to be taken to the shoot gallery)
I recently shot for a second time with Miss Lucy Fur, the first shoot being covered on my blog here . Lucy's a wonderful model, and I was very happy to have the opportunity to collaborate with her on a festive pinup shoot. It's something I've wanted to do for quite a while, and it was great to work with Lucy on this-she brought loads of ideas to the shoot, and not least, a wonderful wardrobe that helped us really capture a festive holiday feel in the images. We hit a bit of an emergency, however, when I realised the wrapping paper I'd purchased to wrap stuff was still at home. Doh! Fortunately, a quick trip to Brent Cross, a fifteen minute shopping spree, and we were sorted again.

We shot three or four different looks, with a mix of backgrounds, and I’m delighted with our results.

Claire in Salisbury

Claireicon
(Click on the Image to be taken to the shoot gallery) Two years ago, I photographed Claire at a nightclub location in London, a venue I'd used before, and which had some wonderful opportunities to shoot. This time, though, there was a different manager on duty, who took it upon himself to police the shoot, suddenly appearing in the doorway of any room we were using, to check we were not shooting anything he didn't approve of. Consequently, it was a lousy shooting experience, with neither I or Claire able to relax and enjoy the shoot, or focus for anything more than four or five minutes without interruption. A year or so later, Claire decided to quit modelling, so it looked like I'd missed my chance to have a decent collaboration with her. We kept talking, though, and I finally persuaded Claire that we should really get round to having a proper shoot.

Claire was up for collaborating, but our planning wasn't helped by Claire living in Devon, and me in London with a demanding day job acting as a major time sponge. Fortunately, invites to a mutual friends Hallowe'en party (Hawaiian theme, of course...) meant that we were both going to be in Salisbury over the Halowe'en weekend. So, having booked
Graeme Curves studio in Salisbury for the day, we got to finally planning our first proper shoot together.

As this would be Claires first proper shoot in well over a year, we agreed to just see what developed, without any big agenda, or any real need to get images for a specific purpose. Rather, we wanted to focus on just having an enjoyable shoot. Fortunately, Graeme Curves studio is directly above the aforementioned mutual friend
Nikita Sabliers retro and corsetry boutique in Salisbury, and we were able to borrow items to our hearts content. So we did…

And, whilst our first shoot two years ago was riddled with unwelcome interruptions, this time round, whilst we were interrupted, it was all welcome. Graeme was on hand, Nikki was in the shop downstairs, and our friend
Jess dropped by to try a few things on as well, ahead of the Hawaiian Hallowe'en, as well as Cheryl.

It was great to shoot without any big agenda, with the intention to have an enjoyable afternoon, and without fear or threat of interruption. As it was, we have a good fistful of great images, and have quite possibly persuaded Claire out of retirement. No bad thing, I'm sure you'll agree, based on the images.

Margo, photographed in London

Margogalleryicon
(Click on the Image to be taken to the shoot gallery) I was put in touch with Margo via a mutual friend. Margo is a personal trainer, and was happy to collaborate with me on physique images. It took us a couple of months to actually finalise a a time for the shoot, though, and in the meantime, I'd had a play around with neon shots, covered in an earlier blog, and thought that that would be a cool thing to introduce into our shoot. And, I wanted to try it once more, do a little more experimenting, and try not to forget everything I learned first time round.

This shoot was Margos first time in a studio, and more importantly, also the first time as a figure model. Little secret here-when I know, as has happened on a couple of occasions, that a shoot with me is the first figure modelling shoot for my subject, I get nervous. Don't know why-I suspect it's me overcompensating and trying to make sure that my model is entirely comfortable with things, and isn't quietly freaking out. Consequently, the first few minutes of the shoot are usually me prattling away about anything and nothing, trying to make things normal. And usually failing, but there you go… Given it was Margos first figure nude shoot, let alone first studio shoot, I was into prattle overdrive...

Anyway, we started the shoot with various fitness images, before going on to the figure nudes. Margo was a natural, and threw herself into the shoot with real energy and enthusiasm. This first gallery is from the figure nudes, using the neon again. We did get some great results, and I know that the neon style images are something i'll be returning to again.

Neon, photographed in London

neonicon  6064
(Click on the Image to be taken to the shoot gallery) I recently attended a workshop on shooting with various flavours of neon lighting, at Adrian Pini's studio in North London. It's rare that I attend any kind of workshop these days, but this one intrigued me. Definitely a chance to try something a little unusual, particularly in a technical sense, but more importantly, an opportunity to try a few things out before a forthcoming shoot.

There was some stuff about colour theory, I gather, and some technical information on why, etc, which I’m sure was fascinating, but I managed to miss that by showing up 30 minutes late. I then made a spectacular entrance by taking a seat, which then promptly collapsed, much to the amusement of everone else in the studio. Now, I'm no supermodel, granted, but I'm not the biggest bloke on the block either. I may sue Adrian.

Ania, our model for the evening, was fantastically patient, and worked her heart out. She made loads of contributions to the shoot, and managed to stay focussed and enthusiastic throughout. No mean feat, I can tell you. Overall, I would say that I'm pleasantly pleased by the results. Whilst it's difficult to come away from a group shoot like this with images that are truly your own, I'm happy to say that I think I managed to do so. Overall, no complaints from me.