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Next Interview

PHOTOGRILL: Tell us about your photography in general.

PHOTOGRAPHER: Well I am not a one trick pony when it comes to photography. I have my commercial side and my photojournalism side. I started my career shooting fashion when I had the opportunity to go to Japan to shoot for a client, and it has expended from there. I shoot a large variety of subjects including models, bands, movie sets, landscapes, travel, photojournalism, and sports. I have been published here in the US (Skin & Ink, Rebel Ink, Skinz, FHM, Maxim, Scars, Verbicide, Sirens of Cinema) as well as internationally (Tattoo Burst, Fitness Life, Hyakunichiso). My work is both assigned by publications and self assigned. There are several magazines that call me when they have an assignment and I have other clients who purchase photo sets for their magazines. I had the honor of shooting for the Orange County Register (a large newspaper) and now freelance for them. One of my favorite assignments, that has forever changed my life, was shooting the rural conditions in Zimbabwe and Zambia for Rock of Africa, an organization that brings love and supplies to the people there. I have exhibited in Los Angeles and Orange County and would love to exhibit on the East Coast and in other countries.

PHOTOGRILL: Why did you take the ‘Bitch Slap’ movie photos?

PHOTOGRAPHER: My good friend Carrie Tyson, who is a production manager in Hollywood, got me the job. She called and said, “I’m working on a movie called Bitch Slap and they need a still photographer, you available?” Of course I said yes, I mean how can you pass up a job with a name like that!

PHOTOGRILL: You’ve photographed film sets before, what was different about this one?

PHOTOGRAPHER: The difference I felt on this set was the passion everyone had for their job and how much everyone enjoyed being part of it. Everyday it was something new and it got funnier and funnier. From ridiculous outfits, outrageous dialogue, endless water fights in the desert and explosions; you just never knew what was coming next. Rick Jacobson (writer, producer and director) and Eric Gruendemann (writer and producer) are amazing guys and it was such a pleasure working with them.

PHOTOGRILL: What challenges were involved in this shoot?

PHOTOGRAPHER: One challenge was filming out in the desert. Besides being out in the sun all day we had to deal with massive windstorms. It is all fun and games until things start blowing away!

I met with Rick and Eric to go over what they were looking for in regards to the images which would be used for the website, posters, DVD, media, promotions, etc. One of the biggest challenges was that they wanted the images the next morning. So after shooting up to 12 hours a day I had to head back to the hotel and go through all the images and prepare them for delivery the next morning. Talk about late nights and early mornings. It was fun though because all the cast and crew stayed at the same hotel, so a lot of them would come hang out and check out the photos.

When shooting stills on a movie set you really have to keep your focus on what is going on. There are a lot of people moving around and setting things up. I wanted to be as close as possible to the action but also a fly on the wall at the same time. During filming I was usually right next to the main camera to get the angle they were seeing and then at times I would step back and get overall shots to tell more of a story. It is extremely important to watch the rehearsals and also photograph them. Knowing the actor’s moves and camera movements kept me in the action and not in the way.

PHOTOGRILL: Tell us the story of making the photo of the girl fight with fire & smoke.

PHOTOGRAPHER: The movie was filled with some awesome fight scenes thanks to the talented stunt double and coordinator Zoe Bell (Uma Thurman’s stunt double in Kill Bill, star of Death Proof and the list goes on). This image was shot during the actual filming of the scene. The smoking background was created from an exploded trailer. For this shot I looked around for the best angle to capture both the girls fighting and the fire. After watching the rehearsal I knew where the action would be and what kind of moves they would be doing. With action shots I like a lot of movement to really portray what is going on. Erin Cummings’ facial expression, hair movement and clothes make the shot. I shot this on a Canon 5D, but my main camera is now a Canon 5D Mark II. I used a Canon 24-70mm f2.8 lens, shutter speed 1000, f6.3 aperture and ISO 200 to make sure I froze the action.

PHOTOGRILL: How important is it to communicate with people on set?

PHOTOGRAPHER: The nice thing about being on a set is that everyone has worked so hard on set design, wardrobe, makeup, lighting, etc that they all want great photos to show off their work. Everyone was extremely helpful in letting me get the shots I needed. The three main stars, Erin Cummings (Hel), Julia Voth (Trixie) and America Olivo (Camero), knew how to work the camera which made my life that much easier. I think it is important to be able to communicate your vision, especially if it seems ridiculous. I always enjoyed hearing the great comments once you show them the photograph and they say, “I would have never thought about that.” One day after we wrapped, I looked over at Erin Cummings and saw she was completely covered in blood and knew I needed to get a shot of her screaming into the camera. I guided her in front of the flames and told her to scream at me as loud as she could and the resulting image graced the cover of Scars magazine.

PHOTOGRILL: Generally how much equipment did you carry, what & why?

2 Canon 5Ds (one for backup)
Canon 24-70mm f2.8
Canon 70-200mm f2.8 IS
160 gigs worth of SanDisk compact flash
6 batteries
Base camp I had:
17in Mac Book Pro
1TB WD external hard drive
Blank DVD media
I try to keep my gear to a minimum when shooting, as it gets heavy and in the way. I like working on the fly and to be able to capture the moments when they happen. The great thing about working on movie sets is the light is usually set up for you and you don’t need to bring in your own strobes. With that being said, I did have my complete studio lighting on deck just in case. I try to keep my photos looking as consistent as possible to what the movie actually looks like.

PHOTOGRILL: How do you plan out such an assignment?

PHOTOGRAPHER: My mind is constantly thinking while I am on set. I know there are certain things the production is looking for when it comes to posters, website, media, DVD, etc. So while I am shooting, I am thinking, will this tell a story in one frame? When is the peak action time? When will the actor reveal something about the movie? What are key points that drive the plot? All of this is going through my head at the same time. When taking photojournalism style shots I look for people doing funny or interesting things, showing a whole setup of a scene and capturing the personalities of the people around me.

PHOTOGRILL: What tactics do you use in your photography generally?

PHOTOGRAPHER: Always be prepared. You never know what is going to happen. Every job I do, I am always overly prepared. I rely heavily on my background in photojournalism, as I am a big fan of the emotional, story telling shots, so my camera is always at the ready. It always helps to pay attention and be able to predict what is going to happen next.

PHOTOGRILL: What new skills or change of mindset has allowed you to make more of your opportunities?

PHOTOGRAPHER: In the beginning I lacked the confidence in myself. I think every artist struggles with this especially when starting out. As soon as I realized people liked and wanted my work, I gained a lot of confidence, which lead to many doors opening for me. Everyone is his or her worst critique. I would struggle with thinking my work wasn’t as good as others, until I put myself out there and started swimming. There is a big difference between a big head and confidence.

PHOTOGRILL: What skills do you find indispensable generally?

PHOTOGRAPHER: I have been blessed with the wonderful skill of being able to see and know what is going on around me at all times. I may be focused in one direction but I am aware of my surroundings and what is going on. The ability to predict what is going to happen next has really set my work apart from others. When shooting photojournalism you have to predict what the next move is for someone, when the next big emotional moment will happen, etc and this has helped me hone my skills.

I remember one assignment I shot for the Orange County Register, which was a call that they found a body on the side of a road in a little canyon. When I arrived on the scene I spoke with an officer to get all the details and asked about the people that were already on the scene. I was able to identify the family members so when I saw the mom get out of the car with tears in her eyes, heading over towards the body, I knew those were going to be my big emotional shots. These are shots that will always be burned into my memory. Photographing weddings has also sharpened these skills. You have to know when the moment is going to happen and be prepared for it.

PHOTOGRILL: What self development would you recommend to a serious young photographer?

PHOTOGRAPHER: Shoot, shoot and then shoot some more. You can never learn and practice enough. I still learn something new every time I go out shooting. I think that is part of the fun. My biggest advice is to not sell your self cheap. Many photographers are too concerned with getting their name out so they have cheapened their photography to the point where people are expecting things cheap or free. You can’t make a living from cheap and free; that is called a hobby.

PHOTOGRILL: Some of your favorite memories from being on the set?

PHOTOGRAPHER: A couple of my favorite highlights were taking blackmail photos of cast and crew members snorting fake cocaine. Or the time I was taking Michael Hurst, who plays Cage, back to the hotel and he was only wearing a thong with a tiger head on the front and a robe. He was completely covered in blood because of the scene we just shot and we got pulled over by police. I mean what else would you expect when you drive past a cop car and you have what seems to be a naked man covered in blood in your front seat.

I met some of the funniest people and heard some of the funniest comments to this day. I know there is some behind the scene footage on the website www.bitchslapmovie.com and also on the DVD.

a a This entry was posted on Wednesday, September 14th, 2011 at 8:45 am. It is filed under The Grill and tagged with Action Photo, Lighting, People, Photographic Techniques, Photojournalism, Portraiture. You can follow any responses to this entry through the RSS 2.0 feed.

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Next Interview

PHOTOGRILL: Tell us about your photography in general.

PHOTOGRAPHER: I have been working as a professional photographer approaching two decades. I laid the foundations of my career as a press photographer in regional Victoria before graduating to hold staff positions for the Melbourne Herald Sun, The Age and Sunday Age. I will always have an enormous respect for newspaper photographers. Their ability to think, react, adapt and produce high quality images in constantly changing environments is astounding.

That said, after 13 years in the industry I felt my journey had stalled and the time seek new adventures. I moved into the freelance market in 2005 with a view to find a new audience for my work and discover myself creatively. The theme of my work would be best described as environmental portraiture. I contribute images to magazines, design agencies and corporate clients.

For lack of a better word, I would describe my work as minimalist. I adopt a less is more approach to my work and aim for controlled simplicity. Traditionally Melbourne based, I relocated to Byron Bay in Northern New South Wales January of 2011.

PHOTOGRILL: Can you tell us about your personal projects and your iPhone photography?

PHOTOGRAPHER: Working on a freelance basis I have found time and a new zest for personal projects. I have four ongoing projects. The first being what is commonly termed lomography – working with toy analogue cameras. I started the project using a Holga 120GN, more recently falling for the marriage of a Lubitel 166 and Fuji Velvia 50.

The second I have simply titled, blue, blue, blue. Working with a digital SLR and a 50mm lens. Primarily working at dusk and looking at all shades of blue. The third, I have called, the fallen. Again working with digital SLR, a 50mm lens and looking at objects that are out of place or have no relation to their landscape.

The final and most recent is a collection of images captured using an iPhone. I confess to initially being skeptical of camera phones, primarily the quality restraints attached to working with a file 984pxl’s by 984pxl’s. Putting my own prejudices asides I began to the use iPhone to create a visual diary of reference material and observations.

I appreciate the playful nature and polaroid like processing of the application. Albeit on the lighter of side of the spectrum I believe that every photograph is an insight in the thinking and aesthetics of the photographer.

PHOTOGRILL: Can you tell us about your thought processes while making these images?

PHOTOGRAPHER: At risk of sounding self indulgent, the images are a collection of very personal, ‘wow, look at that’ moments, quirky observations within the landscape and reference material that I have photographed using the iPhone. Like all of my personal projects, my iPhone images are an extension of what I have always found fascinating about photography. I see a photograph as a record of an observation, an observation that is unique to an individual. I use the iPhone to document and share these observations.

Through my personal projects I have trained myself to look at the world from a child like perspective. Taking time to study colour, form and never hesitating to photograph a subject on the basis that it appeals to my senses. It is very personal – I would not necessarily describe it as art rather an insight into my view of the world around me. For similar reasons that I use toy cameras for my personal work, I believe that a beautiful image is a beautiful image, regardless of the value of the camera from which it was recorded.

PHOTOGRILL: What is different, about your iPhone photography compared to your commercial work?

PHOTOGRAPHER: The reality of commercial and commissioned work is that you are often a slave to the boundaries set by an art director – there is little room to move. I’m not suggesting that commercial tasks are not both challenging and rewarding, nor do I want to discount the value of quality technology that is available to photographers.

That said as I mentioned earlier I believe there is room for light and shade within photography. The iPhone is the perfect shade of light, simple images captured using a simple tool without a great deal of thought – a deliberate step away from the precise. I also like the non-intrusive nature of simple equipment.

PHOTOGRILL: Do you use any iPhone post processing?

PHOTOGRAPHER: I use an application called hipstamatic, which has a nice old school, polaroid feel. I find it fitting as I use my iPhone in a similar vein to the polaroid. I do very little on the production/photoshop theme as I like the, not quite right quality. It is not intended to be precise. Social media is the perfect vehicle for iPhone images, an instant form of visual communication. I have never had the desire to print files, maybe in time this will change and I’ll print images on a small scale, drink coasters perhaps.

PHOTOGRILL: What’s life like as a photographer in Byron Bay?

PHOTOGRAPHER: There is no denying that Byron is a very creative, arts friendly and accepting community. I find it interesting that creative types flock to Byron to find their way. I think that realistically you need to have some sense of direction and a reasonable foundation from which to establish yourself in a small community, as opportunities are limited.

Byron has a very transient population, I am told that one should not consider themselves local until their mail has carried the 2481 postcode for 25 years. I hope to stay so I have another 24 years and 6 months to discover if I fit right in.

PHOTOGRILL: I normally ask for the technical details, exposure, ISO, etc. Instead I’ll ask do you prefer iPhone 3 or 4?

PHOTOGRAPHER: I am an old fashioned iPhone 3 user. I am not the most technology savvy person walking the planet. I use my iPhone to make calls, check the occasional email and to take pictures.

PHOTOGRILL: Any funny or interesting stories about your time as a photographer?

PHOTOGRAPHER: Nothing specifically amusing attached to my iPhone. Telephones are generally not all that amusing.

Perhaps my most embarrassing professional moment is some years ago, during the early days of my newspaper career. I was sent to photograph Stevie Wonder at the Channel 9 studios in Richmond and you guessed it, I said, “Mr Wonder could you please look this way”. His response was to continue talking so that he could follow the direction of my voice.

PHOTOGRILL: Why do you make photos, what drives you?

PHOTOGRAPHER: That’s a good question and a difficult one to answer. Photography is what I have always done. I find it incredibly fulfilling to photographing a subject and walk away believing that in that moment I got it right. As a photographer I find that my style is constantly evolving, I look at images that I took five years ago and I can tear them to shreds. The picture that I took today may not be nearly as rewarding tomorrow. Styles, trends and expectations are constantly changing the way I approach my own work.

I am a visual person. I have a bad habit of constantly analyzing images. I watch films, paying close attention to lighting, composition and lens selection at the expense of the dialogue. I don’t see myself as the most creative person on the planet. There are many photographers past and present who I admire that have a visual gift that is well beyond my reach. That said, I believe I have a reasonable appreciation of light, composition and the mechanics of a camera. Approaching 20 years in the industry I perhaps enjoy photography more now than at the beginning of my career. Over time I have developed an understanding of my own strengths and weaknesses, somewhere between the two sits my style and body of work.

a a This entry was posted on Saturday, August 6th, 2011 at 10:02 pm. It is filed under The Grill and tagged with Creative Photography, iPhone Photo, Landscape Photography, Photographic Techniques, Photojournalism. You can follow any responses to this entry through the RSS 2.0 feed.

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Men and women will do just about anything to have photos of their most special moments alive. Wedding events are simply among those special occasions that couples are going to remember all through their lives. Some brides prefer to have her photo captured right before she leaves her house, when she gets outside the bridal car and the like. The bride and groom may additionally want images when they released the doves. Alternatively, if you choose to have your engagement or wedding portrait photography carried out inside the photo studio, you can easily figure out which pose looks fantastic for you.

More About Posing and Portraits

1. Group Photography Ideas: 20 Creative Wedding Poses for Bridal Party
2. Engagement Portrait Photography: 30 Interesting Location Ideas
3. 30 Surreal Photo Manipulation: Beyond Portrait Design

For our article today, let’s take a look at how some couples manage to have their portrait taken holding their breath for love. On his Tokyo apartment, Japanese photographer Haruhiko Kawaguchi squeeze couples together in a plastic bag, sucked the air with a vacuum cleaner, and then take these bizarre shots for his photo series “Fresh Love.” Japanese photographer manage to keep love fresh for eternity.

Flesh Love #1

Flesh Love #2

Flesh Love #3

Flesh Love #4

Flesh Love #5

Flesh Love #6

Flesh Love #7

Flesh Love #8

About 80 couples where photograph inside the 100 by 150 centimeters in size bag wherein the couples literally fit together for love. – via Featureshoot

If you’re searching for a photographer to capture your engagement or wedding photos, consider the kind of images you prefer to have taken. Modern day professional photographers are no longer limited by classic posed images of couples sitting together on one another’s lap. Look for a photographer who is seasoned in taking candid memories you share together with your spouse in a scenic setting.

Photography News Around the Web

1. Nikon D3200: Hands-On Overview via Adorama
2. Portrait Photography Tips via the Guardian
3. People and Portrait Photography via National Geographic

Tagged as: japan, love couples, Photo Inspiration, photography, tokyo

ABOUT THE AUTHOR: WPD TEAM
Aurora Gatbonton and the rest of the WPD Blog Team wants you to get hitched with creativity, style, and technology. Brought to you by iFoto Xpressions Studio

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