The other day I finished a blinding shoot for master glassworker Anthony Stern. I already blogged about it, so I won’t go into too much detail here, but suffice to say, it’s led to a fortunate pairing which is giving me the opportunity to shoot a bit of personal work. Whilst in his office the other day discussing print options and surrounded by his magnificent assemblage of commissioned pieces, I spotted a particularly spectacular set of works that had borrowed some styling from one of my favourite ever art pieces. I won’t say what it is, because it’s too well-known, which will destroy my attempt at mystery. The shot accompanying this post is the first of five pieces, which each get a little more interesting than the last, before finally arriving at piece five, were the tableau is fully revealed.
Bonjour! Now, assuming we want to keep earning an income, we photographers are duty-bound to approach every single photoshoot as if it’s the freshest, most exciting job (never call it a job, always use a semi-superlative such as “challenge”) they’ve ever shot. Whoever, in the pursuit of truth, it has to be said that E-Commerce is probably one of the more admittedly mundane shoots you can do in terms of stretching the lighting or your creativity, but it does have one upside: Once the shoot is over, you generally have at least one good-looking model standing in your studio. 99% of the time they’ll either be totally up for carrying on the shoot, or too tired to refuse you. It was under these conditions that Adam found himself, I asked him if he fancied shooting a few headshots, and he said, “sure!”.
I really love jobs like this. In fact, I really love still life, period. I’m not a loner in any real measure, but shooting in the studio with a pair of headphones in, and just remaining in your own world for several hours can be very character-building. Of course, there’s always those still-life jobs (mostly shooting reflective objects), that just turn into attritious, arduous, tear-filled missions to failure.
If you’re wondering why all of my updates so far have been about minutiae additions to my studio, and demand an explanation, then you should know it’s because I recently signed an extended lease and decided to jazz the place up a bit. If I’m going to be penned in for the extortionate rates these places charge, I may as well bankrupt myself further and make the space liveable.
It was an auspicious day for me this week, as the eBay auction for this equipment burdened a poor soul from Birmingham with the responsibility of the world’s deadliest photographic equipment. STROBE, to younger photographers such as myself, is mostly only heard of through veteran photographers, always playing the main antagonist in a story from the mid-70′s featuring negligence, explosions, and airborne assistants being flung across the studio propelled by bolts of lightning.
Up until this week, clients in the studio were forced to suffer the squalid indignation of having to rest their weary pegs at the kitchen table, like staff at Downton Abbey. Now they get to sprawl their pins upon the vintage Chesterfield to your right.