A River runs through it.

And we are back in Lux Studio again after an annoying train delay and cancellations! I was shooting with Paris Rivers, originally this was going to be two people but one dropped out so the shoot was to showcase costumes and props that Paris performs with. These ranged from serious to jovial to downright bonkers!

I got into the studio on time and set up while waiting for Paris to arrive. I used my Sony a7RIV camera and the Sigma 28-70 f1.8 lens. With the a7RIV 60-megapixel sensor I would not use anything else for portrait shots from now on. This sensor gives so much clarity and detail it would be pointless to use my other Sony a7IV.

In a change from my regular posts, this will show the before and after shots of the images.

So, first up, we have this sporran-clad number. Here, I have replaced the background with a subdued cabaret-type sunburst blended behind. More light was added in post-production to draw the eye to the chest and face..

This next one suprised us both. I asked Paris to throw his coat backwards to see if we could capture it in flight. The first attempt missed, then we got this one! We tried a few more but none compared to this one. In post I replaced the background and added smoke then used Photoshop’s Path Blur tool to manipulate its speed and direction.

Christmas is fast approaching so we went with a cheeky one next, just right for putting on a card to send to a loved one! The background was Ai generated and the snow was generated from a very old snow pack I purchased years ago. Again the Path Blur was used to create the halo of snow around Paris. Good list or Naughty list?

When you see a vibe, just go with the vibe. There is a subtle message in this next shot, can you spot it? If not I added a few more clues on the background to help you.

Next up was another sporran weilding shot here, this time I took inspiration from the arrows on the sleves for the background, along with extra light for the chest and face.

‘If there’s something strange, in your neighbourhood..’ then don’t worry, call Paris Rivers! Ectoplasm aside I like working on this shot in post-production. The background was replaced with a darker shade and three ethereal ghost images were added. The serious expression given by Paris meant I didn’t want the ghosts to be cartoon types.

Finally we arrive at the bonkers shot! While editing I was thinking of another shot where I used an insert of an old book as wall paper and carpet. I had to manipuate the colours to match the corset and added more light again.

As a final treat I mocked up this front cover of ‘Vauge’ using another shot of Paris in the Ghostbusters outfit.

Paris Rivers is an, Actor, Special Effects Technician, Location Management and Cabaret Performer.

You can find him on his socials at:

Facebook and Instagram

Kiki, Lux and Biscuits!

And back in Lux Studio again at the biscuit factory, (an hour early) this time it was a quick shoot with Kiki Noir, Burlesque Performer, Singer, and Iberian/ Latin Dancer.

This shoot was for two reasons; to get new pictures for Kiki and for me to test out settings with the flashes and to hook up to the external monitor, something I hadn’t done before. Luckily I managed to get into the studio early and got set up while Kiki was on her way.

Once connected to the monitor, I could have CaptureOne show the Viewer window on the external monitor so Kiki could see the shots coming in as they were taken. This was so good to use and was an excellent addition to the setup. At one point I was standing next to the camera and the monitor so I could see the shots rather than on the smaller laptop screen.

This red outfit is from Kiki’s Star Revelation Act and uses two of my LUTs for the colour corrections.

The fan is from the Bellydance Fusion act and the last two are from Rosa - Blooming Rose act.

Thanks to Lux Studios and Kiki for posing, I seem to learn more each time!

You can see Kiki on her socials at https://www.instagram.com/kikinoir.performer/

We walked so far!!

Back on the portrait walkabout again last week, with Miss PetTIT, the producer of Eyefull cabaret. I wanted to go somewhere new this time, not wobbling around on the beach so I chose Hyde Park. The weather was OK so we set a time of 2 pm to meet outside Hyde Park station next to Apsley House. Right in the middle of a protest march, there were lots of whistles and banging of drums all around.

We met up and strolled through the gates away from the march and headed into the park. It was a lot quieter but a lot busier than I had hoped. We chatted about cabaret and the show we had recently, briefly met at.

As normal one of my first shots was to ask the talent to lean against a tree. One day the trees will have enough of me and fall over to prove a point that foliage can be nervous too.

Stepping away from the tree Miss PetTIT brushed her hair back and we captured this shot. Which to be honest is one of the best in the series and I wondered if I had peaked too early…

We took a few more shots of standing next to a tree before moving on. As we walked past pigeons that seemed to have a union agreement to obstruct our path, we came across a fence and a tall lamp post. Who says shots need to be symmetrical? I like the way the negative space above Miss PetTIT adds to the composition… and not a pigeon in sight.

I don’t know who had been chopping down trees or why this particular one was up for the ‘chop.’ Maybe it was blocking the view for other trees who couldn’t see the forest. It certainly had me stumped! However, it made a perfect seat for Miss PetTIT in this next shot.

Then we walked… and walked… and walked some more. We took some photos at a fountain, but none of them made the cut because they just didn’t work for me. So, we continued walking until we stumbled upon this building. I’m not sure what it was—could have been a mausoleum or something. Miss PetTIT leaned against it with her shoulder and added her jacket for a bit of contrast. It might have even been a café…

I need to use my Sony 85mm f1.8 lens more often; it’s fantastic for portrait shots. Its incredibly shallow depth of field does a remarkable job of isolating the subject, making the talent stand out even more.

We did a lot more walking, took more tree shots, and finally ended up with this excellent shot of Miss PetTIT on a park bench. It was a bit of a challenge—every time we even hinted at heading towards a bench, it seemed like the universe conspired against us. Just as we were about to take the bench, someone would always swoop in and claim the seat!

As the rain started, we headed towards a café. Equipped with our small umbrellas, we decided to play a game of Coffee Roulette, guessing the price of the coffee. I lost by about 24 pence!

This was the route we took… about 2.3km in the end…

You can find Miss PetTIT on Instagram at https://www.instagram.com/misspettits/ and Eyefull Cabaret at https://www.instagram.com/eyefullcabaret/

Can you smell biscuits?

And so it was that I found myself back at The Biscuit Factory in Bermondsey, eager to try out Lux Studios for a photoshoot with Landill and Vudejai.

As usual, I arrived early and set up camp in the stairwell, waiting to be let in. When the door finally opened, I was greeted not just by the studio but also by a small dog that clearly wasn’t a fan of mine. Typically, dogs either see me as a potential snack or ignore me entirely, but this one was an exception!

The studio itself was bright and spacious, with ample room for bags, plenty of mirrors, a changing area, and some elegant seating. There was a wide selection of backdrops and, much to my amusement, a book on posing that I discovered just five minutes before packing up.

Landill and I had been trying to organize this shoot for a while, but various obstacles kept getting in the way. Finally, I managed to drop-kick those issues aside because I was itching to get back into the studio! I was also meeting Vudejai for the first time, and soon enough, we were deep in conversation about cabaret, our jobs, and trading some truly terrible jokes.

Landill was the first to get ready, donning a subtle outfit, so we jumped right into the shoot. We worked through a variety of poses and ideas, focusing on capturing the essence of the outfits and props.

Since photographing cabaret shows and creating portrait shots, I've seen my fair share of unique costumes, but I don't think I've ever encountered anything quite like someone dressed as a piece of garlic bread.

Next up was Vudejai, and we went through a series of poses with them. I had almost forgotten about the shots we took on the elegant chair, where Vudejai was being chatted up by the plant in a wicker basket.

Once I received their selected favorites, I promptly began editing the images, each with its own unique style.

There were also a couple of edits of the magazine mock up types. I need to do more of these!

Dove vs Pigeon

Nearly seven years ago, I stood in the same field with Jack Stack, capturing a panoramic shot with him at the centre. Fast forward to today, and I find myself flat on my back, taking a quick breather while explaining my medical situation to the model of the day, Dolly Dove.

I had first met Dolly a few weeks before this moment, at a performance of Cabaret Volt Air at the Pen Theatre. Afterwards, I contacted her on Instagram, and we soon arranged a walkabout shoot in Greenwich.

The reason for my sudden horizontal pause was that I had been lying on my stomach, capturing a shot of Dolly through the stems of the grass. When I tried to get up, my back simply refused to cooperate. After taking a few more shots, I rolled over, stuck for a while and unable to move.

But enough preamble—let's start at the beginning. Regular readers of my blog will know that I like returning to places I have shot before so I was happy when Dolly Dove told me to meet in Greenwich.

Greenwich, located in southeast London, is a historic district known for its rich maritime heritage and beautiful green spaces.

Climbing the seemingly endless stairs at Cutty Sark station, I naturally arrived early. With time to spare, I strolled through the streets until I reached the south bank of the Thames, near the entrance to the foot tunnel. Here, I captured a few shots of the Cutty Sark and the surrounding area, adding them to my growing collection of London photos.

Dolly arrived on time, and we quickly got to work taking photos. We recreated a shot I had taken of Jack seven years ago in nearly the same spot, with Dolly leaning against the wall, one foot up. This time, I made sure there was no chewing gum in sight. After a brief encounter with a pigeon, we headed down to the beach.

I had checked online to ensure the tide would be out, and with the river calm, we moved closer to the shoreline for a few more shots. By this point, a group of pigeons had taken an interest in our work, swooping by at the most inconvenient moments. I swear they had formed a union just to harass me.

While on the beach I asked Dolly to pose by part of the river wall, this had seaweed clinging to it and a rusty chain. After few shots I decided on this one as the better of the group.

We continued east along the bank, making our way back up to the safety of the south bank and towards the Old Royal Naval College. I had a specific set of steps in mind where I wanted Dolly to sit and recline. However, once again, we found ourselves in competition with a determined union pigeon who seemed to race us to the spot. After a brief moment of shooing, we finally managed to capture the shot on the stairs.

Afterward, we headed up the stairs and into a nearby walkway. Here are some of the best shots from the shoot. To get the full effect, just imagine the sound of a frisbee clattering behind us—apparently, straight throws weren't part of the plan that day!

Heading south, away from the river, we crossed the road and ventured into the trees. We paused to watch a family with buggies struggling up a steep slope—the same one we had planned to climb. Thinking better of it, we changed course and soon found ourselves near a clearing with a fallen tree.

I found it ironic that the fallen tree was now being propped up by other pieces of wood—a bit late for support, but it provided the perfect seat for Dolly, who sat comfortably with her feet resting on the lower log. We snapped a few more shots by the log before I asked Dolly to stand among the branches of a nearby tree. I must say, she blended in remarkably well!

Finally, we wandered into the open field with lush grass and a small path, the same spot where Jack stood seven years ago. You can see that shot about two-thirds of the way down this blog post—but hold your horses, don't go just yet, I’m not finished!

Every time I look at this new shot, it reminds me of those old chocolate adverts from the 1970s… you know the ones. This is also where my back decided it had had enough. They say photographers and performers suffer for their art, but I’m pretty sure I out-suffered Dolly this time. Sitting down must have been tough for her, but lying flat on my back in a field? That’s next-level dedication. Lol...

It seems I have started a habit of asking the talent to press themselves into a tree on these walkabout shoots. This was no exception and Dolly obliged for this fantastic shot to round off the day.

You can find Dolly on her socials at https://www.instagram.com/missdollydove/

East London Singers - The Glass House

The Glass House

July 2024

Allegra... and a leg there too.

Trying out something new can be a bit nerve-wracking. With my usual studio closed, I had to venture into unfamiliar territory. My destination? Mons Studio Warehouse, a discovery made through TagVenue.com.

Mons Studio Warehouse is located only a stone's throw from Hackney Wick Station or a mere thirty-second sprint away if you're feeling adventurous. True to form, I arrived ridiculously early, there were no chairs past the barrier I so eagerly crossed so I had to stand for a solid half-hour before the arrival of the day's model, Allegra Whispers. Despite having captured numerous 'cab-a-ret' shows at Leakys and the Glitch in recent years, Allegra and I had never crossed paths for a shoot until now.

Upon arrival, we were greeted by the owner, Quina Mons, who gave us a tour of the studio and briefed us on the available lighting setups. The space itself is bright and divided into two levels. The ground floor offers ample room for a full-length Colorama backdrop, complemented by high-quality hardwood flooring. Additionally, there's a well-equipped kitchen, a study area where I set up my tripod and laptop, a comfortable couch for guests, and a makeup mirror with a desk. Upstairs, we found a bathroom, changing area, bedroom, and plenty of natural light filtering in through a ceiling window.

For the shoot, I relied on my Sony α7rIV with its sizable sensor. This feature enables me to crop in while preserving significant detail, allowing for diverse compositions without compromising image quality.

To start off, we began with some floor-based poses, serving as a warm-up routine. Despite the rainy weather outside, the studio's cozy atmosphere kept us comfortable throughout. As we progressed, we incorporated various props into the shoot, including a stool borrowed from the kitchen for the subsequent shots.

As evident from these two comparisons, the exceptional lighting conditions in place minimized the need for extensive editing to attain the final image. A simple touch of skin smoothing, introduction of a new background, and application of my preferred color LUT, 'Space Field,' sufficed. I found this editing style so appealing that I adopted it for all subsequent edits.

In the studio, there was a chair adorned with a zebra print, and we decided to capture a few shots using it as a prop. It's always a good idea to make the most of the props available to you!

The original shot was a portrait with minimal space at the top. To enhance the composition, I utilized Photoshop to crop the top and widen the sides, followed by adding a new background, as per my usual process.

To cater to those who favor tigers, we adorned the chair with a tiger rug alongside the zebra print. In a nod to the majestic tiger, I recoloured Allegra's top orange in the subsequent photo. We tried a number of shots on the sofa next. A typical boudoir-type shot!

As the session ended out time at the studio was a delightful blend of creativity and comfort. From experimenting with different props to playing with lighting. Four hours was more than enough and there is more than enough to have two, maybe three models next time.

You can find Allegra on her socials at https://www.instagram.com/allegrawhispers/ and at https://linktr.ee/TheABCCollective

You can find Quina and hire the studio at https://www.tagvenue.com/rooms/london/31497/mons-studio-warehouse/photography-and-film-studio and https://www.instagram.com/quinamons_studio

Shard O'Nay - Sausage Dogs and Sweet Potatoes

So once again the two parts of my brain were fighting over what to do… They eventually settled on another photoshoot, this time with Shard O’Nay. She had been picked as the next recipient of my little ‘Lets go shoot something’ project by Turkish D’Light.

After a couple of false starts where our busy schedules did not line up, we eventually arranged to meet at Battersea Power Station tube. Ok so I turned up 30 minutes early because I am an idiot… but it gave me time to notice that a lot of people were walking in the direction of the park.

Great, I thought, if its one thing that can spoil a nice photo… its other people! So maybe this will be a portrait shoot then…

Miss O’Nay arrived and we set up in the direction of what looked like everyone in South London was going to. We discussed cabaret and how expensive everything looked around us. Heading towards the river we started off with a couple of shots with Miss O’Nay looking out over the water.

I was using the Sony a7IV with its massive sensor for all the shots, this allows great opportunity to zoom in and crop the image if needed. Some say it’s overkill, I say I need a new computer to handle it without me growing a beard every time I want to do something.

Moving on, we could not take a shot without having Battersea Power Station in the background. We had to get onto an anchored jetty to get this shot and I had to move back quite a way to get everything in frame. Further on from there, we passed under a bridge, avoiding more people with pushchairs and a surprising amount of sausage dogs in tow we arrived at a small area with trees. With very little regard for personal safety, I asked Miss O’Nay to get very zen and become one with the tree. As you can see she accomplished this request easily.

Across from the trees we sat down on a wall and scooped up some petals that had the idea they could go it alone from their parent plant. I asked Miss O’Nay to blow the petals towards me while I took photos. This is why I like the awesome eye detect of the Sony camera, while locked onto the eye the petals were blurred out as I had the lens at f2.8.

As a treat and a break from tradition… more trees!! This time it would have been very difficult to ask for more zen and merge fully with a very tall arbour so leaning against the bark would have to suffice.

We had walked quite a distance by now, we couldn’t get on the beach without throwing ourselves over the edge, the pagoda wasn’t all that inviting and was crawling with other people. So we sat down on a handy bench for a few shots. Afterwards we wanted to rest, have a drink and some food and as we were heading towards a pub we found a brick archway for one of the final shots.

We rocked up at the Masons Arms pub. I wonder if there is a pub called the Masons Legs? Where we sat down ordered drinks, chips and sweet potatoes which were awesome!

As a side note, the massive sensor of the a7IV means I could zoom in and make this image from the one above. The amount of detail is fantastic and if you look close enough in the closest eye, you might be able to see me…

You can see more of Shard O’Nay at her Instagram https://www.instagram.com/shard_o_nay/ and also check out https://www.instagram.com/powerhausscabaret/ for the Burlesque Bottomless Brunch!

Turkish D'Light - Please don't fall in...

A while back there was a conversation between the Right and Left halves of my brain… this happened again.

Right Brain: You know, it could be really inspiring to ask a performer to nominate another performer for a quick photoshoot.

Left Brain: That's an interesting idea, but let's consider the logistics. How would we ensure that the nominated performer is available and willing to participate?

Right Brain: True, we would need to have a system in place to coordinate schedules and communicate effectively with all parties involved.

Left Brain: Additionally, we should also think about the purpose of these quick photoshoots. What message are we trying to convey through these images?

Right Brain: Good point. The photoshoots could showcase the diversity and talent within the performing arts community, highlighting different personalities and styles.

Left Brain: That's a valid argument. It could serve as a way to promote collaboration and create a sense of unity among performers.

Right Brain: Plus, it could be a fun and creative way to capture the essence of each performer in a short amount of time.

Left Brain: Agreed. By approaching the process strategically and with a clear objective in mind, we can ensure that the photoshoots are not only enjoyable but also meaningful for both the performers and the audience.

Right Brain: Absolutely. Let's combine our analytical and creative strengths to make this idea a successful reality.

Left Brain: …

Right Brain: …

<ten minutes later>

Right Brain: … shall we just ask Harley Phoenix?

Left Brain: … yeah…

Harley nominated Turkish D’Light, prompting the initiation of communication to inquire about her availability for the upcoming week. Having previously photographed Turkish at the Fighting Cocks and the Matchstick Playhouse for Cabaret Identitease shows, a quick conversation ensued regarding the upcoming shoot. During our discussion, I shared details such as the designated location, the scheduled time to meet, and provided a map outlining the route we planned to explore.

True to form, I found myself arriving 30 minutes ahead of schedule. To pass the time, I decided to grab a quick bite while waiting for Turkish to join me. The initial segment of our planned route was deserted, given that Turkish had a show at Electrowerkz later that evening. We utilized the opportunity to drop off her wheeled suitcase at the venue before proceeding to our shooting location.

During our journey, our conversation revolved around upcoming shows and photography shoots. In the midst of our discussion, we inadvertently missed the intended road. After a swift turnaround, we eventually reached the first part of the map, which, as it turned out, featured a steep slope leading down to the canal. Although the idea of riding the suitcase down the slope crossed our minds, the presence of numerous joggers and dog walkers, who seemingly appeared the moment I took out my camera, deterred us from attempting such a playful descent.

We captured a series of shots with Turkish leaning against the railing, which served as a barrier to prevent anyone from rolling down the bank and into the canal. Imagining the unlikely scenario of Turkish falling in, I pictured a brief moment of shock, glancing between my camera and the bubbles on the water's surface before springing into action. Fortunately, we managed to avoid any unplanned aquatic adventures and continued our photographic journey.

Despite the early March timeframe, the brown tones of Turkish's coat caught my attention, prompting me to comment that these shots would exude an autumnal vibe.

As we progressed, we encountered a set of stairs outside a gated property. I took a moment to clear the area, nudging aside discarded bottles (any remaining were later removed by Photoshop's new AI tool), and began capturing a series of shots in that unique setting.

There wasn't a lot to see along that specific part of the canal, so we decided to venture along the narrow path under the bridge, passing a fellow jogger as we continued. As we moved forward, the scenery became much more captivating. The canal expanded into a lock, offering a picturesque backdrop with a sweeping line. I took advantage of this setting, asking Turkish to delicately position herself on a small bollard for the upcoming shot. As we navigated around the lock, I couldn't help but notice a pair of tower blocks in the distance. Their presence promised an excellent background with significant depth of field for the next image.

Taking a brief respite to warm up, we found ourselves at a cozy café where we enjoyed a quick drink and engaged in conversation. The added bonus of a complimentary small biscuit added to the pleasant break. After our refreshment, we leisurely retraced our steps along the same path, opting to explore the opposite side of the canal this time. Despite the lack of notable features in the vicinity, I requested Turkish to tap into her expertise in 'holding onto barriers' for the final two shots.

As the day wore on, the temperature dropped, and the realization of the advancing hours settled in. Acknowledging the late hour and the chill in the air, coupled with my own sense of time passing, we mutually agreed to wrap up the day. I accompanied Turkish back to the venue and then set off for home. Despite its brevity, this short photo session yielded some excellent shots, making it a productive and memorable experience.

You can find Turkish on her socials:

https://www.instagram.com/turkishdelightburlesque/

https://www.turkishdelightofficial.com/

https://www.instagram.com/cabaretidentitease/

Miles Away... more like 10 feet away but you get the idea...

Stepping into the canvas of a new year, I found myself embarking on a spontaneous photoshoot adventure. The catalyst? A call from the talented David Fernandez, seeking the perfect visual companion for his latest musical creation, 'Miles Away'—a melody inspired by the timeless tunes of The Beatles.

Our conversation over the phone illuminated his vision for a minimalistic image against a plain white backdrop. The only hitch? The studio I typically frequent was unavailable, presenting a challenge that ignited my creative instincts.

Pursuing a setting with a pristine white background and impeccable lighting, my thoughts gravitated towards an unexpected location—the iconic Horse Guards Parade. I can almost hear your perplexed thoughts, but bear with me. Art is the epitome of subjectivity, and as soon as David's brief echoed in my ears, my mind began to weave the tapestry of possibilities.

The title 'Miles Away' triggered a cascade of ideas, envisioning road signs standing sentinel behind David. Each sign is adorned with the names of various towns and their corresponding distances—a symbolic representation of the song's theme. While any flat terrain would suffice, I needed a naturally grey surface to avoid the colour spill associated with lush greenery. Enter Horse Guards Parade, a canvas of neutral tones, with just a hint of the occasional obstacle.

Navigating the landscape, I discovered that some sections were adorned with reminders of the equestrian occupants. A minor setback, yet with nimble legs and discerning eyes, we gracefully sidestepped the challenges. After all, in the pursuit of artistic expression, a touch of adventure only adds to the narrative.

With my Sony a7R IV geared up and ready to roll, complete with spare cards and a juiced-up battery, I had the a7 IV waiting in the wings just in case. For this gig, I opted for the Sony 85mm f1.8 lens, a solid choice to play around with a super shallow depth of field. The goal here? To make sure Photoshop could effortlessly pluck David out from the lively chaos of the Horse Guards Parade and the occasional photo-bombing tourists.

As you can see, David was not miles away, I would need a telescope for that, he was in fact only 10 feet away. We tried various angles to give variety for the final choice, and my idea of road signs signifying distances faded as we discussed the final look. As you can see, my version was not that far off from the final version.

My version

Final image

Once more unto the beach!

This blog post has nothing to do with Shakespeare, but now that I have your attention…

I volunteered to be featured as a raffle prize during the Cabaret Identitease show. To clarify, I was offering a photoshoot experience, not presenting myself as the prize. If the latter were accurate, it would deter ticket sales entirely.

Toby, the winner, reached out to me towards the latter part of August, and we coordinated a suitable meeting time. I had a strong inclination to revisit the North bank of the Thames and conduct a photoshoot on the beach. On this occasion, I intended to utilize my recently procured Sony α7R IV - a formidable 60-megapixel sensor camera. Despite having been utilized only once before and featured in a prior event, I was eager to harness its remarkable resolution capabilities for this particular shoot.

This particular photoshoot encountered a couple of unexpected hurdles. Firstly, and quite unusually after a decade, I found myself running late. In all fairness, Toby was also slightly behind schedule, although that wasn't the primary concern. Toby had thoughtfully given me a heads-up about their revised arrival time, and my estimate wasn't too far off either.

However, as luck would have it, the moment I stepped outside, a thunderstorm that had stealthily advanced from behind (hidden from my view through the window) erupted right above. In a moment of realization, I smirked, armed with an umbrella this time, ready to challenge the persistent whims of the weather.

Leaving Cannon Street station behind, I met up with Toby, and our discussion delved into our past experiences with Cabaret shows and different venues. As we dodged traffic and arrived at the beach, I couldn't help but notice that this small environment had transformed once more. New barriers had been put in place, and despite the tide being close to ebbing, it was clear that the area had shrunk, leaving less room to manoeuvre. There was enough space for the shots I wanted so we set to work.

To start off, I chose the classic 'sitting on the stairs' shot. This option requires minimal effort from the subject, making it convenient, especially if they've covered some distance on foot and could use a brief respite.

Afterwards, Toby got back on his feet, and we moved to the next spot, positioned between a weathered barge and a concrete wall. Toby leaned against the rusty barge, creating an interesting composition. Personally, these two shots stand out as my favourites from the entire session as well.

In this image, you can observe the newly installed barriers. Interestingly, these barriers didn't deter some of the tourist boats from powering up the Thames, generating a substantial wake that surged forcefully over the barriers. Briefly, I entertained reservations about the location, but fortunately, the wake didn't reach our position.

With the sun shining intensely during the shoot, I suggested to Toby that they take a moment to sit on the beach while I captured shots from a couple of different angles. One set of shots framed the South bank of the Thames and the iconic Shard, while the other perspective encompassed the wall behind Toby. Curiously, it appeared that one of the street lamps was enthusiastic to begin its duties, as it was already powered on.

Subsequently, the atmosphere took a playful turn. Toby switched into an outfit with a rather subtle flair, eliciting glances and waves from passengers on the tour boats passing by. I experimented with a Dutch Angle shot, which I believe turned out quite effectively. In the second shot, Toby tilted their shades forward while beginning to open the robe. Regrettably, for the onlookers aboard the boat, this unexpected scene wasn't included in their tour package.

The playfulness continued with more lighthearted moments, followed by a stroll back to the stairs. Toby underwent a third wardrobe change for a fantastic shot, where they appeared dwarfed by the towering building. I don't often combine individuals with architecture in this manner, but the convergence of multiple perspective lines in this image captured my attention, and I couldn't pass up the chance to seize the opportunity.

Here's another shot that I hadn't experimented with previously. After ascending the stairs from the beach and proceeding through an alleyway, I came across an open arch that caught my eye. I requested Toby to rest their arms on it as I captured the shot. A tour boat was also racing by, adding a layer of interest in the middle ground and also fell within Toby's line of sight.

With the shoot coming to a close we found ourselves in an alleyway surrounded by metal bars, They were either to keep us in or something worse out but they created great shadows along the floor and up the walls. I have to give credit to Toby for the idea for him to sit against the wall for this shot. The alleyway had many people walking and running through it so we had to wait a while to get this shot. Soon after this shot was taken someone walked around the corner so we ended the shoot there.

We walked back up to Cannon Street station and had a quick coffee, Toby had the chance to see the shots for the first time on the back of the camera. It was good to relax for a bit and decompress. That beach can be slippery at times and the area under the bridge doesn’t get hammered by the Thames so much so the stone and discarded bricks are more jagged, which makes walking around more troublesome.

For the techies who are wondering, there were over 300 shots, totalling about 23 GIG of raw files. Rawsie managed to take out 12 GIG in total. These were quickly thrown into Capture One and were delivered to Toby by Dropbox a couple of hours after the shoot.

Overall the shoot was quick, the talent was excellent and the images came out great!

Please take a look at https://www.instagram.com/cabaretidentitease/ for the upcoming shows!

Golden Sonic Superstar

Recently, I received a communication from David Fernandez, an artist skilled in singing, songwriting, and acting. He was referred to me by a mutual acquaintance. David expressed his interest in obtaining a headshot to include in the artwork for his upcoming single titled ‘Golden Sonic Superstar’.

We arranged a meeting for a brief discussion, during which I showcased my portfolio and the corresponding photographs to David. This presentation sparked his imagination regarding the creative possibilities at hand. While I hadn't previously undertaken a cover photoshoot for a CD case, my initial perception was that it would involve a straightforward headshot as a starting point, allowing us to build upon that foundation.

I selected a serene location for the photoshoot and brought along my Sony α7 RIV camera to ensure we captured the highest achievable resolution. This decision would provide David with the flexibility to apply artistic cropping if necessary, while also preserving an abundance of intricate details within the image.

During the shoot, David sported stylish blue mirrored sunglasses. Consequently, upon reviewing the images, the immediate standout was my own reflection, gazing back at me. Not quite the headshot I had in mind. Later that evening I ingested the images into the archive, colour-corrected them, exported and sent them off to David via Dropbox.

Among the various shots, one that particularly resonated with David was where he had tilted his head to one side. In this angle, neither my reflection nor much of the surroundings were visible. This specific shot was eventually chosen as the definitive image to be forwarded for finalization. I'm delighted with the supplementary artistic enhancements that were incorporated into the edited version of the photograph!

You can find David on his socials at:

https://www.instagram.com/officialdavidfernandez/

https://www.youtube.com/@OfficialDavidFernandez/featured

It was Ella hot outside...

I had recently purchased a 2nd hand Sony A7R IV and was itching to try it out. I had arranged a quick photoshoot with Ella Ganza around the north bank of the Thames in Bermondsey close to where I do studio shoots.

As usual, I arrived early and sat down on a bench at Bermondsey Wall, it was very hot in the afternoon so I sat there for a while just soaking up the sun and taking a rest after a day’s work. I took out the Sony α7R IV from my backpack, I also had my Sigma 28-70mm f2.8 and the Sony 85mm f1.8 to test this beast of a camera on.

There was a jetty to my right so I took this picture with the Sigma lens. You can click on this to see the full size of the image and zoom in.

This is the centre of the image at 100%. The detail is insane! This will give me many options to crop in when needed.

My phone buzzed to show me to Ella was close and we met close to Edward III’s Manor House. It’s only a few walls left of the ruin but it once used to have a moat on three sides with the north side enjoying open access to the River Thames. Sadly now the walls are covered in grass and the odd crisp packet. A group of children were kicking a ball around on top of the mound. This is where Ella and I scrambled down the bank to start the shoot. I immediately found a pothole in the floor for me to trip over a few times.

I asked Ella to sit on part of the ruined wall and started to take pictures. Something was a little off... I was taking a few shots and checking at the back of the screen. as normal but I noticed the eye detect was not working right. I checked the Eye Detect settings… no it was not set to detect animals so what was it? I checked the metering modes and it was stuck on Center-weighted instead of multi… yeah Ella does not have eyes in the centre of the stomach so a quick reset and the eyes were detected. So a Pro tip there, if you buy second-hand gear, reset the menu options so you don’t look a fool when out on a shoot.

The size of the sensor is double that of the Sony α7 III. Above is a comparison shot showing the size difference between the two sensors. In the below example, you can see the zoomed-in detail of the eyeball. In some shots, I could see the veins in the eye.

We moved on from grass-covered potholes and walked back to the Bermondsey wall. Ella had asked for some shots with the London skyline behind her. This was where nature attacked! While shooting Ella as she relaxed on the wall a leaf from a nearby offended tree flew down and settled on Ella’s cheek, no sooner as it had landed it flew off again to annoy some passing ants. I have combined the shots of the images taken for comic effect, and evidence if the case of the flyby leafing ever goes to court.

Not exactly the apple-throwing scene from the Wizard of Oz but we walked back past the ruins of the manor house and took some photos next to a signpost. The sun was setting so after a few shots up on a nearby hill I called the shoot to a close. I had taken nearly 400 shots and I was running out of space on my SD cards.

Taking the images back home, they were thrown through the Rawsie application, 30 GIG was compressed to 9.8 GIG, and then transferred to my main PC to be embedded in the Capture One archive.

Thanks to Ella for another fantastic shoot!

Its a bit windy up here...

As it was hot and sunny for once, I wanted to do another walk-about shoot, so I contacted Carmella Brown, whom I had worked with before in a studio shoot and a couple of times while they were on stage performing cabaret. As per usual I arrived around 40 minutes before Carmella arrived. So I had a slow walk around the cable car and took a couple of shots.

I had been here over ten years ago and the area had been built up quite a bit. There were far too many people wanting to be hauled up over the dock so I decided to skip that part of the walk around. I had with me my Sony α7iv and the Sigma 28-70 f2.8 lens. I also had the Sony 85mm f1.8 but that is more of a portrait lens and I wanted a lot of background in these shots, where the f1.8 aperture would have blurred a lot out.

As I shifted my position slightly, I captured a photograph of our planned route for the day. Our intention was to explore the northern section of the dock, ascend the stairs, cross the bridge, and return along the southern bank. Just as Carmella joined me, ready to begin our photography session, the roar of an airplane from the nearby London City airport resonated through the air, sparking an intriguing idea within me.

Adding an intriguing tidbit, the airplane that soared above us happened to be a De Havilland Canada Dash 8-400 with the registration LX-LQA, arriving at London City Airport from Luxembourg. However, as per the latest information from Flightradar24, at the time of writing, it has returned to Luxembourg once again.

As we strolled along the northern bank, engaged in lively conversations about shows and photography, our attention was drawn to a vibrant congregation of Cosplayers near the large floating hotel close to the bridge. We skillfully maneuvered around the plastic weaponry, eye-catching costumes, and an assortment of Marvel characters, only to discover that the lifts at the bridge were out of order. Undeterred, we trudged up the stairs, reaching the summit where more Cosplayers sat, engrossed in conversation, adorning the bridge.

In the distance, I caught a glimpse of what appeared to be someone creatively Cosplaying as a plank. However, upon closer inspection, it turned out to be another photographer lying down, capturing shots of a remarkable Spider-Woman impersonator. While cautiously navigating the bridge, the occasional creaking of the boards, coupled with the relentless eastern wind, momentarily startled me, prompting a brief introspection about my presence at such heights. Nevertheless, the breathtaking panoramic views of London served as a reminder of why I embarked on this adventure.

The gusts of wind added a dynamic flair, causing Carmella's dress and hair to dance around. Spotting another plane approaching from the west, I eagerly attempted to align it directly overhead, but my efforts fell far short. In a moment of resignation, I found myself reclining against the central portion of the bridge. I couldn't help but wonder if passersby mistook me for an eccentric Cosplayer portraying a plank.

Undeterred, we pressed forward, passing by more peculiar characters as we made our way to the South Bank. Taking advantage of a convenient spot beneath one of the towering cranes, we paused to capture a series of shots. Thanks to the Sony α7iv's tilting screen, I could comfortably position myself close to the ground while maintaining a clear view of the composition I was capturing.

Continuing along the bank, we encountered more cranes dotting the landscape. It was at this point that Carmella came up with the idea of using one as a climbing frame. Initially, I had reservations about the idea, concerned about potential safety risks and my less-than-stellar track record in catching a thrown ball. However, considering that we had just ventured 50 feet up in the air on the bridge, a mere couple of feet seemed relatively harmless. With cautious steps, Carmella ascended the precarious 36 inches and struck a graceful pose on the sturdy girders.

It was during this impromptu photoshoot that we captured the highlight of the day. The resulting image showcased the perfect combination of Carmella's poised stance and the intricate lines of the girders converging gracefully behind her head, creating a truly remarkable shot.

Wrapping up our exploration around the dock, we had the opportunity to witness the entertaining sight of a couple of water skiers gracefully plunging into the water, adding a touch of excitement to our day. To conclude the photoshoot, we couldn't resist the classic and obligatory "standing against a wall" shot, and building upon that, we proceeded to capture a series of shots where we sat down, with Carmella gazing into the distance, creating a reflective and contemplative mood.

I really enjoyed this quick run and gun type shoot, again this was circa 2 hours but a fun shoot! The sun was out, we had a good laugh and there was a small amount of danger involved.

You can find Carmella on Twitter at CarmellaBrown91

Little Troopers : From a certain point of view...

As it is May the 4th I thought I would add my little piece to it.

Picture this: a long time ago, in a kitchen that feels like a galaxy far, far away, I was using my Panasonic DMC-FZ45 and later, a Canon 550d with the Canon 50mm f1.8 lens, to take pictures of Lego Star Wars figures. I had very little in the way of lights and equipment but I improvised like a true Jedi and came up with a genius solution. I taped two pieces of white card on my countertop to create a makeshift studio and positioned my camera at the perfect level to capture the figures' personalities.

I could not foresee the future these sets of images would look like so I just winged most of it. I wasn't trying to create photorealistic images that would fool even the most discerning Jedi. Instead, I took a more lighthearted and humorous approach to the project. After all, who says Star Wars can't be funny? My goal was to capture the essence of these lovable characters in my own unique way and have fun while doing it. And you know what they say - when in doubt, just wing it.

My first idea was to take a set of shots with multiples of the same figure, I had a few stormtroopers to play with and that is where I got the idea of Little Troopers.

Being in a kitchen with limited resources didn't stop me from getting creative with my Lego Star Wars photography. In fact, it was the opposite - I saw every object in the room as a potential prop or background. One of my favorite additions was using washing powder to simulate the snowy planet of Hoth. It worked surprisingly well, and I was pleased with the results. I also enjoyed experimenting with different lighting techniques and angles to create a unique atmosphere for each image. If you look at my early photos, you'll notice that I was a big fan of vignettes - those darkened edges that draw the viewer's attention to the center of the frame. It's a classic technique that can add drama and depth to an image, and I loved playing around with it.

As my Lego Star Wars photography sessions progressed, I found myself getting even more creative with my kitchen props. I mean, who says you can't use crisps, coffee granuals, and hot chocolate powder to enhance your galactic scenes? Looking back at some of the resulting images, I have to admit - they're pretty ridiculous but they still make me laugh to this day.

I decided to mix things up by combining different factions of the galaxy far, far away. That's how I ended up creating some hilarious one-panel jokes and situations featuring a mix of Mandalorians, Rebels, and even Imperial Snow Troopers.

I decided to try my hand at adding some vintage flair to my images. Inspired by classic films of the 1940s, I created a series of shots that looked as if they were taken in a bygone era. To achieve this effect, I used a sepia filter and added plenty of grain to the images. The result was a set of photos that had a timeless quality to them as if they could have been taken decades ago.

And then, I stumbled upon the droids I had been looking for all along: R2-D2 and C-3PO. These iconic characters from the Star Wars universe were just begging to be featured in my Lego photography.

It's hard to believe that it's been over a decade since I took these Lego Star Wars photos. Looking back at them now, I can't help but feel a sense of nostalgia for those early days of my photography journey. But at the same time, I'm excited to see how far I've come since then. In the years since I took these photos, I've honed my skills, experimented with new techniques and styles, and expanded my creative horizons in countless ways.

And so, as I look ahead to the future, I can't help but wonder what new and exciting images I'll be able to create with my Lego Star Wars figures. Will I take a more serious approach this time around, or will I embrace the same humour that made my earlier photos so memorable?

[ Star Wars and any characters mention in the blog post are TM & © Lucasfilm Ltd ]

Its raining... so?

As I looked out the window on an early Sunday morning, drinking a cup of cold tea, I engaged in a conversation with myself.

  • My logical left brain piped up: "It's raining outside..."

  • But my creative right brain wasn't fazed: "So what? Harley is on her way."

  • Left brain persisted: "But we're going to get wet!"

  • The right brain was ready with a solution: "No worries, I've got my coat on."

  • Just as the left brain was about to protest again, the right brain was already out the door, beckoning: "Are you coming?"

  • Left brain hesitated for a moment, but eventually relented: "Okay..."

It's a scenario that I find myself in quite often, and this time was no exception. Despite the light drizzle, I decided to proceed with my planned photoshoot with Harley Phoenix.

I had previously worked with Harley in a studio and this time, I had arranged for a quick outdoor photoshoot around Wimbledon Common. As the name suggests, it was a familiar location for me, with its vast open plains and endless rows of trees that offered plenty of opportunities for getting lost in.

We met at Wimbledon Station and boarded the friendly 93 bus that dropped us off at the entrance closest to the Windmill. Since it was still drizzling a bit, we decided to warm up with a cup of tea and hot chocolate before setting off. I couldn't help but feel like the weather had it out for me - it seemed like no matter how much I wished for sunshine, the rain persisted.

Nevertheless, we ventured down to what I believed to be a small stream that led to a nearby lake, a few hundred yards away. As I took a sip of my hot chocolate, I couldn't help but notice that it tasted oddly similar to rainwater. I made a mental note to bring my own thermos of hot beverages the next time we ventured out into the unpredictable weather.

The thought of bringing my own thermos also sparked an idea for merchandise. I wondered if others might appreciate a branded thermos that could keep their drinks warm and cosy, even on the rainiest of days. The possibilities were endless, and I made a mental note to explore this idea further but only for myself… who would want a thermos with my name on it??

After our brief tea break, we made our way down to the lake, carefully sliding along the damp path. We continued walking up the bank until we found a relatively dry patch, sheltered by the canopy of trees above us. I had with me the Sony α7IV and the Sigma 28-70mm f2.8 lens. The Sony 85mm f1.8 would be used later and to be honest, I really should have got that out sooner.

Before starting the shoot, we checked to see if the fallen branches were dry enough for Harley to sit on. Satisfied with our findings, I began to take photos, experimenting with different angles and poses. As I reviewed the shots, I noticed that the blue galaxy umbrella that Harley was holding created a striking contrast against the natural tones of the forest. I decided to focus on this contrast and captured a series of shots that highlighted the unique combination of the umbrella and the surrounding environment. I applied a faded vignette effect to the images and added a subtle blur to the surrounding areas. These edits helped to draw the viewer's attention towards Harley and created a more intimate and atmospheric feel to the images.

Throughout the shoot, we made use of the trees that surrounded us. They were abundant in the area, It reminded me of the old saying, "Can't see the forest for the trees." Really? you must be doing it wrong then!

As we explored the area, the trees would add depth and texture to the images, creating a sense of connection between the subject and the natural world around her.

I noticed two trees that were perfectly aligned to create a natural frame for Harley to stand between. It was a stroke of luck, as I hadn't planned on using them in this way. Of course, I didn't uproot the trees and move them to where I wanted them - they were just there, waiting to be incorporated into our shots.

As we moved further into the forest, we stumbled upon a glade that was home to an unexpected group of forest animals: ducks. It was a surprise to see them wandering around the forest floor, as they're not typically associated with woodland environments. Perhaps they were tourists from nearby Richmond Park, exploring the area and enjoying a change of scenery. They didn’t seem interested in posing for shots so I had to continue with Harley.

Throughout the shoot, there was a recurring theme of Harley leaning against trees. While it made for some great shots, I couldn't help but feel that the trees didn't actually need her support. After all, a tree can hold its own weight without the help of a couple of humans pressing their boots against its trunk. You can tell I have edited the image on the right, the season did not quickly shift from Sping to Autumn in the space of a few seconds!

As you can see, trees played a significant role in this shoot, serving as both props and backdrops for our photos. These shots are titled “Harley standing away from a tree”, “Harley siting on a fallen tree” and “Harley paying no attention to a tree as by now were we tired of trees”. Harley managed to stand out, thanks to the stunning burgundy top and skirt she had chosen for the shoot.

Before we move on to the penultimate shot, I want to give a special mention to three standout shots from the shoot. The first has been edited to give it a more early autumn vibe, despite the cold and drizzly spring day we were actually experiencing. The colours of the leaves in the background have been warmed up and given an orange hue, which adds to the overall feel of the shot.

The second honourable mention goes to a few shots where Harley is wearing a hood. The contrast of the blue hood against her blonde hair and the deep burgundy of her outfit makes these shots some of my favourites from the day. There's something about the way the hood frames her face and draws attention to her eyes that really works for me.

Finally, a close runner-up for me is the third shot in this series. The soft, diffused light filtering through the trees also adds a dreamy, ethereal quality to the shot that I find really beautiful. Of course, we can also see the ‘stunt crow’ in the background of this shot. I do not know if Crows have pronouns so I will just refer to the Crow as ‘Crow’. Crow had been following us for a bit since we left the Sacred Glade of the Walking Ducks and had settled on the top of a stack of branches. Harley moved closer and closer and I managed to quickly take this shot before Crow got bored of us and flew away. Perhaps Crow had another appointment further along the forest.

So we found this branch… Harley had an idea to sit on it. I was standing behind her just in case she fell back as she jumped but it was a little too high for Harley to manage. Putting my camera bag down on the soggy floor I moved to one side of the branch, took hold and pushed down enough for Harley to get on. I noticed this branch was a bit spongy so I had visions of launching Harley into the sky, possibly to land at the webbed feet of some laughing ducks, so I slowly let go and Harley was balanced enough to continue.

After completing a few more shots and ensuring Harley was safely back on the ground, I concluded the shoot. Typically, my photo sessions last for two hours, but this one ended up lasting three. We hopped on another big, friendly bus that took us back to Wimbledon, where I treated Harley to a fast food meal. you know me, classy!

There were a few key takeaways from this shoot. Unfortunately, I didn't manage to take a duck home with me (although I must admit, I didn't really expect to). I also learned the importance of checking the weather forecast for future shoots, as the sky only cleared up towards the end of the three-hour session. Additionally, it would have been helpful to bring a large waterproof sheet that could easily be folded up and carried in my camera bag. The ground was quite soggy after the rain, and my makeshift "bag for life" didn't quite cut it.

I want to extend my thanks to Harley for braving the soggy Sunday weather and for collaborating with me on this shoot. The resulting shots are fantastic, and I look forward to editing and sending more until her phone runs out of storage!

Medieval Melee, Mead, and Merriment!

Waking up early has never been my strong suit, but I had a special assignment that required it. I needed to travel back in time to the 7th century and take photos of Anglo-Saxon residents in Hitchin while trying to avoid getting hit across the head with weapons.

I arrived at Kings Cross Station at 7:30 am on a Saturday, armed with both my Sony cameras - the α7iii and α7iv - as well as the Sigma 28-70 f2.8 and the Sony f1.8 lenses. Although I brought both lenses with me, I exclusively used the Sigma lens for this shoot. My task was to take a set of images for Swords of Penda - Children of Loki, a small historical reenactment society that specializes in dynamic and entertaining living history and combat displays through character role-playing, crafts, and skills that are now mostly forgotten.

The shoot took place in a small field in Mill Farm, where an Anglo-Saxon Wic had been constructed. The area included a tent for King Penda, a cooking and crafts tent, and one for the Wise Woman. I was introduced to the group, which included a three-man filming and presenting team from History Hit, a YouTube channel that covers the most exciting and significant historical events on the planet. They were filming scenes of what it was like to live, work, and fight as an Anglo-Saxon.

Before the shoot, I thought about the shots I wanted to take throughout the day. There were several helmets, weapons, and trinkets on display, of which, the King had the majority of these in his tent. Of course, it's good to be the King!

As the day went on, I had the opportunity to get to know the people in the camp and learn about their roles in the Wic. I continued to capture shots of the warriors and the intricate details of their armour, which led to a series of striking portraits near the back of the Wic.

During the shoot, the warriors of the group staged several fighting drills. Luckily, I had a zoom lens that allowed me to capture the action without getting too close to the whirling weapons. Some of the warriors were gracious enough to hold a pose for me while I got a closer shot. There were also times when they formed a shield wall and clashed together, and I made sure to stay on the side and use my zoom lens to capture the intensity of the moment.

One of the warriors tragically died during the battle and was taken to the Wise Woman's tent. Here, we were shown all the items he would be buried with for use in the afterlife. It was a surreal experience, and I swear I saw his eyes open at one point!

The day ended with drinking from the mead horn, which was full of mead, of course. I was asked to try it, and it was my first time drinking from a horn. As expected, there was some splashback, but it was a fitting end to a remarkable day. It was a change from my usual Cabaret shoots and although it was a long day it was fun and educational.

You can find Swords of Penda at this link: https://www.swordsofpenda.com/ and https://www.facebook.com/SwordsofPenda

You can also find History Hit at: https://www.youtube.com/@HistoryHit

Walkabout Shoot - Bunny Lestrange

During a recent adventure on the north bank of the River Thames, I found myself stumbling over rocks and sliding down concrete slabs with Bunny Lestrange. We had met through Bella Whispers shows and I had offered to do a photoshoot with her amongst the stones and discarded bones on the beach at Southwark Bridge.

I had shot here three times before; it was a new experience for those who attended, Bunny and I agreed we both lived and worked in London but rarely got to see it!

We started walking under the bridge and headed towards the wider expanse of beach away for the people waving metal detectors around. The sun was dodging its lighting duties again by weaving in and out of the clouds. I was testing a polarising filter to reduce the glare on the highlights and the water, which worked pretty well in most cases. This is a nice segway into this first shoot of Bunny looking a bit lost on the beach.

Luckily I knew the way back and we slide our way to the rusting barge closer to the shore. Avoiding the detecortists who were poking at the floor with sticks I asked Bunny to lean against the wall of the barge, I had checked it wasnt going to fall over and was dry to the touch. I had already checked to see if the tide was out before we arrived.

After this we moved further along the beach to a place I remember from the first time I visited this area on my own many years back. I did know know that I was stepping on was slick mud and not concrete, I fell backwards onto my camera bag, my Canon camera was jarred from my hand as my elbow cracked into the stones and I was sliding towards the water. Luckily my decent into the murky depths was stopped at the waters edge by a broken part of a jetty. I know the Thames has been the source of transportation, trade, and industry throughout history but I didnt want to become part of it.

Thankfully I did not want to repeat this so we stayed away from the area and choose to remain near the pillars at the entrance to the tunnel.

Whenever I am out with a model, I make their health and safety a priority., and despite potential hazards, I was able to get a great shot of Bunny by the water's edge near the wall front. However, I made sure to remain vigilant of passing riverboats, especially the larger ones that can cause sudden flooding and swamp the area.

Once we scrambled back up to the main road, we headed across the bridge to the south bank. After the exertion of the photo shoot, we decided to stop off at a coffee bar to take a breather, catch up, and review the shots we had taken so far. While I try to show the images as we go, it's often more convenient to review them on the back of the camera under indoor lighting.

We walked further down the beach until we reached a spot just in front of the Tate Gallery. I had a particular shot in mind: Bunny standing at one end of a tunnel, with the tunnel stretching out behind her.

Unlike the north bank, there were no metal detector enthusiasts on the south bank of the Thames. Instead, the beach was bustling with families, a few dogs running about, and even someone blowing bubbles. As we started shooting, some of the bubbles managed to float the whole length of the tunnel,

We could not venture to close the shore here as the south bank was sandier than the north so it had retained a lot of the water, it wasn’t advisable to attempt to get closer. There were some swans paddling about whom seemed to enjoy it though.

We crossed the Millennium Bridge and continued towards St. Paul's Cathedral, as I wanted to take Bunny to a special spot I had in mind: One New Place. This accessible rooftop area features a couple of bars, but most importantly, offers an incredible view of St. Paul's Cathedral in the near background. There were some people here already taking photos and selfies with mobile phones. We found a spot which is cordoned off a little from the edge of the sloped roof. The shot with St Pauls is fantastic! I tried some other rood tops shots just be moving to the left of where Bunny was standing too.

After all this walking about we were hungry and wanted some pub grab… this being a Sunday we could not find a pub, let alone one that was open. OK we thought, lets walk down here a bit.. Nope, nothing… OK how about here? Why are we now in Chancery Lane? We had walked from St Pauls to Chancery Lane looking for something to eat. Looking on Google maps later our whole journey took us 2.27 miles! Worth it though!

Thanks to Bunny Lestrange “The girl with the golden vocal chords”, for braving the cold, the slippery stones, countless animal bones, swans, pigeons, bubbles and the lack of food for miles around for a great photoshoot!

Another quickie!

Belle De Beauvoir got in touch with me and requested my presence at Village Soho to take portrait pictures of some performers. I gladly accepted the opportunity to do so, as I had recently completed a quick photo shoot at the Leaky Bar upstairs and was eager to further hone my skills.

Having previously shot Sibyl Grimm's one-woman show at Village Soho the previous year, I was familiar with the layout of the room and had a few concepts in mind for the upcoming photo shoot.

Upon meeting Belle, we made our way down to the room and requested that a few flickering lights be switched off. As soon as the first performer arrived, we began capturing shots. Having surveyed the area, I chose a spot just in front of an open door that provided some light as the room was rather dimly lit.

Following that, we proceeded to the bar where I asked the performers to lie across it facing a light in the top corner. We then moved on to a chaise longue and subsequently to a booth adorned with red seating and mirrors. There was limited space in the area so I used this routine for each performer rather than trying to think of something different each time.

I was using the Sigma 20-70mm f2.8 lens for this shoot, at f2.8 I was getting enough light in without having to up the ISO so much as I was also using a Rotolight Neo strapped to the top of the camera. This provided enough extra light for the shots, especially good for close-up portrait work.

There was an abundance of yellow light in the room, in some shots it added but in others, it cast a tone which I did not like, I added some blue to the shadows to compensate. I enjoyed this quick shoot in a small limited area, makes you think about the available space and which shots to take on the fly. It was also a chance to meet and chat with some new performers!