Taking a Break and Returning to Competition

Ethereal Darkness

After winning Gold, Silver, and Bronze in the 2008 annual Professional Print Competition, I decided to take a break from entering for a while. It wasn't because I was disillusioned with the competition, in fact, I was thrilled. The judges even thought my entries came from at least two different photographers, which I found incredibly rewarding. So, I took a step back and focused on other things. Six years later in 2014, I felt it was the right time to return and see how my new work would be received by the professionals.

The Story Behind the Striking Portrait

I often get asked about this particular image, so here’s the story behind it. Jessica, a good friend of mine, commissioned a full-length portrait for her home when I opened a new studio. She initially wanted a simple portrait of herself in underwear, walking away from the camera. However, I had a different idea that I had been wanting to try, and Jess was the perfect model for it. I aimed to create a painterly portrait, reminiscent of 5x4 instant film material.

Pre-visualizing the Final Image

Planning every detail is crucial for me, and my most successful images start within the camera. I plan every detail as far as possible and that includes other creatives' roles as well as the equipment.We began by discussing the feel, mood, colors, and textures, then sifted through piles of materials and underwear until we found the right combination. I always use a makeup artist who understands the impact of photographic lighting on their work. I’ve worked with this MUA on many beauty advertising campaigns, and she knows my style and lighting very well. Creating the Background The background has attracted a lot of attention and lots of speculation but as with all things in life, generally the answer is more simple than one first thinks. We employ a set designer, with experience creating theatre backgrounds and props. We buy the paint, create a mood board and then wait! Simple. Lighting: My Passion

Lighting is my passion. I love the challenge it presents. My usual ethos is "why use one light when you can use six?" This doesn’t mean I overcomplicate things unnecessarily. I always consider the client's needs, especially on advertising shoots. Editorial shoots might only need one light, but advertisements often require more complex setups to showcase the product’s features.

For this portrait, I wanted a soft, Rembrandt-style lighting with bright highlights and deep shadows, which is very feminine. I’ve used Elinchrom lighting throughout my career and knew the Rotalux Indirect Deep Octa 150cm would be perfect. This indirect light bank creates exceptionally soft, daylight-like light. The 150cm Deep produces a beautiful soft shadow with rapid fall-off, thanks to its parabolic shape. The Octa was positioned directly in front of Jess, about 2.5 meters away, with black flags on either side to prevent light spill and a third flag behind her to emphasize the shadows. Camera and Lens How often do we hear the comment that the camera and lens aren't important. Well, in this case,

the camera and lens play a significant role in determining the look of the image. For this shot, I used a Canon 1DX with a 90mm TS-E lens. The exposure was set to f/8 at 1/125s, with a warm color tone added in post-processing. The final image was printed on fine art photo rag paper.

And Finally

Before anyone asks, the image won the category of Classic Portrait Photographer of the Year and picked up the Best Print of the Year.

Photography: Steve Howdle

Model: Jessica