Kevin Thom - Hamilton, Toronto, Ontario Photographer

It’s been a while since Laura Hollick and I created a new image for our Live Your Spirit series. We planned for an outdoor image, showing Laura posed like a white tree in a white winter landscape. We drove around through the country until we spotted the perfect location, just outside of a little church in Westover, Ontario. It had what we needed: a place to park nearby, a slight hill covered in snow, and a not-too-distracting background.

We did a few test shots to get an idea of the composition of the final image.

We had to work quickly. Although the thermometer read above zero, the wind was whipping in towards the camera, and quite violently too. I would estimate it was coming in at about 60-70 km/h, making it feel much colder than the true temperature. My light stands kept blowing over, and I had to dig them deep into the snow so that they would stay up. It’s a good thing hair and makeup artist Sue Upton affixed the wig very securely to Laura’s head, otherwise we could have had a real hair disaster that day!

Our plan was to wrap Laura tightly with white fabrics to create the tree costume. I moved as quickly as possible to clamp the fabrics around her using plastic clips. Canvas cones would create the “root” system of the tree. However, because the wind was so strong, the fabric kept blowing loose. We decided that we were going to work with what nature gave us, and I shot a number of frames of Laura dancing with the flapping fabrics. The tree quickly transformed into a winter wind angel. We couldn’t shoot for long, because it was extremely cold, and there was real risk of windburn and frostbite to Laura’s exposed skin.

After reviewing the images in the car, we decided that the canvas cones weren’t “reading” as well as we’d imagined, so we went out again to shoot some more photos of the base of the dress without the cones. I later blended one of these cone-less  bases into the image using Photoshop.

This image is technically a little different from my other ones. Usually, I shoot with lenses wide open so that I get shallow depth of field and can isolate my subject. In this case, because I needed a shutter speed of 1/200 to sync with the strobes, the aperture had to be set to the polar opposite, f/22.0. This was the about one stop underexposed for the natural light, and it gave us a very mysterious looking sky, with the winter sun struggling to gleam through the low clouds. I lit Laura using two Alien Bees B800 strobes at nearly full intensity, powered by the Vagabond II battery pack.

Here’s the final image.

I did a shoot a couple of weeks ago for my good friend Lissa Hill, who is launching her brand new line of motorcycle leathers. Lissa makes beautiful custom motorcycle and fashion leather garments, and it was great fun to find different ways to showcase them. Lissa’s made a few leather jackets for me, and I can vouch for how great it feels to have something custom made for you that fits your sense of style and your body like a glove.

We hired Sarah to model the clothes, and she did a great job. Sarah was a pleasure to work with. She’s an expressive model who is able to quickly find a pose and expression to match what needs to be communicated in the photos. Hair and makeup artist Sue Upton created a number of different looks for Sarah, so the photos would have some variety.

Sue Upton and Lissa Hill getting Sarah ready for the first photo of the day.

I went with high contrast lighting to emphasize the high contrast look of Lissa’s designs. I set up a single Alien Bees B800 strobe above Sarah on a boom, with only the standard silver reflector and nothing to diffuse it. I positioned Sarah close to the white background so she’d cast some interesting shadows.

I had a very messy photo shoot with local model Agatka the other day. She came to me with a dress that said “Ice Cream” on the front of it and asked if I’d like to develop a concept for it. I’ve been toying with the idea of interpreting song titles in photos, so I thought maybe I could shoe-horn this dress into that concept. The first song that came to mind was “I Scream, You Scream, We All Scream for Ice Cream.” I know it’s not much of a song, but you have to work with what you have! I wanted her to be punked up and aggressive, holding on to the ice cream as it melted. I decided against putting the ice cream in a cone because I didn’t think this type of character would care to use one.

Anyway, the shoot was fun. I got the wind machine out to blow that wild purple wig around. Ice cream was melting all over, and drops of it were blowing everywhere in the wind. Even a couple of days later, I’m still finding drops of melted ice cream plastered in various places around the studio. I kept the lighting very simple. It’s just a single Alien Bees B800 strobe with a silver umbrella for high contrast light that really makes the colors sparkle. I pumped the flash up to high power, and stopped the lens down to around f/11 to get lots of depth of field so you could see what was in Agatka’s outstretched hand, while also keeping her eyes in sharp focus.

I presented the final images in a triptych because I didn’t want to lose the sense of motion in the shoot.

A few months ago, Laura Hollick and I worked with talented makeup artist and painter Sue Upton to create a photo of Laura taking off with her red bird spirit. In the shoot, we merged Sue’s painting and body-painting skills with Laura’s vision and my photography. It’s always fun to collaborate closely with a team of people who each contribute their own unique skills. I end up learning a lot about what is possible, even when it comes to my own medium of photography.

The process began with some preliminary snapshots to experiment with the poses and the positioning of the painting. Sue then sketched a few different bird designs onto these printouts to get a rough idea of how it was going to look. We wanted to add a branch so that there would be some context to the pose, and so it wouldn’t look like Laura was just floating there in mid-air, but rather stepping off into the unknown with the red bird as her guide. In the sketches below, you can see that Sue used white correction fluid to highlight the best image so that it could be most easily projected onto the backdrop for tracing and then painting.

Painting Laura and the backdrop took hours of meticulous work. The shoot was spread out over two days because we actually shot two completely different poses. Each of the poses required different background and body painting. It was a test of patience and stamina for everyone involved.

The actual photography was quite simple. I wanted good depth of field and even, soft lighting with few shadows. Two Alien Bees B800 flash units set close to their maximum power, modified with brolly boxes provided this bright and diffuse light. I also wanted to stand fairly far back and shoot with as long a focal length as was possible. Laura’s big studio gave me lots of room to do this. All of these techniques were designed to flatten the image so that it would blend Laura with her surroundings as seamlessly as possible.

Here are the final images. What do you think?

Please also read Laura’s fascinating blog post about this shoot.