Laura Hollick and I keep stepping up our video projects. In this latest one, we wanted to communicate the concept of “becoming art.” We used nude bodypainting as the medium. We called on Sue Upton to do the actual bodypainting. Laura started out nude, and then Sue painted her white to match the canvas. Afterwards, Sue painted her and the canvas blue. Finally, we animated the painting of the bird on Laura’s chest. Here are some behind the scenes photos of the process. You’ll see the camera mounted on a boom arm. I used that to film some smooth HD video clips panning over the body, but when it came to the editing phase of the project, it was clear that the smooth video clashed with the stop motion footage, so I abandoned it. We’d also animated a sequence of painting the Soul Art logo on her chest, which then transformed into the bird, but we let that go too, since we really wanted to keep the video short and sweet. It’s amazing what gets left on the editing room floor!
Here’s the final video. This is the first video in which I also produced the music. I dug back over 20 years to my high school days when I used to write electronic music and dusted off those rusty skills to put together an instrumental track to accompany the video. After watching the video, check out the 3 questions to unlock your inner soul artist.
My shoot with Laura Hollick the other evening was a multi-purpose one. We were aiming to get three things out of this evening’s shoot: a video, a “magazine cover” photo and a more artistic photo. Sue Upton did a great job with hair and makeup, transforming Laura into the field fairy.
We shot all of this at “Golden Hour,” which is that magical period just before sunset when everything looks like a fairy tale. Unfortunately, because of cloud cover, golden hour didn’t materialize in quite the striking way it usually does at this time of year. However, it was still a good time to shoot. When it’s a little overcast, the brightness of foreground and sky are close enough at this time of day so you can get some nice sky details in your backgrounds rather than boring white.
The video is a visual poem. It was fun shooting this, because it really challenged me to find new and interesting ways to frame shots and move the camera. This was the first attempt at using our new Blackbird DSLR camera stabilizer. It was a challenging test. The Blackbird has a piece that dangles down beneath the camera. That piece has a crossbar on it. While moving through the field, the crossbar would constantly touch or impact on grasses and other plants, often making the shots waver unpredictably. In the end, because we didn’t need a lot of footage, it wasn’t a problem. However, my arm was so numb after holding this stabilized rig steady for about an hour, I could barely operate the camera for the regular photos! Using this thing regularly is going to make my left bicep humongous.
Admittedly, I’m relatively new at shooting and editing video, but today’s tools make both so easy and intuitive. It wasn’t hard to get a result that we were both happy with.
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.
I was a bit nervous about Laura doing these leaps in the gold high heels, but she was confident that she could do it, and they definitely added a glamorous punch to this vibrant image.
You don’t have to want to be a model to have a modeling portfolio. Sometimes you just want to have some great photos of yourself. That was the case for Laura Lim, who drove down from Kingston to shoot a beginner modeling portfolio with me. Laura’s never been in front of the camera before, at least not in a professional setting. When I met her for her pre-shoot meeting–which I think is an important step for getting both of us on the same page before the shoot–she didn’t know exactly what she was going to do with the photos. She just knew that she wanted them.
Sue Upton creating Laura Lim's first look of the day.
Laura showed up at my studio with bags of shoes and accessories and a giant suitcase full of clothes. I encourage models to bring as much stuff as they want, because we can always sort through it to find just the right looks for the shoot. Laura took to this assignment like a fish to water, and as you can see, within a span of an afternoon, we were able to capture a number of very different photos for her. We worked with renowned hair and makeup artist Sue Upton, who is a master of transforming the girl next door into a femme fatale, sophisticated debutante, or any other look in-between. The super-sassy orange background shots are closest to Laura’s actual personality, but she easily pulled off the other looks with style and grace too.
I’m a huge fan of working with people who’ve never been professionally photographed. There’s something very appealing about unlocking a person’s photogenic potential and creating photos that make them excited about how they look on camera.
Today is Canada Day, the day on which we celebrate the beginnings of our great country. Like most Canadians, Laura Hollick and I are proud to be Canadian. We decided to create a photo to celebrate Canada. We worked with the versatile hair and makeup artist Sue Upton, who also happens to be a highly talented body painter.
Like Canada itself, this image is made up of many different parts, and took a long time to come together. We started shooting it in September last year, and I just finished it yesterday! Let me explain…
We weren’t totally happy with the composition after our shoot in September, because the tail was cut off at the bottom of the frame, and everything was too close to the bottom of the frame. Laura was sitting on a stool, which was necessary because of the number of hours required to complete the painting, but that made the bottom of the photo look a bit awkwardly cropped too. There didn’t seem to be any other way to shoot it though. She wouldn’t have been able to stand perfectly still for that period of time. We decided to re-shoot Laura’s bottom half and add a tail to the bird to balance it out.
After I’d assembled all the pieces in Photoshop and smoothed out all the transitions, the final image was complete.
