FIVE FACES OF HANNAH

A few pictures of Hannah, pulled from the archives; my favourite model, not just because she’s my grand-daughter but also because she’s so versatile.
Girl in a Red Scarf was a serendipity moment. Hannah was waiting to go on set when I noticed the drama created by the red wall, the scarf and her pink hair. This is literally a grab shot as she moved a few seconds later and the moment was gone. It did fairly well in the international Salons, garnering twelve acceptances and a Silver Medal.
Sunshine and Showers was taken for a competition at Beeston Camera Club. The category was Wet and Hannah’s young man was stood on a stepladder pouring water from a watering can. We hadn’t factored in the wind and she did get quite wet when gusts blew the water In her face. It was all for naught, as well, because I had to add rain in an overlay anyway. Not only that but the picture didn’t overly impress the judge on the night.
Geisha Girl was shot at my daughter Beverley’s home. I took my portable lights round and Hannah’s sister, Sian, painted her face. The flowers were a leftover bouquet from Mother’s Day which was languishing in he shop at half price so we made good use of them. It got accepted into five international Salons.

GIRL IN A RED SCARF
GEISHA GIRL

Wild Child and The Chase came about because I wanted to photograph Hannah’s dad’s Harley Davidson. We couldn’t get it into the studio (two flights of stairs) so Dave Severn arranged for us to use a small room in a car dealership. Wild Thing has only been sent out once (I stopped competing just after I made it) to a circuit in Finland, but it was accepted into three of the four Salons. The Chase has only seen the light of day at Beeston Camera Club where it scored 20/20.

SUNSHINE AND SHOWERS
WILD THING
THE CHASE

A SUCCESSFUL FAILURE

This is Ticket to Ride, one of my more successful images in my early days of competing. It was accepted into Salons in twelve different countries and won a Gold Medal, a Silver Medal and an Honourable Mention. It’s a composite image; nearly every element in it was placed there by me, including the ticket in her hat. I worked hard on the final overlays to blend the tones. I should be very proud of it, but it makes my eyes bleed to look at it.
Why? Because the perspective is completely wrong.
I shot the model at a group night, in the days before I hired my own model, where you had to dive in for a few minutes to take your turn, no input into pose, costume etc. I was happy enough at the time. The model, Kelli Smith, knew what she was doing and the studio owner excelled at lighting.
It was only when I came to put it all together that I fell flat on my face. I had the photographs of the railway station already, so

all I had to do was cut out Kelli from the stool she’d been sitting on and pop her on the bench. Right?
I couldn’t have been more wrong. If you look closely, it appears that Kelli’s legs would have been about six feet long to have been in that position. And it’s all down to perspective.
I was looking down on Kelli when I photographed her, using (probably) an 85mm portrait lens. I shot the railway station at eye level with a 50mm lens. To get the perspective right, I should have shot both pictures in exactly the same circumstances – bent knee, same distance, same lens, same lighting etc. OK, same lighting can be difficult but that’s adjustable in Photoshop.
And, finally, shadows – they’re all over the place. I’ve learnt a lot since then and still learning all the time.

But, hey, two medals and an HM – I’ll take that.


PRACTICE, PRACTICE, PRACTICE

Today I’ve been working with the remove background tool in Photoshop. I want to use this photograph of Devonn on the front cover of Ashes on the Tongue, due for publication around Easter time. I was having great difficulty in separating her hair from the black background and was on the verge of giving up when I attended a Zoom lecture last night at Nottingham & Notts Photographic Society where John Bermingham drew my attention to this neat little tool.
This is a quick and dirty practice run on a very low res photograph but it has encouraged me enormously. That’s the trouble with Photoshop, it’s so bloody enormous that the answer to a problem can be right under your nose and you don’t know it. Move the slider to see the results.

This original painting, Tirkane Road, Maghera, is another image I am using for the Ashes on the Tongue cover and the reason why I was so anxious to separate Devonn’s hair from the background.
It’s by George A Gourley, an Irish artist, who has given me permission to use it. I am delighted because it has just the right feel for the era I am writing about.

GAIL FORCE

STAND AND DELIVER
VICTORIA
FEAR NOT THE DARK

I met Gail Noble through a multi-photographer / multi model day and was instantly impressed by her unique ability to lose herself completely in a character.

We went on to do a couple of shoots after that where we could explore different ideas, aided by the fact that she is also a very talented seamstress, able to create her own costumes, as in the portrait of Gail posing as Queen Victoria. The background to Her Majesty is an interior shot from Southwell Minster in Nottinghamshire.

We has fun with Stand and Deliver, making full use of a wind machine, although I’ve lost count of the number of people who have told me she’s holding the knife in he wrong way. She looked pretty determined to me so I wasn’t going to argue with her! All I did to this one was add a few trees and a bit of mist.

Fear Not the Dark was taken at the initial shoot mentioned above and is a (nearly) straight shot, only needed the addition of a flame in the lamp.

MIKE THE MODEL

Left: Off Duty
Top Right: Bad News
Bottom Right: Aircraft Overdue

I met Mike at a studio session that had been organised by Dave Severn of Studio 3 by Severn. It was quite a chaotic day with multi models and multi photographers, all ably organised by Dave and his wife, Pamela. It meant that each photographer had a limited amount of time with each model before being moved on. I enjoyed working with Mike and had hoped to spend more time with him in the future but, unfortunately, that is unlikely to happen now.

A LITTLE BIT OF BALLET

BEGINNERS PLEASE

After listening to Boris on the television tonight I think it’s time for a little light relief and these pictures have always brought a smile to my face.

PAS DE DEUX

It was very much a family affair which meant everyone was relaxed. Martyn (left) is Hannah’s dad and Mason (right) is Hannah’s partner.

FADED DREAMS

Over the Christmas and New Year period, we watched a lot of old films on television, including Sunset Boulevard, starring the wonderful Gloria Swanson. It’s one of my all-time favourites and I had it firmly in mind while making the photograph below. The model, who I only ever knew as Peaches, was perfect for what I wanted and this somewhat unconventional portrait – Faded Dreams – became one of my favourites.

THE RED DRESS

Back in the days when we could go out and about without a care in the world, I had a three hour studio session booked with Hannah, my favourite model (and also my grand-daughter). I had quite a few different scenarios in my mind and decided to buy a dress off eBay for some of them. My eyes lit on this beautiful red dress with multi-frills on the skirt, a nipped in waist and a sprinkling of sparkles. Perfect! I just knew it would look fantastic on Hannah (I was right) and ordered it. Imagine my horror when it arrived in an A4 envelope, the material was nearly as thin as tissue paper and the whole thing was crushed beyond recognition.
When I tell you that I haven’t used an iron in over thirty years, you can understand why my first impulse was to throw it in the bin and put it down to experience. However, I set the ironing board up (well, Jan set it up. I didn’t know how to do it.) and spent a whole afternoon pressing the creases out of it. On the way to the studio, the dress had two seats all to itself as I was paranoid about it getting creased again.
Anyway, it photographed beautifully and I was delighted with the results. I still have quite a few frames from the day to work on so, hopefully, if my photographic mojo ever comes back I’ll revisit them.
The dress? I left it at the studio for another model to wear on another day. And I haven’t touched an iron since.

Left: Don’t Look Back. Right: The Party’s Over.

THE DANDY

It’s been a long time since I did any work in Photoshop and Lightroom, so I spent a pleasant afternoon yesterday on this studio portrait from just over a year ago at Studio 3 by Severn. It helped that the sun was shining briefly and for a short period of time I could imagine I was indoors by choice.

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