To Shoot for a Client 

Jocks and Nerds magazine is a quarterly published publication for men from London and covers a range of topics, in particular cinema, music, sport, photography and books, as well as thought-provoking commentary features.

Following Marcus's insightful feedback, I reevaluated my initial plan to shoot Chuka in the studio, taking his advice to consider an on-location approach. This shift not only adds authenticity to the images but also aligns more closely with the magazine's overarching vision.

The decision to opt for on-location photography introduces a dynamic dimension to the visuals. It allows us to capture Chuka in authentic, real-world settings, providing a glimpse into her personality and style against diverse backdrops. This approach goes beyond a conventional studio setup, offering a richer and more engaging visual narrative.

The versatility of on-location shooting opens up opportunities to leverage different environments, each contributing to the storytelling aspect of the images. Whether it's an urban landscape, a natural setting, or a unique locale, each location becomes a deliberate choice to enhance the overall aesthetic and resonance with the magazine's audience.

In essence, this transition elevates the project, ensuring that the final images not only please aesthetically but also forge a stronger connection with the target audience. Marcus's guidance has played a pivotal role in steering the direction of the shoot, resulting in a more compelling and relevant visual narrative for the magazine.

Ewen Spencer 

Selecting Ewen Spencer as an inspiration for my project was driven by the distinctive lighting he employs in his images, a choice that resonates with my own use of a single light source. His ability to capture character in photos is both refreshing and aligns well with the aesthetic I aim to achieve. Notably, Spencer's preference for on-location shooting adds another layer of relevance to my research.

In examining his work, it's evident that subjects are portrayed authentically, each seemingly immersed in their own world without overt direction. The decision to shoot on film becomes apparent through the dynamic range and distinctive colors in his images, elements that I find intriguing and worth exploring in my own project.

The use of film introduces a nostalgic quality, and the authenticity of Spencer's subjects aligns with my goal of capturing genuine moments. This discovery prompts me to explore the incorporation of similar film-like characteristics in my own work to enhance the visual narrative and evoke a specific mood.

In essence, studying Ewen Spencer's approach serves as a valuable source of inspiration. By leveraging the interplay of light, exploring the characteristics of subjects, and potentially embracing film-like qualities, I aim to infuse my images with a similar authenticity and depth. This research provides a roadmap for not only utilizing light effectively but also capturing the unique essence of individuals, ultimately enhancing the overall impact of my project.

After carrying out research about the magazine, I found so many interesting featured stories and photographs. Lifestyle and fashion were one of the most popular topics on every cover. 

My Presentation

This was the presentation presented to Marcus

Glen Luchford

Drawing inspiration from Marcus's recommendation, I delved into the work of photographer Glen, who possesses a distinct appreciation for capturing the natural state of his subjects. Glen's unique blend of natural and artificial lighting, combined with his preference for a Contax camera and film, creates a timeless and compelling visual language.

In a particular photograph that caught my attention, a single female model takes center stage. Positioned in the center of the frame, she gazes directly into the camera, holding an animal in one hand and a drink in the other. The model, adorned in a dress, adopts a boxing stance, creating an intriguing and ironic juxtaposition.

One noteworthy element of Glen's technique is the use of a wide lens, contributing to the intensity and immersive quality of the image. This wide perspective not only captures the physicality of the model but also infuses the scene with a dynamic energy.

Inspired by this, I plan to leverage the wide lens in my own project, understanding its potential to intensify the narrative and amplify the energy within the frame. By adopting a similar approach, I aim to encapsulate the authenticity and raw emotion of my subjects, creating visuals that go beyond mere representation to tell a compelling and dynamic story. Glen's mastery of lighting and lens choice becomes a guiding influence, shaping my pursuit of capturing that captivating natural energy in each frame.

Melony Lemon 

Discovering the work of photographer Melony Lemon, I am captivated by her distinct use of color, reminiscent of film saturation despite shooting digitally. One image in particular caught my attention, revealing a deliberate interplay of light and composition that holds valuable insights for my own project.

In the highlighted image, Lemon employs off-camera flash to craft a pronounced rim light, adding a layer of intensity to the scene complemented by the natural sunlight. The result is a dynamic interplay of light and shadow, reminiscent of the tones and dynamic range often associated with film photography.

Notably, Lemon's compositional approach stands out, as she directs the models in a manner that showcases products with commercial clarity. This intentional direction not only highlights the subject but also adds a professional and polished quality to the image.

The photograph was taken on location under bright sunny skies, presenting a challenge that, while difficult to plan at certain times of the year, is not insurmountable. The abundance of natural light contributes to the overall vibrancy of the image.

The key takeaway from Melony Lemon's work lies in the mastery of color grading and the strategic use of rim light, even in conjunction with natural sunlight. As I navigate my own project, I aim to incorporate these elements, leveraging color to evoke a specific mood and employing light to create a visual impact that resonates with the authenticity of the subjects. Melony Lemon's work serves as a valuable reference point, guiding my exploration of color, light, and composition in my photographic endeavors.

My final Moodbard 

First shoot

I took pictures of your friend's book release, capturing the energy and emotions tied to the thoughts he wrote down to stay sane in the hectic industry. These initial images reflect a personal and lively atmosphere, giving viewers a peek into his mind. As you continue, focus on enhancing the emotions and moments with elements like lighting and composition for a compelling visual story.

Second Shoot 

In crafting these images, spontaneity wasn't the driving force. Instead, I drew inspiration from the thoughtful approach of Melony Lemon. The deliberate use of both natural sunlight and an off-camera strobe was a strategic decision, allowing me to experiment with the interplay of these light sources. While I was in the process of refining my color grading skills, I'm content with the overall outcome.

Despite the weather posing some challenges, I took my time in planning each shot, ensuring that the elements came together harmoniously. The fusion of natural sunlight and the artificial strobe added depth to the images, and though my colour grading was a work in progress, I'm confident that it contributed to the visual impact.

As I sift through the set, I'm leaning towards selecting two images that encapsulate the essence of this creative endeavor. It's not just about the technical aspects but also about capturing a mood and telling a story through each frame. Considering the constraints and the planning invested, I'm genuinely satisfied with the outcome and eager to see how these images contribute to the larger narrative of my project.

Final Shoot 

In wrapping up the final shoot, my aim was to portray Chuka as a mysterious figure, allowing the event to speak for itself. His distinctive choice of a red hat with sparkles made him stand out in the crowd. While I acknowledge that I might have made the colors a bit too warm, it doesn't significantly detract from the overall result.

Technical challenges, like the low light conditions prompting the use of auto-focus, were encountered and addressed during the shoot. Despite these hurdles, I believe the images effectively convey the intended mood and showcase Chuka's enigmatic presence. The event's atmosphere takes center stage, and Chula's unique style becomes a focal point within that context.

Reflecting on the shoot, I acknowledge areas for improvement, such as color correction, but the overall outcome aligns with my vision. The essence of Chuka's mystery and the vibrancy of the event shine through, emphasizing the success of the shoot in capturing the intended narrative.

Final Magazine 

The final order chosen for the InDesign layout represents a conscious effort to establish a clear and compelling narrative, in response to Marcus's feedback. Initially, the book images were placed at the forefront, followed by the Gherkin shots. However, recognizing the importance of conveying a sense of time, a decision was made to reorder them chronologically. This adjustment adds a linear progression to the visual storytelling, allowing viewers to journey through the events in a more cohesive manner.

The inclusion of text, featuring Chuka's statements from the interview, adds a layer of context and personal insight. This textual element not only complements the visual narrative but also serves to enhance the overall storytelling experience. By incorporating Chuka's words, the audience gains a deeper understanding of the emotions, thoughts, and motivations behind the images.

Marcus's positive response to the layout affirms the success of this strategic approach. The meticulous consideration of sequence and the thoughtful integration of text contribute to a comprehensive and engaging visual narrative. This final order not only meets the objective of showcasing the images but also effectively communicates the essence of the story, creating a meaningful and impactful experience for the audience.

Conclusion

Reflecting on the entirety of the three shoots, it's evident that the collaborative process with the model, Chuka, was not only successful but also enjoyable for both parties involved. The synergy between us contributed to the positive outcomes of each session.

In the initial set, where I documented Chuka's book release, the energy and emotions captured were a testament to the genuine moments we were able to create together. The collaborative spirit and the shared understanding of the project's narrative added depth to the images, making the process not just about photography but also about storytelling.

The second shoot, inspired by Melony Lemon's techniques, showcased a deliberate effort to experiment with lighting. The strategic use of natural sunlight and an off-camera strobe, guided by inspiration but adapted to our specific context, led to visually compelling results. Despite weather challenges, the planning invested in each shot translated into a set of images that captured the essence of the intended mood.

The final shoot, where I aimed to portray Chuka as a mysterious figure, marked a fitting conclusion to the series. Despite technical challenges like low light conditions, the collaborative energy prevailed. Chuka's unique style, coupled with the event's vibrancy, became focal points, reinforcing the success of the shoot in capturing the desired narrative.

Throughout these sessions, the collaboration was marked by a sense of fun and shared enthusiasm. The positive dynamic between photographer and model is evident in the final images, showcasing not just technical proficiency but also a genuine joy in the creative process. The success of these shoots goes beyond the visual outcomes, illustrating the fulfillment and enjoyment found in collaborative and purposeful photography.