Amy and Drew
This is the story of a fairy tale wedding, caught on March 11th of 2016. I could not have asked for a better couple or location to capture. I don’t shoot many weddings, but the ones that I do I always view as unique and special. I’m lucky to have couples that give me the leeway to capture their day in my own way. Special thanks for Gary Barragan for backing me up as 2nd shooter.
Congrats to Amy and Drew and may you have a life full of happiness in each other’s comfort.
Message from Amy and Drew:
Drew and I are truly blown away with what Josh and Gary did with our wedding day. Talking to Josh beforehand about the feel I had envisioned was so easy… Because that’s WHY I picked Josh. I wanted our wedding to be art. An expression of how it feels to be around me and Drew: our personalities, our style, but most importantly our love for each other and the commitment we made on that day. One particular shot is truly beautiful in so many ways. Josh and Gary captured the true act of love in a picture of Ezekiel’s hands giving Drew the rings before the vows. This picture means more than a thousand words. Our wedding day was a day full of so much fun, creativity, gratitude, joy, family, and friends. It was very small and intimate, and with your all’s help, it really was a fairy tale. Thank you for your love and support as we embark on our new journey. Josh, you and Gary outdid yourselves. #teamshark Hair- Ana Catalina Perez, Dress made by- Lauren Woods
10 things models do that I love
It was roughly 6 years ago when I started photographing models. I lived in Atlanta at the time, and I started out as many portrait photographers started out…. I shot my friends, neighbors, my girlfriend at the time, etc. I had no portfolio, nor did I know what I was doing. However, that was also the exciting part. I was charting new territory for myself, and I was able to interact with people in the process. Interacting with people is one of the things that keeps me going. It’s one of the great benefits of photography; it’s something that you can include others in… you can create great things as part of a team, and then you can share it with others.
As a photographer that specializes in photographing people, the crucial component, obviously, is the model that I’m shooting. 6 years ago, I was shooting my friends… fast forward 6 years, and I’ve been lucky enough to have worked with hundreds of models, all with unique looks, talents and personalities. I’ve worked with a broad spectrum of skill level, from no experience to those signed with top agencies, such as Wilhelmina and Next. I wanted to write a blog post to serve as a source of direction. This is not meant as an exposé for those that didn’t do these things, nor is this directed towards any specific person. This is information based upon my experience. I’m using a lot of positive examples, with some examples of what not to do intermingled. Models that do the positive things, are the kind of models that I want to work with.
Here we go…
1 – They know how to communicate.
This is where it all begins. The whole process starts with somebody reaching out to somebody. Sometimes the model and I know each other, or we know of each other. Sometimes we don’t. But that first step of communication is crucial, and it’s a first impression that will set the flow of everything that follows. The best communication examples I’ve seen were professional and courteous. If the model did not know me, then they introduced themselves. In the age of social media informalities, I know that this is a bygone expectation. But it’s a good first impression. It’s good to hear how they noticed my work, or if they are mutual friends with somebody. This establishes a connection. It’s also good to hear what they are interested in doing. What kind of work are they looking to do? Is it something that would fit my portfolio needs or be something that I’m capable of doing? If you’re a model looking to work with a photographer, I think it’s better to start with this formal message. I often see models leaving comments on photographers’ Facebook and Instagram images, saying something like “Would love to work with you!” That in itself is not a bad thing. But follow that up with a direct message. You’re going to be taken more seriously if you do.
Another area where communication comes into play is with comfort levels. There should be clear communication and expectations established before the shoot as to what the look and outcome of the shoot is going to be. When a model knows how to communicate well, they’ll feel comfortable expressing any concerns or hesitations with the intended outcome. They should keep in mind, especially for trade shoots, that the photographer and probably others involved are putting time and effort into something that hopefully all of them can feel good about. The worst scenario is when there is communication and everything seems fine during a shoot, then when it gets time to post an image, there is concern about who may see it and who may be offended, envious, etc. This is something that should have been discussed beforehand. To be honest, it’s not the photographer’s problem or the makeup artist’s problem who on the model’s friend list may be offended by what they see. If the work is tastefully done, that is what should matter. It all goes back to clear communication and expectations. When people put a lot of time, effort and talent into something that they cannot share, and expected to be able to share, then that is an issue. That is why it is important for the model to know what their boundaries are and to communicate them clearly up front.
2 – They are punctual
I can’t stress how important this is. It is so basic and fundamental to success in everything, let alone modeling. If a model is on time, it shows that they are prepared, professional, engaged, etc. When they are late, it sends a message that they are none of the things that I listed. It also implies that they value their time more than yours. So when they show up late, it has a psychological effect on all those involved, and the shoot gets off to the wrong start. Take steps to prevent this. Don’t estimate the trip time based upon perfect circumstances. Plan for setbacks, plan for traffic, etc. Make punctuality a priority. Make it a habit. And when you cannot arrive on time, clearly communicate.
3 – They know their bodies and they are comfortable with it.
This one may seem vague and hard to define. So many psychological factors come into play here. One of those is confidence. While the confidence can be boosted or diminished by the photographer, the model should come into the shoot “ready to rock it,” basically. It’s easy to tell when somebody is a fan of the camera, and they want to work to get a great image. On the flipside, if a photographer is spending time getting a model past all their insecurities, then less time is available to actually get great images. The photographer should make it a comfortable environment and flow for the model, provide feedback where they can, etc. This builds positive momentum when the model feels and knows that she is doing well. That in turn makes me feel better about what I’m doing. It’s all reciprocal. It all starts with a baseline, and that baseline is higher when the model is confident about themselves when they walk in the door.
4 – They have a personality
This may seem harsh at first glance. But my point is this… I think that shoots should be fun, and that means having an creative environment with open communication. I love working with models that enjoy the process of a shoot, and are able to have fun with it and still be able to snap into “model mode” when necessary. If there’s no personality, it’s kind of like doing a whole shoot without music. It seems longer. It seems mechanical. And images themselves are much more powerful when they show personality. If I’m getting a grasp of a model’s personality during the shoot, then I have a better chance of knowing how to bring it out in an image.
5 – They promote what we created
The best models that I’ve worked with do this. I think that it takes a little bit of maturity. It also takes a little bit of marketing savvy to realize how this can actually help the model out. It’s realizing that the process is about more than just them. They understand that there are others, potentially many others, that are contributing to the final outcome. They also understand that promotion is a two-way street. Photoshoots are a great way to cross-promote each others’ work. When I shoot with a new model, I want others to take notice. If I had a good experience with that model, I will work to promote them to others. If I’m helping build their success, then that is rewarding to me in and of itself.
6 – They give credit to the team
This is pretty simple, and goes along with number 5. But I appreciate when models spell out who did what in the credits when they post an image to social media. I do the same on any social media post. It’s just plain courtesy, because it’s more than just about me. If I see an Instagram or Facebook feed or album with a ton of professional images, and no credits given to the people that helped create those images, that is something that makes me pass on considering a model for a shoot.
7 – They have a passion for modeling
It’s hard to be great at anything if you don’t have a passion for it. I want to work with the best that I can, and passion plays a big role in that. Models who have passion for what they do will realize that being a model requires work on a continual basis outside of a shoot. This means taking care of themselves physically. Yes, the fashion industry has a rather narrow mold of what a “fashion model” should look like. I’ll disregard that as I please. A model does have to be in great shape. This is one of the aspects of being a model. It takes work, and that means doing the things required to stay in great shape. The other part of this is continually developing oneself as a model. I like it when I see them doing shoots with other photographers, appearing in publications, etc. This shows that they are actively involved in the industry on a consistent basis. I also like to see a model developing in terms of poses and expressions in order to get more captivating images. The more they have the opportunity to practice those things, the better they will become.
8 – They have a portfolio or are building one
A good model will always have a portfolio of their work available. That portfolio should be the best examples of what they are capable of as a model. This is the same for a photographer. If I have a potential client or a model that I’m reaching out to, I don’t say, “yeah… just scroll through my Instagram feed, and you can see what I’m all about.” This would be lazy and unprofessional and a waste of time for the person that I was communicating with. Unfortunately, this is exactly what happens to me frequently as a photographer receiving messages from models. They are often asking for TF (trade work), yet do not have a portfolio put together. Coincidently, the majority of my paid work is doing exactly that… putting together model portfolios. If a model is just starting out, I would highly suggest investing in one or two shoots with experienced photographers that will be able to provide a variety of looks for their portfolio. If a model starts out with strong work, they will capture the attention of others that would be willing to use them for portfolio work or for paid gigs. That momentum will build as they gain exposure and experience…. and a portfolio.
9 – They don’t re-edit the images and they upload the high-quality images
I appreciate when models understand this. They know or have an idea of the amount of work that I put into the editing process. I keep open communication with the people that I work with. And I’m also open to ideas, suggestions, etc for the editing. However, if I spend time editing a photo to make sure that the colors are right and the mood of the shot is right, the reaction I’ll have to seeing an Instagram filter being put over it will not be good. Most photographers that I’ve talked to feel the same way about that.
The other part of this topic is uploading the files when models post to social media. I will usually provide the model with the files that are formatted for social media uploads. Most models do this, and there is no issue. What shouldn’t happen is the model taking screenshots with their iPad or iPhone and then uploading that. This deteriorates the quality of the image and is a bad representation of the work.
10 – They are selective with who they work with
While I would expect models to work with different photographers and build up their experience, at the same time, it is important for models to be able to differentiate between good work and bad work. “Good work” is inherently subjective, but models should have some idea of what is quality work that they can use for their portfolio and what will further their modeling career. If you’re a model and you have photographers reaching out to you about doing test shoots, and you are unsure about their quality of work, you should seek out somebody that you trust in the industry to provide a 2nd opinion. At the end of the day, who you work with represents you, and that can be in a positive or negative light.
I hope that the list above is helpful in some way or another. They are exclusively from my perspective, and not intended to represent an industry standard. However, I am confident that those things will help a model further his or her career. If you’re a model, photographer, makeup artist, hairstylist or anybody in the creative industry, feel free to reach out to me on Facebook or Instagram. I’d love to connect with you!
Appearing in the image above (Louisa Kleinert, Laura Sioux Kirkpatrick and Pam Jean of The Beauty Patrol)
Quiet Fury
James B. is one of the most powerful models that I’ve shot with. When I say “power,” I mean in terms of ability to add dimension to an image. This was a shoot where I wanted to get some solid male editorial looks. I wanted to harness the power of natural light in an ethereal way on my rooftop. We struggled with the elements for a bit. The wind was fierce that day. My 86-inch parabolic umbrella bit the dust in the wind. As I was trying to clamp the canvas backdrop to the panel, the wind blew it loose and it started flying around everywhere. I had a couple of seconds of frustration, then I realized that somebody wanted me to get different, better images than what I had intended. Instead of battling the elements, I worked with them. I asked Scooter to hold a light diffuser right over his head for each set. This change of direction combined with the talent of James led to some of my favorite images that I’ve taken. As I continually strive to “make images that matter” this set is part of that direction that I’m headed.
I wish James the best of luck with kicking off his modeling career. These images are for his portfolio and submitting to agencies.
Model – James B.
Hair, makeup and assistance – Scooter Ray
Photography – Josh Eskridge www.josheskridge.com
Afternoon with Abs
“Abs”… not as in washboard abs on a stomach, but as in Abs, an affectionate name given to Abigail Garrett. Abby is a model from Berea, KY, who has only been modeling a few months now, but has since taken the local area by storm, appearing in editorials in many of the regional publications. She has such a unique beauty to her, that it is often difficult for me as a photographer to not be satisfied with capturing just that aspect alone. But this was a shoot where it was laid back, and we would focus more on interaction with the camera and going through several sets with the styling going from a light summer look, to a hard-light, swimsuit fashion look. The hair and makeup was done by the talented Scooter Ray.
Model – Abby Garrett
Hair and makeup – Scooter Ray
Photography – Josh Eskridge www.josheskridge.com
Fall abstraction
I’ve always found it refreshing to step outside of my comfort zone and dabble in other areas of photography. I think that this helps me keep the creative edge fine-tuned. I decided to take a walk through my neighborhood of Old Louisville the other day when the leaves were in their full autumn color, with a nice, crisp breeze to rustle them about. I took all of these images with a slower shutter speed between .5 to 1 second. This is a break from the norm… which is trying to get the perfect focus and the perfect exposure… the technical paradigms that govern, yet also inhibit our creative vision. It’s letting loose. It’s painting, not with a paint brush, but with light and leaves. It’s liberating.
I think it’s worthwhile for any photographer to do the following….. 1) grab your camera, 2) take a walk, 3) give yourself some parameters or limitations (e.g. slow shutter speed), 4) see what you create.
Liz and Andrew
Liz Lane and I met on a creative project about 3 years ago, and we have since become good friends and creative partners. I was honored and excited when she asked me to be the one to capture her and Andrew’s day. Although the rain settled in and never left, Liz’s happiness greatly overshadowed that. The laughter throughout the day was almost non-stop. The joy of Liz, Andrew, family and friends at this wedding was unshakable. Thank you to everybody that day that made it a memorable day of laughs and photographs! Special thanks to Jim Tincher for 2nd shooting for me and assisting me throughout the day!
Personal message from Liz –
“Thank you to all of our family and friends for making our day so special. It was absolutely perfect, and we will cherish the memories for a lifetime. We hope you had just as much fun as we did!!!”
Water and Rocks
This shoot was a low-key, relaxed evening shooting with Christen McAllister (Heyman Talent Agency) at one of my favorite locations in Louisville, KY, which is Falls of the Ohio. It’s a popular location for many photographers, but the diversity of the location always plays to the unique style of who is creating and when. I was going for results that were natural and elemental, and showed a harmonious beauty with the surroundings. We shot against the jagged rocks with a perfect sun direction, which provided a crisp, colorful light, and then contrasted that with a softer look in the calm water after sunset.
On the way up
My love for photography was borne out of my passion for travel and seeing the world. Every once in a while, I run into somebody that has that same passion. I was in Denver for a business trip a few weeks ago, and I was able to talk Cecilia out of her plans to go shopping for necessary items that day. We hit the road from Denver and booked it down to Colorado Springs, where we drove through the Garden of the Gods. We then began your climb 14k ft up to Pikes Peak, interrupted along with way with many photo opps.
“As we crossed the Colorado-Utah border I saw God in the sky in the form of huge gold sunburning clouds above the desert that seemed to point a finger at me and say, “Pass here and go on, you’re on the road to heaven.”
― Jack Kerouac, On the Road
Jen and Bill
“It’s because this day was a long time coming… but so worth the wait… because you’ve taken your time and built something real…. because you’re so good together…. because you’re both loved very much.” Message from parents to couple.
About a year ago, I was asked by Shannon Pelissero to shoot a wedding for her sister, Jen. The original plan was for it to take place in Las Vegas with a shoot in the desert. Fast forward a year and plans changed to a backyard in Pennsylvania…. and I couldn’t have asked for a better setting for the day! I was honored to capture it alongside Clay Cook of Clay Cook Photography.
A Morning with Miranda
I make it a point to go to Chicago at least a couple of times a year to do portfolio development shoots. I’m fortunate enough to have made friends with creative talent there, as well as in other cities. I think that it is important in one’s creative growth to step outside of your area and network with people from other regions. I’ve worked several times with Andrea Pascalau of Corsei Photography. She played many roles that day, from assistance to styling to location scouting. She let me use her incredible space in Lacuna Lofts on the west side of downtown Chicago. Our model was Miranda Berggren, who was amazing to work with. Being a photographer herself, she was very intuitive to what I was looking for with certain looks and settings. She has this ability to come up with unique poses, but still look fierce, yet graceful… bold, yet beautiful. I highly recommend checking out her photography fanpage, Miranda Ann Berggren Photography. She has an artistic eye, and I’ll look forward to seeing her creative vision grow in the future.
I was also lucky to work with Chelsea Blair of Chelsea Blair Beauty Artistry. She did a phenomenal job with the looks, and was a blast to work with. She is in the process of moving to Nashville, so I would recommend reaching out to her if you’re in that area and looking for quality fashion hair and makeup work.
Pretty in Penguin – Part 2
This blog post is the conclusion and the counterbalance to my earlier post, Pretty in Penguin – Pt. 1. I had the opportunity to work with a great team in Cincinnati. I reached out to Angelo Axel Culvert of Pretty Penguin Studios in order to get some ideas rolling on how this shoot would look and feel. I wanted the day to have two distinct sets and two entirely different looks. I was working with two models that fit the bill for that (Shannon Markesbery and Taylor DiazMercado). Part 1 of the day would be a minimal styling, natural look, and Part 2 would be an over-the-top glam look. I wanted to shoot the 2nd part in Angelo’s studio and make use of the space, working with clothes racks, windows, etc. We wanted it to have a sense of controlled excess. The confined space worked great. It was just a matter of making sense of the chaos.
I had a great team with me on this shoot to make it happen…. Models – Taylor DiazMercado and Shannon Markesbery, Hair and makeup – Angelo Axel Culvert, Assistants – Natalie Darpel, Johnny Ritter and Kevin Kilpatrick
The image of Shannon Markesbery and I was taken by Angelo Axel Culvert.
Hangin with Hayley
While I like shoots that involve a hair and styling team, sometimes I love shoots where it’s just me and the model and we just see what we can create….
Pretty in Penguin – Part 1
I’ve made an effort to step outside of my geography of Louisville, KY lately in order to collaborate with creative minds and models in surrounding cities. A couple of weeks ago, I had the opportunity to work with a stellar team in Cincinnati. I partnered with Pretty Penguin Studios for hair, makeup and styling. The day was broken into two locations and sets. I wanted these sets to be on completely opposite ends of the spectrum. The first set would be a totally natural look using natural light, minimal makeup and very basic styling. I was lucky enough to have Kevin Kilpatrick let me use his brand new studio in Covington for the first time. I loved the rustic look of the floor and walls, which added a lot of texture and character to the images.
I teamed up with Natalie Darpel of Pretty Penguin Studios for the hair and makeup for this first set. The models were Shannon Markesbery and Taylor DiazMercado. They had really diverse looks and expressions, which made it a fun-filled, creative shoot. I also had assistance from Kevin Kilpatrick.
As far as technique, I wanted to use the incredible ambient light in Kevin’s studio. I shot with wide apertures on my 50mm lens. I used a large reflector on some sets for fill light.
Stay tuned for the 2nd part of this series, which was shot in Angelo’s Pretty Penguin Studios boutique.
Oneiric Reclamation
What started out as a conversation among photographers over drinks materialized into the biggest collaborations of talent that I’ve seen in my 5 years of photography. The concept and idea was simple…. 1 location, 8 photographers, 1 model each, 1 image each. The concept revolved around 1 word, “oneiric,” which means “of or relating to dreams.” The planning and coordination that went into it would take months. Project Oneiric was a way that all involved could contribute and see each individual vision come to life. For the complete story on the background and development of Project Oneiric, please check out fellow photographer Clay Cook’s blog post http://www.clay-cook.com/post/79418657163/project-oneiric
As the project developed, each photographer was paired up with a team that included a makeup artist, hairstylist and a stylist/designer. I was excited to be working with all new people with my team (Christopher Caswell, Rick Bancroft and Dylan Kremer). They are each talented in their own way, and using this combination of styles and backgrounds was something that was exciting for me. Each photographer was able to choose their own model for the project. As I thought about what kind of look and skill I would need for the project, I knew that I would need somebody with a diverse look. It would have to be somebody that could focus on the moment and maintain composure in a difficult pose and setting. The first name that came to mind was Brooke Taylor. I had worked with her several times before, and I knew that she would be the perfect fit for the role.
As our team planned the shoot, we knew we wanted something that would fall within the general theme, but made use of the location. I had shot in the Icehouse before, so I had a couple of general ideas. Members of the team also contributed their ideas. We wanted it to be ethereal, but still grounded in reality. We didn’t want us to lock ourselves into one idea in the case that we wouldn’t have the setting or circumstances to make it work. We would leave ourselves open to improvisation. This is something that I’m familiar with, and the creativity style that I’m most comfortable with. Within our arsenal we had picture frames, smoke bombs, antique clocks, etc. We refined our ideas up until the day of the shoot, and had a general idea of what the look of the model was going to be. Christopher Caswell pulled some connections in order to get us a vintage dress and cape that we could use. The hair and makeup was going to be dramatic, but not overdone.
Finally, the day of the shoot came. Excitement, energy and anticipation filled the main venue of the Icehouse as teams started working on their concepts. I think that everybody was in awe at the amount of planning and the visions that were going into each individual set. I had the time to walk around a bit while Brooke was getting her hair and makeup done. Sets were being created here and there….. mannequins, carousel horses, beds…. it was apparent that we were all stepping up in a big way for this. It was a truly impressive sight. However, I knew that I needed to get my own set figured out, so Michelle Patterson Gleckler and I started scouting for our spot. I was somewhat disappointed that the massive hole in the wall one of the floors had been covered over. I had a vision in my head to do some levitation shots of Brooke floating out of the hole. This goes back to my improvisation comment, and why I almost never lock myself into one idea unless I’m sure of the setting and circumstances. We climbed floor after floor up the spiraling staircase, and each floor seemed to look the same…. big columns, dusty floors, little ambient light. Then we got to the 6th floor. The first thing that I noticed was the floor. The Icehouse is currently being totally gutted and renovated for loft condos. The concrete floor had just been jackhammered with the jackhammers still laying on the floor. This created a scene that I will probably never likely see again. Additionally, there was a large opening in wall, that was letting in just enough ambient light that I could use for my exposure. I’m a big fan of mixing ambient light and strobes on location, and this played especially well to our ethereal, dreamy theme. The next thing was…. what were we going to do with this floor? How would we incorporate it into our image? Thoughts ran through my head. Somehow I wanted to the floor to show action… like something just happened. It honestly looked like it just got struck by an earthquake, so this was perfect. I remembered seeing an antique chair in the hair and makeup room downstairs, so Michelle and I lugged it upstairs 6 stories along with my equipment. We placed the chair in the rocks and at an angle with one of the legs buried in the rocks. I would have Brooke falling out of the chair, which would require some assistance and the use of multiple exposures.
The team had finished Brooke’s look. Cell phone pics were taken; selfies were made. It was now time to rock and roll. I had let Brooke know what the plan and concept was going to be, and she didn’t seem to be scared away by it. We had her stand in the chair and Dylan caught her a few times. They were good images, but didn’t have quite the feel I was going for. I also wanted the dress to fill more of the frame, so we brought in a fan and placed it directly under the tail of the dress. That helped somewhat, but I wasn’t quite satisfied with the flow of the dress. With Chris’ ingenuity of tying the dress to the fan with a piece of fishing wire, we were now very close to our final image. We changed our strategy a little bit and had Brooke leaning to the left and Chris was behind her holding her up so that she wouldn’t fall. I reminded Brooke that we only needed one image, and she had to look totally in the moment. We counted to three and she ripped off 3-4 unbelievable poses; they were so good, it was hard for me to decide on which one we would use for the final image. Nevertheless, I knew that we had our shot. The rest would be the easy part. We had bounced around ideas of melting clocks, floating chairs and beams, etc. I had Michelle hold these items in several spots so that I could use them to create a composite afterwards and blend them into the final image. My camera remained on my tripod in the same location and settings for each shot. At the end, Michelle had a great idea to use a broom to kick up the dust that was on the floor. This ended up being a key element to the image. In the editing process, I spent several hours using several layers to create what I thought would be the final image. There were floating chairs, beams, etc, just as planned; however, I had to step back and question that. To me it was a cool effect, but totally unnecessary for this image. I started deleting the layers. I even photoshopped the clock out that I was going to have melting or exploding. What I did end up using was the dust. This gave the image texture, and also made it look as if the floor had just collapsed. I used 2 different layers to brush it into the right spots. I used a base layer of the setting to photoshop Chris, Dylan and Elizabeth out of the frame. Beyond that, the editing was pretty simple. I used some curves layers and sharpened in certain areas. It was much simpler than I had anticipated, but it was just right. We had our image with much less.
I want to thank my incredible team for coming together and each adding their own element of creativity in creating this image. I also want to thank all the people that came out to support the Project Oneiric event. Your support means a lot to all of us. And I’d like to thank my fellow photographers who all came together for the shoot and the event in order to create, support each other and to share this experience. It’s something I will not forget.
Model – Brooke Taylor
Styling/creative direction – Christopher Caswell
Makeup – Rick Bancroft
Hair – Dylan Kremer
Assistant – Michelle Patterson Gleckler
Assistant – Kylie Rhew
Assistant – Elizabeth Morrison
Technical details:
Lighting – Einstein shot into octobox, camera right, 1/8 power.
Camera settings – f/6.3, 1/40, ISO 1250
Black and white behind-the-scenes images courtesy of Michelle Patterson Gleckler. Group shot at the Oneiric event courtesy of Tina Smith.
A Labor of Fashion
There was an evening in early summer when I was sitting in Matthew Tyldesley’s backyard discussing future photo shoot concepts. His backyard was in the process of being re-landscaped. I mentioned that it would be a great idea to do some type of fashion theme in his yard. Matt hesitated because he said that his yard was not finished. My response was that it was perfect, and that the concept would be that the models were doing actual yardwork, but with a very editorial and glamorous style. That is how our concept began, and the wheels were set in motion….
Photography – Josh Eskridge
For the photography and look of the shots, I wanted to do this set in the middle of the day with harsh sunlight. I would use high-powered strobes to match the power of the sun. For all of the sets, I used either a Paul Buff Einstein with a white beauty dish or a ringflash. This would give me a very spectral light that would provide good detail and contrast and that I could really bring out in Photoshop in a stylized way. As far as composition, I shot wide for most of the sets in order to stay true to the theme. I didn’t want to disregard the setting by shooting close-ups. There were plenty of compositional challenges with this…. yard ornamentation, power lines, etc. I did not intend to photoshop these elements out. I loved the challenge of harmonizing the model in their settings, but still composing in a way that boldly drew attention to them.
Hair – Matthew Tyldesley
“For this project I wanted to create a look that I thought would work, given the unconventional nature of the editorial. The look was soft, clean and with minimal volume and with soft waves using a 1-inch marcel iron using an off-base placement. The male model’s hair was styled with volume straight back using a Denman brush and gel. I hope the viewer feels excited, energized and seduced. Thermal heat-Stylers, as well as a lot of finishing hairsprays were vital for sustaining the shape of the hair, especially when dealing with the heat and humidity on that day. We had a great set of models for this collection and hairstyles were created to compliment each model’s features.” Matthew
Makeup – Isidro Valencia
“I approached elegance and simplicity in these looks, focusing on the intensity of color. I used dark eyeshadows and dramatic eyelashes, then I used nude lip colors and a touch of blush followed by bronzer all over the body, thus creating a radiant look.” Isidro
Wardrobe and styling – Matthew, Isidro and Josh
For the outfits, we wanted the swimsuits to be very styled, one-piece suits, that would match our editorial look. We created a Facebook group page weeks ahead of the shoot and collaborated finalizing the looks. The swimsuits had to be special ordered, as you would not find these at your local mall. The shoes were by Steve Madden and Vince Camuto. For our finalized look we wanted the models to have a very pristine and polished look that would contrast with the manual labor theme that we were going to be portraying.
“A Labor of Fashion” was published in the 2013 “Indian Summer” Issue of Vigorè Magazine. The issue can be accessed by clicking the link below.
http://issuu.com/vigore/docs/vigore_magazine_september_2013
Shades of White
Shades of White is the result of an intricate collaboration and melding of talents into one creative statement. The concept started with a general idea, an “all white shoot.” White is the sum of all colors combined. It’s an absolute. Our goal was to take that absolute and break it apart to show the power of nuance, yet remain bold in expression.
Each individual on my team for this project is each masterful in their own right….
Hair and styling – Matthew Tyldesley – Matthew is an integral part of any shoot that I do with him because of his level of creativity with anything that has to do with hair, and his level of engagement with anything that he commits himself to.
“For Shades of White I wanted the hair to be as diverse as the wardrobe and to really showcase contrast within the theme established by our team. I spent a month making custom hair extensions to build the shape of the models hair and used pastels extensions placed in varying placements to create dimension. I also used two of my custom-made wigs that showcase both styling and design. Hair was coiled around varying styling irons to create texture and form for each look. I hope the viewer is taken to a place that is dream like, surreal, beautiful and unique.” Matt
Makeup and styling – Isidro Valencia – I have worked with Isidro Valencia for roughly two years, and I’m always impressed by the unique ways that he can combine colors and his careful attention to detail.
“Sometimes it is hard to match a dark skin just with one shade. The secret is to mix two or three shades to come up with the perfect tone. Before foundation I applied primer to the models face to help the concealer and foundation glide on smoothly. The goal in this photo shoot was to push my makeup skills over the top… to make it unique, distinct and bold.” Isidro
Wardrobe, styling and accessories – Genna Yussman – Genna was the perfect artist to fill this role. She is known for her ability to create fashion out of any material, which really took this shoot to the next level.
“From the windows, the walls, the ceiling to the floor Shades is a clothing line of Amor! The ingenuity of producing this series consists of using textiles that can be found in any modern home, but has to have that certain je ne sais quoi. In creating these very unique garments, stepping outside the box is a must as a designer, and remembering to not stay inside the lines is also important in the evolution of any artist. Ideas for art come from everything, everywhere, at any given time, and it is only our imagination that allows us to open up that window to let people see what it is that we see.” Genna
Model – Aubé Jolicoeur – Born and raised in Haiti until she was 9, Aubé has been featured in Vogue Africa, Marlene Haute Couture fashion lookbook, etc. She has walked in Derby City fashion week and Dayton fashion. She is known for her runway walk and creative poses. Modeling is a part of who she is, and it’s a way to express herself. She will be moving to NYC later this year to pursue her passion.
Model – Anita Mwiruki – Anita was born in Tanzania, and moved to the US when she was 7. She recently started modeling and has discovered that it is a way to express herself. She’s very diverse, and can fit the commercial look with a smile, but also likes to get crazy with hair and makeup with shoots that tell a story. She also loves fashion, and has started her own fashion blog. She will be walking in her first show in NYC this year.
“Style is more than just clothes that you wear, but it speaks to who you are.” Anita
Special thanks to Chris Diaz for assisting with this shoot.
Shades of White appeared in the summer white issue of Vigore Magazine, an international fashion publication, based in New York City. To access the issue, click this link…
http://issuu.com/vigore/docs/vigore_magazine_summer_2013?e=3235647/3990738
