Shot a nice little project to promote motorcycle safety that’s now in the market. We were asked to create visuals that illustrated the idea that a rider’s relationship with a motorbike is like a marriage, and sometimes needs tender loving care to keep it on track. The purpose is to promote driver re-training courses for middle-aged riders returning to a motorbike after a long period off the bike.
We were blessed with some really nice bikes and styling on the shoot, and our human talent did a fantastic job with his 2 wheeled co-stars.
Ride safe everyone!
I was honoured when James Burchill at Rumble showed financial services brand Sun Super The Ol’ Boys and suggested they commission the works for their new print campaign. It’s a wonderful feeling to have work come directly out of personal projects. We recreated 5 new The Ol’ Boys portraits especially for them.
This campaign is out now and it’s nice to see them printed very large in some very prominent places.
To see more of The O’ Boys click here
Portrait of school teacher turned boxer Jeff Horn for the Weekend Australian. He has an incredible story on his journey from unknown boxer to becoming the next person to fight Manny Pacquiao!
Had the pleasure of photographing performer turned-entertainment mogul Billy Cross for the cover of The Weekend Australian. We did a range of images in studio and around his home. Billy was a great subject who put a lot of energy into our shoot and the results show. The cover is a nod back to his performing days in male review Manpower. There were so many great images that could have been used. Here’s the cover and insert page along with one of my favs. What a great afternoon
When we were asked to shoot explosion shapes for Old El Paso, I initially thought, “oh yeah, this is doable”. But as we worked our way through the approach, a few challenges came up. I had an idea of how to shoot the stills, in fact high speed photography is like shooting landscapes, most photographers have played around with it in some shape or another. However, when I thought about shooting motion, I started to realise the difference. With a still, we just needed elements, we could piece them together in post, if need be, to make a perfect explosion. But with motion, we had nowhere to hide anything. It all had to happen in camera.
After some testing, I worked out an unconventional way to make the powder create the shape naturally, and most importantly how to reproduce the shape consistently enough to capture what we needed, in camera, and with agency and client watching!
Shoot day at Rokeby Studios was a mixture of tiptoeing around expensive equipment while blasting coloured powder towards it. We shot a number blasts in super slow mo on a RED camera, then shot an equal number of stills afterwards for print. We all huddled around the monitors as we went and ooohed and aaahed at what fed through. It was an amazingly fun shoot. Here’s a behind the scenes pic of yours truly mid shoot.
I’ve posted one of the test blasts here (above). The final ad used a different coloured powder, but this test had a random stem in the middle like a flower. Here’s the final ad below: