"Another example is the Xterra
triathlete shoot (top).The strobes are balanced with the ambient morning light.
allowing me to expose correctly for the sunrise whilst drawing the subject out
of the image. I used four strobes here; two people in the water holding gridded
lights, a directional beauty dish with a grid that the model is running into
and a strobe behind the camera filling the scene and creating highlights on his
wetsuit. I'll use whatever light is needed: if the shot calls for ten lights.
I'll use ten; if it only needs one, I'll use one.
"Many of my composite shots are
photographed on location with the athlete in situ. I usually shoot the
background and environment first. I can then plan the lighting of the subject
to match the scene in terms of direction, temperature and intensity. Planning
ahead means I also get the correct perspective and it allows me to extend the
depth-of-field from front to back.
"I prefer to shoot with the Canon
EOS5D Mk II; it's light, fast and allows spontaneity. But I often use the
medium-format Phase One 645DF with the P 65+ digital back because the client
needs the biggest file possible. This brings trickier focusing, shallower
depth-of-field and better lighting; all of which slow down the process. The
choice of kit is a com bination of the needs for the job versus the creative
resources.
"My processing technique stems from
different areas of photography. I learned basic image manipulation skills
during my years as a teacher and a photojournalist. When I moved to the
commercial world, I cranked myskillsupa level. It always start with the same
questions though: Where do I begin? Where does this image need help? It's a
custom process every time. Some images are complex and need 40 solid hours of
post-production; others are simple and only take a couple of hours. However
long it takes, I love making cool pictures and sharing my experiences.
Photography allows me to share my vision in a way that couldn't be communicated
with words."
Miami
Heat NBA star Dwyane Wade foraGatorade campaign. I wasn't abletoget access to
the athleteand location at the same time so I had to shoot them separatelyand
merge them later.
These
are the hands of Tommy Caldwell, considered to be the world's best free
climber. We photographed him for Powerbar, and had him climbing for hours. His
hands told the story of legendary commitment.
I had this pro triathlete crank the
pedals on his bike as fast as he could while I worked from the back of a truck.
I
had visuatised and Longed to do this image before the assignment came in from
TYR. I asked if I could fit it into the shoot and they agreed. It’s one of my
favourite images.
This
is a great example of doing a Lot with a Little. We had a tight budget and even
Less time. The shoot was for Sony and done on a Local college field after a
game. We used everyone on set as extras for background people, shot the players
individually and then assembled the perfect moment, adding the crowds and
Lights Later too.”
Shot
on Location in San Diego for Xterra wetsuits. We had alt the Lighting equipment
and crew in the water well before dawn in order to capture the tight when it was
just right.
This
was a personal shoot that I’d wanted to do tor a white. I used a haze machine
to thicken the air and to give the tight shape. I was Lucky to get the perfect
extension from the athlete within this composition.
Tampa
Bay NFL quarterback Josh Freeman was shot for Activate Water to promote the
product’s value both on and off the field.
This
photo of NFL star Peyton Manning was for Gatorade. The Location was shot first
and then Peyton was shot in the studio. The trick with this image was not to
over-light the athlete.
The
Baseball player was a personal project as l wanted to explore the sport. I
hadn’t shot baseball in a long time and wanted to shoot it from a new angle.
Manny
Pacquiao was taken for a magazine cover. At the time I had no idea who he was.
He had an amazing pi-esence during the shoot. His persona was huge, as was the
50-person support crew he had in tow!
