Entertainment Tonight (Dec 2015) EXCLUSIVE: Anne Geddes Reveals How She Gets Babies to Pose in Those Insanely Adorable Positions [ONLINE] Available at: https://www.youtube.com/watch? v=8vmZYGbl8pE [Accessed: 12 December 2017]
Without a doubt Annie Leibovitz has to be one of the most famous and influential photographers of all time. Born in 1949 in Connecticut she spent her youth travelling with her family to different countries because her father was a Lieutenant Colonel in the U.S. Air Force. Leibovitz was introduced to the arts by her mother who had a passion for music, dancing & painting. She began showing her creative side whilst taking photographs at an early age around the military bases where they were stationed during the Vietnam War.
Leibovitz originally wanted to be an Art Teacher, she studied painting at the San Fransisco Art Institute but later changed her Master to Photography. It was after this that she graduated and returned to the U.S. that her career as a portrait photographer began.
Portraits can be drawn, painted, carved, photographed or in any other way that creates a likeness to them, their personality or mood.
Captures the personality or essence of a subject. Not just a picture with a person in it. A “clinical” portrait might not attempt to reveal the soul of a person, but it still needs to capture something of that person’s uniqueness — or else it’s not a portrait.
Is staged. While portraits can be candid, even those tend to have some intentionality. The lighting, backdrops, and poses are important, even if they are ad hoc. (Or maybe especially when they are.)
Is commissioned. While this isn’t necessary in a literal sense, in a larger sense portrait photographs are made for the purpose. Someone — the subject, or the artist, or some organization — wants a portrayal of a certain person (or group of people). Even a street portrait of a stranger can fit, based on the photographer’s intention.
Leibovitz portraits over the years can fit into all of those categories but without a doubt she has an incredible ability to highlight a part of a person’s character. She started out as a staff photographer in 1970 for the Rolling Stone Magazine then became their Chief Photographer by 1973. She held this role for 10 years shooting 142 covers, to list a few – John Lennon, Ike & Tina Turner, Meryl Streep, Fleetwood Mac, John Travolta, Bob Marley:
During her time with the magazine she toured with the Rolling Stones. It was her job for which she was paid to photograph for the magazine and their agenda, some were staged but most of them were documenting the life of the Rockstars.
In this interview with Charlie Rose Leibovitz talks about her time on the Tour, she was immersed in what was going on in their career and found it extremely hard to get off ‘The Tour’ when it finished. After battling a drug addiction she attended rehab, ‘The Tour’ had become her life so when that ended she really struggled. She says she had no life outside of taking pictures so she needed help to break free and build a life in order to carry on with her career.
During Leibovitz time with the Rolling Stone magazine her assignments gave her the opportunity to photograph famous actors, bands and artists and was known for her bold and quirky style. It wasn’t until 1980 when she became a photographer for Vanity Fair that she had more free rein and decisions surrounding the assignments she was given. During this time she became well-known for her controversial portraits, she loved being in control and pushing the boundaries, being able to reveal parts of the celebrities personalities that hadn’t been seen before. This resulted in the articles and shoots that she was involved to stand out in publications and Leibovitz becoming a celebrity in her own right… not that she likes being called a celebrity!
Her first book – Photographs, 1970 – 1990 was a way for her to look back and reflect on her assignment work over the first 20 years being a photographer.
She was given some advice by Bea Feitler, Art Director for Ms Magazine at the time, which was the inspiration for putting this collection of photographs together as a book:
You will learn the most from looking back at your work and by looking back you will discover how to go forward
In 2005 she released her second book –
A photographer’s Life: 1990 – 2005
This book very different from its predecessor, it contains her assignment work alongside personal photographs that give an inside look into Leibovitz life during those 15 years. This includes photographs of her loved ones throughout the most difficult period of her life documenting the extreme highs and lows that she went through. ‘ I don’t have two lives, – Annie Leibovitz writes in the Introduction to this collection of her work from 1990 to 2005. -This is one life, and the personal pictures and the assignment work are all part of it’
Leibovitz’ 6 figure day fee might seem hefty but she has been through great lengths to get to where she is now. Between 2000 – 2007 she gave birth to her first daughter, lost her life partner to Leukemia, her father passed away with lung cancer and then her mother died. The pressure of dealing with losing them and not being great with money landed her in $24 Million dollars of debt. After securing a large loan, selling properties, art and lots of legal battles later she managed to pay her debt and retain the rights to her work. That period of her life may have been the lowest but at the same time she achieved great things:
In 2000 she was deemed a Living Legend by the Library of Congress,
In 2009 she was awarded The Royal Photographic Society’s Centenary Medal and Honorary Fellowship in 2009
And with the help of a surrogate, welcomed twin girls in 2005, whom she named Susan and Sam in honor of her lover and father.
In 2007 after the release of her second book she became the first American to be invited to photograph the official portraits of the longest reigning monarch Queen Elizabeth.
The preparation for this half an hour shoot took 3 weeks to prepare, researching previous monarch portraits, their outfits, the settings and how they were lit and posed. On the day of the shoot, Leibovitz had 11 assistants and lots of equipment with her. In an interview with the Telegraph – Women: New Portraits Leibovitz reflected on her time with the Queen during the shoot.
“I told the Queen how much I admired Cecil Beaton, and that I was modelling the picture after his, and she said: ‘You must make your own way, dear.’ She was mad at me for taking in so much equipment. Apparently the Queen has this other photographer who only comes with one paper bag of stuff. She likes her so much she helps move the furniture! I love that.”
Even in the presence of the Queen Leibovitz appears calm and focused, almost as though it’s no different to any other shoot that she’s ever done. She even asked the Queen to remove her tiara so it looked ‘Less dressy’ which The Queen didn’t seem too happy about. It obviously didn’t do too much damage because she was invited back to photograph the Queen again in 2016.
Like in most of the portraits Leibovitz takes out on location, the subject is part of a bigger picture. The surroundings that are included tell so much more about the subject, the time that they live in, the job that they do, sometimes there is a frame within a frame or there’s a scene of activity that gives depth and reality to the picture. They appear to me almost as if they were a Still from a movie.
Examples of this can be found in her latest book – Annie Leibovitz Portraits 2005 – 2016, this inspiring book is the weight of 10 books, It’s a showstopper that I will treasure in my Photography collection forever.
Most of the photographs are 2:3 landscape ratio. She lights her subjects using strobes and soft boxes in a way that enhances and doesn’t interfere with the ambient light of their surroundings whether it’s shot inside or outdoors and the result is a very natural looking image. This takes me back to an interview that she had with TimesTalks:
When asked about her photographs being ‘un-varnished’ Leibovitz seemed to struggle with a clear answer to what she was being asked. What I think by that term is that perhaps she means they don’t look like they have been over-processed in Photoshop. Which with the limitless possibilities there are these days in post production, many photographers are much better photo manipulators than they are photographers, whereas Leibovitz spends more time getting it right in camera with the soft lighting and subject position in the frame resulting in the image ‘appearing’ more real.
In reflection she says that she thinks the body of work is strong, not the individual pictures, but the accumulation of the book is important.
One of the things that I am drawn to the most in Leibovitz work is the power she has to build the connection with her subject and the camera. Although it is something that she says should not be the sole responsibility of the photographer, it has to be a collaboration. In many of her images, the look in her subject’s eyes, more often than not, dominates the narrative of the image. People often call eyes the windows to the soul, Leibovitz demonstrates a great power in the connection she gets with her subjects and the camera.
As a portrait photographer myself I know how important it is to get the model relaxed before any photographs are taken. When working on the cover shoots for Kookie Magazine, we’ve had a couple of confident girls that just oozed personality from the start and others that you needed to talk to and find some familiar ground with first before any photographs can be taken. There’s no script for this either, it usually results in me making an idiot of myself so they can see they’ve got nothing to be nervous about.
In an interview with Michael Schacht he describes his gentle approach which is similar to my own and probably most photographers. “It’s a vulnerable thing being photographed. It’s not abnormal for me to sit and chat with people for 20 minutes before I photograph them. I’m timing myself; I am watching for a look in their eye… Once I see it, I know we are ready to start photographing.” Like with Leibovitz it is about the human connection.
The eyes are the place one looks for the most complete, reliable, and pertinent information” about the subject. And the eyebrows can register, “almost single-handedly, wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation, in infinite variations and combinations.
Author and Artist Gordon C. Ayma
In a study titled – ‘Why we tend to show our left side in pictures’ it claims that most people turn their face to the right to show more of their left side.
Looking at historical portrait paintings and photographs there was around 60% of the subjects were turned to the right, showing the left side of their face. Sam believes this favoritism for the left side of people’s faces, or a subject’s natural tendency to highlight that side is related to the part of the brain responsible for its use. He explains that the left half of the body is controlled by the right half of the brain which is also responsible for emotion and communication, making it more pleasing to look at and more likely to convey emotion.
Many people commented under this article, some claiming it was utter rubbish and others totally backing the theory.
I’m not sure about that. I’m by no means a neuroscientist, but from what I’ve read neural crossover is a very real thing. Check out the corpus callosum — if someone is missing this structure they can draw a circle with one hand while simultaneously drawing a square with the other. Certain regions of the brain are responsible for certain activities. For example, the rhombencephalon (sometimes called the hindbrain), located just above the spine is responsible for many of our base functions. While I haven’t studied the anatomical structures referenced in this video I don’t think the conjecture requires too much of an intellectual leap. Plus it was meant to spark a conversation. Thanks for your input!
It’s because the majority of the world read words from left to right and as a result we naturally read images in this direction too. Therefore the brain more easily accepts the face or portrait reading into the face as opposed into the back of the head. It is also the most common direction of lighting into still life subjects in many of the old masters paintings. Much of my work is shot the same way although not necessarily intentionally, other times the environment you are shooting in dictates the direction your subject faces http://karltaylorportfolio.com
Either way, Leibovitz may follow other historical techniques like Rembrandt lighting but when it comes to posing she occasionally has them facing towards the left side of frame but it’s not something I see a lot in her work. More often they are positioned straight on to the camera or facing towards the right side of the frame.
“I no longer believe that there is such a thing as objectivity,” she once said. “Everyone has a point of view. Some people call it style, but what we’re really talking about is the guts of a photograph. When you trust your point of view, that’s when you start taking pictures.”
When asked if Leibovitz had a life philosophy – “Not really. Work hard, be with your family. It doesn’t really add up to anything I’d embroider on a pillow,” she laughs. “I try to be home for dinner, but I’m not there enough. I sometimes feel I’m still fumbling, getting it wrong, but I make my way.”
So it’s endearing to know that even on a day rate of between $100,000 and $250,000 that she still has simple goals to work hard and make sure she is home for dinner to spend time with her family!
Leibovitz is an inspiration not only because she is one of the most well known female photographers carved in history but also as an incredible female role model and educator.
She has photography classes available to purchase online, these are similar to many other photographers that I follow like Kelly Brown and Sue Bryce. You can purchase single classes or pay yearly to access everything. Every year I invest in education, workshops that are related to my photography or building my business. This is so important, especially for ideas and inspiration. I hope to one day be able to pass my knowledge on and become an educator so having the opportunity to learn from the best photographers such as Leibovitz who has spent her whole life in the industry is such a privilege.
As I get older I understand my role in it all, the power of the body of the work; it has such a weight, a story.
In my early days of photography I was drawn to capturing fleeting moments, milestones, the memories that we will forever look back on with a full hearted wrench. I then chose to develop Photography as my career, attending college and University as well as extra tuition for the area that I wanted to focus on – Newborn Photography, Portraiture and Weddings. I knew my end goal was to run a successful business providing those services. It has been such an enjoyable journey, having Photography skills and experience as well as editing and everything else that falls under the bracket of running your business has opened so many doors that were never part of the ‘Great Plan’ in the beginning!
One door that it opened for me was in Advertising, a part of the Photography Industry that never interested me until I ended up there and it revealed a whole new direction.
Small Back-Story – In 2015 I was asked to do an Interior Shoot for a quirky little shop that was opening up in the village of Overton in North Wales. It sold beautiful homeware, that was all locally made and often one-of-a-kind pieces.
The shop belonged to two ladies who both had their own full-time professions, a Magazine Editor and Textile Artist but were running it together as a side project. We got on really well and Viv (Editor) had mentioned that she also had something else in the pipeline, wasn’t sure if was a definite but would get in touch if it went ahead. I then didn’t hear from Viv for some time, I think it was early 2017 when she contacted me to ask if I would be interested in doing some test shoots, she wasn’t going to be able to pay me in the beginning but it was for a great new project that she was working on and if it worked then we could discuss payment.
We got together and she briefed me on the project, they were starting up a magazine different to anything else that is available for young girls approaching their teenage years. It was to be a fun, inspiring, creative, completely ad free and have no reference to anything related to image, make-up, Boy Band Heart throbs etc which is the mass content of almost all current girly magazines:
I fell in love with the ethic behind the idea for the magazine, at the time my daughter Sophie was 8 so this was something I felt really drawn to get involved in. I hated the junk that was in the magazines that she occasionally bought.
This was going to be the vein of the Kookie Magazine.
From the article…
“You don’t need to be pretty, perfect or compliant to be loved.”
That is the message photographer Kate T. Parker wanted to use to empower her girls when she started taking their pictures three years ago. You won’t see any dolls or pink tutus in this heartwarming, energetic series that beautifully showcases what it means to be a girl now. Parker, a photographer based in Atlanta, Ga., turned her lens on her daughters as a way to encourage them to escape the stereotypes imposed on young girls and celebrate their strengths and interests. Parker’s message to her daughters, aged 5 and 8, is “be strong, be yourself, be honest and celebrate who you are.”
‘CELEBRATE WHO YOU ARE AND WHAT YOU LOVE’ As a mother I honestly couldn’t think of a better piece of advice for my daughter.
Jumping Forward to 2019 – We have just completed the 5th Issue of the Kookie Magazine, it is a quarterly publication and the brief for the cover has been simple and the same throughout:
Studio shoot using soft lighting to look as natural as possible against a light backdrop so that illustrations can be added around the model.
Waist to Head in the frame
Fun, energetic, smiling, laughing, engaging with the camera
Although simple in the brief, the technicalities are always never so simple. Firstly I had to get the girls to be relaxed in front of the camera (which usually involved me telling them embarrassing stories about my childhood uuurgh) or stupid dances to get a giggle. I also had to capture the girls when they were moving and jumping and larking around. I had to use a fast shutter speed, in order to do this I needed more than just the natural window light and had to use a mixture of lighting – lowest setting on my strobe and placed almost directly in front of the model but slightly off to the left, similar to Butterfly lighting, the placement of the light here means you don’t have any harsh shadows on one side of the face, it is evenly lit with a gentle shadows under the cheekbones and chin and under the nose.
After each shot the images were shot in colour and sent over to the Kookie Team. They on average narrowed it down to 2-4 images which they thought could make the cover and then I would edit those and convert to Black & White for the final submission to them. When we were on the 1st issue I initially thought it a shame to have them in Black & White, personally I preferred the colour but I quickly realised how brilliant it was, the colourful illustrations around them are a perfect frame and your eye is drawn straight to the model. It also connects all the girls who are all wonderfully different in so many ways but united as one.
Without intention, my photography has led me into the world of advertising which might lead to other opportunities that I also hadn’t looked for like shooting for other magazines or more commercial clients etc. Although it would have to be for something that I truly believed in and wanted to promote for example I would only work with companies that matched my ethic, were focused on helping people, eco-friendly, not tested on animals etc.
Advertising is something that surrounds us like air! Unless you are lying in a field with nothing around you but nature you can’t look anywhere without seeing some form of advertising… it’s in what people wear and use, it’s on the radio, television, newspapers, magazines, internet, mobile phones, radio, press, billboards, sponsorships, posters, packaging … the list goes on and on and dates back to ancient times. There has been evidence that shows the Egyptians used to make sales messages, wall posters and political campaigns using Papyrus – thick paper made from the pith of the plant:
So even as far back as then advertising was a necessity for communication. Up until the 16th century before printing was used, advertising was done in every way possible, using signs, symbols, trademarks, posters & town crier
After this period, newspapers and magazines were introduced as printing processes were developed.
In Britain, during the 20th Century Thomas J Barratt was regarded as “the father of modern advertising” He worked for Pears Soap Company creating slogans that targeted the higher class members of society.
From here onwards companies followed with advertisements focused on targeting their perfect clients. We are all consumers, we are drawn to certain things relating to the type of people we are or who we want to be.
What is the psychology of advertising?
Basically, the psychology of advertising is the combination of many different interests and variables that seek to predict the psychological trends of consumerism.
Every advertisement has a message to influence you, this is what advertising is, finding a way to tap into a persons desires and anxieties to get your attention. This was the reason that I was never interested in pursuing a career in advertising photography because I felt that there is always a hidden agenda with every advertisement you see. I hate that even today women are still objectified and girls from a young age are being hypersexualised.
Since being involved with Kookie Magazine my opinion has changed, it’s so exciting to be able to be involved with something that advertises something so inspiring that it’s carving a new path for our young generation of girls, empowering and encouraging them, proving that we are all equal and the sky is the limit.
The information on here has been taken directly from the Photoworks website and contains the information for the Awards which are every 2 years and only for applicants not in part or full-time education.
Submission for this was 5th November 2018, the 2019 date hasn’t been released yet.
1. Expressionless subjects will undermine beautiful posing, superb lighting and a gorgeous location.
2. Holding onto the print’s “emotional baggage”—all the things that went on before and after that are not visible.
3. Not assessing the image under the right light: f/2.8, 1/125th of a second and ISO 100.
TIPS FOR SUBMITTING SUCCESS
1. Make small work prints and place them near your work area. After a few days, turn them upside down. The problem areas will be revealed more easily as you disconnect from the emotional construction of the image.
2. If you can see it, we can see it. Examine your prints minutely for problems—again, upside down.
3. Don’t leave making your entries to the last minute. You don’t deserve the anguish, stress and increased courier costs.
4. Bring your entries in 6 x 4-inch prints to WPPI. You can show them to others easily and if you’re chatting to a judge after the event, we can draw corrections on them for you!
David Anthony Williams is a seasoned WPPI judge. This year’s live judging takes place Saturday, February 24, and Sunday, February 25, 8 a.m.-6 p.m. at the Great Hall in the Excalibur Hotel, Las Vegas.
Every month Kelly will do a live critique on her Facebook page of images that have been sent via the monthly submission. Only a handful are selected so even if yours isn’t you can still learn a lot by the feedback on other peoples images. This is a really good opportunity to learn how to improve your images.
My proposal for this year consisted of 3 main objectives:
Enter competitions to raise my status
Learn how to market and sell to my ideal client
Earn more money – Fine tune my business to save money & increase my prices
In this Blog I will be looking at how I can fine tune my business to save time & money.
Current Studio Expenses:
Studio Rent & Bills
I also have many other expenses in regards to the business but these will continue wherever I am based. The ones above are what I am looking at removing.
At home we have a separate annex which I am going to convert into a studio – Which will save me nearly £5000 a year!
I have spoke to our home landlord and they are happy to write us up a contract which will take us to May 2020 and then the idea is that we will be buying our own home and I will be converting a garage or building a studio in the grounds.
The main room is 10ft Wide x 14ft long and then there is a toilet/shower as well. It benefits from a high ceiling, it’s not a huge space but I only want to focus on babies which I don’t need lots of space for and Weddings which I don’t really need any space except to have a meeting.
I will be looking into space saving & dual purpose ideas.
TIMESCALE – Leaving current studio 28th February – New studio needs to be ready by mid March because I have Newborns booked in.
To Do List (FEBRUARY):
Replace Carpet with wood flooring (permission needed from landlord)
Clean & paint everywhere inside
Buy a Pantograph rail system for my lights so they can be off the floor and pushed up when not needed
Buy a backdrop system, rails, shelving, storage
Fold down changing tray
Buy 2 chairs and a table or have the little sofa I own re-upholstered.
Buy Kettle, mugs etc
Have a sign made for outside
New samples – Wall art / albums
New Business Cards & Flyers
Update website & google details
Order backdrops & smaller beanbag
Bring heavy duty racks from old studio to use in the alleyway to store my large props
Work out what Kamila & I will do with our shared props
Move all my studio equipment & props to here
Speak to Bowen Son & Watson to let them know I’m leaving end of Feb
Make an appointment with Lloyds to take myself off the joint account with Kamila
Outside the Annex:
To Do List Outside (FEBRUARY):
Sand & paint doors & fascias
Clear gutters & clean windows
Clear the alleyway entrance, power-wash walls & floor
Garden – Cut back all the overgrown bushes and trees outside the glass doors to allow more light in
I have a budget of £2000 to get everything done
The aim is to save money in the long run but I will still have to spend some to get everything right. All of the manual labour like sanding, cleaning, painting, gardening etc I plan to do myself to save money.
Main costs –
Pantograph ceiling systems are around £500 & then there is the wood flooring, I’m not sure how much that will be until I get some quotes.
PLANS (To Scale)
TIME SAVING BENEFITS WORKING FROM HOME:
During the winter I had to drive to the studio at 6am to put all the heaters on; there is no heating so we have to use plug in heaters, then come home to take my kids to school then go back to the studio. We had timers on some of the heaters but they didn’t work on all of them so I had to manually do it. It is a 40 minute round trip (16-22miles depending on route) to get to the studio so for each shoot I was driving for 80 minutes (32-44miles). BASED ON 2 NEWBORN SHOOTS P/W I WILL SAVE 160 minutes of driving.
I was spending 1-1.5 hours setting up for each shoot plus 1 hour to put everything away. Sharing the studio with Kamila meant that we each had to clear the studio after each of our shoots. BASED ON 2 NEWBORN SHOOTS P/W I WILL SAVE 4 HOURS SETTING UP AND CLEARING AWAY
Every time I received an enquiry before I could offer any dates to clients I would have to check with Kamila what was free and then contact the client with the available dates and then let Kamila know which one they confirm. And Kamila had to do the same with her enquiries. Lots of clients want weekend slots and when there is on average only 8 a month it only left us with 4 days each. BASED ON CONVERSATIONS BETWEEN US TO ARRANGE BOOKINGS I WILL SAVE AROUND 0.5 HOURS P/W
There has been a few incidents recently where Kamila’s clients have been recommending her when someone posts on social media for a Newborn Photographer, and one actually posted online that my business no longer existed and that it was only Kamila at our studio. Awkward situation, it was rectified fairly quickly thanks to a friend of mine seeing the post made about me and set her straight. When we set the studio up together Kamila had no intention of doing Newborns, she didn’t enjoy doing them and thats what I was specialising in so there was no problem with us sharing. But because Kamila does maternity photos she has been doing some newborns and at half the price of what I charge. Which was going to start looking confusing to clients that they can go to her and have their shoot in the same studio with the same props as me but at half the price! And Kamila is a brilliant photographer, so why wouldn’t they pick her and save money.. I would! MOVING TO MY OWN STUDIO WILL SAVE ANY CONFUSING & AWKWARD SITUATIONS
Client Parking – No parking outside, the nearest was the multi-storey across the road which is not good for a new mum with a pram. The lift is regularly out of order, there’s been lots of problems with drug addicts in the stairwells and there’s only one pay-station on the ground floor so if you park on the other levels you have to walk all the way down to get a ticket then go back to your car to put it on then back down to leave. The next nearest is Island Green Car Park and that’s a good distance for a mum to walk, especially if she’s had a c-section. CLIENTS WILL BE ABLE TO PARK RIGHT OUTSIDE MY HOUSE
Stairs – Clients had to climb a flight of stairs and wither carry their pram up or leave it at the bottom and carry the baby up. CLIENTS WILL BE ABLE TO BRING THE BABY STRAIGHT THROUGH TO MY STUDIO WITHOUT THE NEED OF A PRAM OR STAIRS
The location of the studio was great in the fact that it was in the centre of Wrexham but it was quite embarrassing to hear the foul language that people use in that area, Parents swearing at their kids, drunks arguing outside my door, drug addicts loitering around & general arguments between people. The old single pane sash windows in the studio didn’t mute any of it and I was constantly apologising to clients for what they could hear. Also the noise pollution from the traffic, sirens, road works, football fans all contributed to a noise level not ideal for newborn sessions. I WILL BE BRINGING CLIENTS TO A QUIET & DESIRABLE AREA
My client demographic will shift so I will be able to increase my prices in relation to photographers in my area. INCREASE MY PRICES
There is lots of photography business’ in Wrexham, photographers that are setting up studios in the town centre so the competition in that area is rising. I WILL HAVE THE ONLY STUDIO IN OVERTON
NEGATIVES OF A HOME STUDIO
It might appear that I have taken a step backwards?? Moving away from a central location.
Until I start working in it I won’t know how i’m going to cope with a smaller studio
…..struggling to think of any negatives atm, will have to come back to that one!
It was an exciting night for KOOKIE Magazine at the British Society Of Magazine Editors Awards in London….. winning LAUNCH OF THE YEAR!!
Unfortunately I wasn’t at the ceremony and it was such a surprise to Vivien Jones – Editor and Co-Founder of the magazine that she didn’t manage to get any footage at the time. Apparently the front cover of KOOKIE was displayed on the huge screen as she accepted the award… I wish I’d been there to photograph it!
Since then I’ve done a promotional shoot for Vivien to be used in articles promoting the magazine. Keeping in style with her previous shoot and the KOOKIE vibe – simple, clean, fresh, bright, natural:
Back in 2017 when I was asked to shoot the 1st cover I was so excited, not only because it was my first ever cover shoot but because of what it was for. I love what this magazine is about, it’s fun, educational and at the same time shows girls a world of possibilities and successful female leaders and entrepeneurs that they can aspire to be.
We are now working on the 6th edition and it’s been a huge learning curve for me:
Working to a strict brief & time frame
Consistency throughout the shoots – connection with the model, lighting, edit