Extra works!

Studio 2, Outside and interdisciplinary work.

1 ‘Ruby Blue’ Photoshoot and ‘Stage Litter’ Poster

I completed all the roles myself with some help from Kate who moved lights around for me when I was holding the camera in order to find the best lighting.

This project was great fun, it began at 9am and went until 5pm with lunch and make up breaks throughout. I organised a pintrest board which featured photos and video inspiration for poses for Ruby Blue and aesthetics for me. I continued to work with her to organise several outfits, and aesthetics to match; as well as props, backgrounds and lighting needed to fulfill the particular vision. I made a time management plan so that Ruby Blue and I could fit in all of her chosen costumes with time for make up and lunch breaks as well as leaving extra time at the beginning and end for setup and pack up.

The photo shoot ran really smoothly, I planned it all myself and I gave Ruby Blue and I both plenty of time to set up and prepare for each new shot. I used several different lighting setups throughout the shoot using a 1 dedo kit and a dedo LED kit. This was a wonderful challenge for me because I learnt not just how to arrange lights but how to do so stylistically, practically and successfully; using backlights, key and fill lights and several different gels in a range of different colours and intensities. I also, with the help of Kate, was able to look through the lens and direct her on the positioning of the dedo’s. This was a great lesson in communication and teamwork as well as professionalism. I learnt how to juggle my professionalism in both my relationship with my talent and my crew.

The three aesthetics Ruby Blue and I wanted to explore during the shoot

After the photoshoot I spent several days picking out the best photos from the bunch and I immediately made them accessible to my talent through Google Drive.

Several weeks later after I pitched my documentary and it was chosen Chamae the contacted me about making a poster for the film with the assistance of a design student Zoe. I then discussed with Zoe my aesthetic and vision for the documentary, I gave her access to all of the photos that had been approved by Ruby Blue along with my favourite three approved photos. After two weeks I was given a first draft from Zoe and sent it off for feedback from Ruby Blue; I then sent back both my feedback and Ruby Blue. The final touches were made to the colouring and the font and the poster was completed.

Stage Litter completed poster

I believe that in doing this photoshoot I fulfilled LO 1, LO 3, LO 4, CLO 3, CLO 4, CLO 6, CLO 8, CLO 9

I these exercises I have learnt a lot about production of things and how well i can work overall. As I mentioned in my self reflection today, this photoshoot and the next, were extremely beneficial to my client and my own self confidence; this helped me become more focused and decisive in the actual documentary process because I trusted my instincts and my vision after seeing it come alive in this project


2 ‘Plum Vomit’ Photoshoot with Plum Vomit and model Isobel Hamer

In this photoshoot for Brisbane artist Plum Vomit I worked entirely alone and completed all the roles myself. I began this project with extensive research into studio photoshoots, taking on the lessons I had learnt from my Ruby Blue photoshoot I made a pintrest board looking at both poses and aesthetics. In this photoshoot I planned a minimal and convertible outfit out with both my talent and I had a time frame of 9am to 2pm to shoot. I wanted to really push my limits and see how many different lighting set ups and colours I could use within a short time frame. I organised for half an hour set up and pack down as well as a lunch break, leaving me with 4 hours to shoot and prepare as many lighting set ups as I could. I also planned out exactly what equipment I would need in order to keep as focused and fast as possible. I used three dedo’s and continuously changed positioning of both the camera and the lights. I played with a number of different Samyang lenses; mainly swapping between the 35mm, the 50mm and the 16mm lens’.

I maintained a positive professional working relationship with both Plum Vomit and Isobel and was able to get all of what I wanted completed. I used 15 different lighting set ups shown below

In some of these lighting setups I used several gels on the same light to change the mood and colour. I also played with how far away the lights were from the talent so that if I used two gels on one light they would blend and the light wouldn’t be as harsh.

All of the shooting ran smoothly and it gave me a great deal of confidence to be able to channel my creativity into something external to university studies and to make it for myself and for my talent’s. The most complicated image I took was the one below, it used;

  • one dedo back light with a double folded red gel to make it extra vibrant, from a low angle positioned close to Plum vomit (right) to light Isobel’s hand and their hair.
  • one dedo as Isobel’s (left) key light angled from her left side to illuminate her nose and cheekbones, also to light both of their hands, it used a light green and light blue gel combination to make a pristine teal colour that moves between both blue and green tinges on the talents.
  • directly next to Isobel’s key light was Plum vomit’s key light which was a dedo with both a red and blue gel leaving a small gap in between for the natural dedo light to come through on Plum vomit’s nose. It was used to light both talent’s with a blue sheen that would blend in with Isobel’s teal key light and back light her hair red simultaneously, while providing a totally different colour effect on Plum vomits face.

Due to all this work, this is my favourite shot from the whole shoot.

I believe that in doing this photoshoot I fulfilled LO 1, LO 3, LO 4, CLO 1, CLO 2, CLO 3, CLO 4, CLO 8, CLO 9 as explained throughout the paragraphs above.

Much like the previous photoshoot I gained a lot of confidence, practical, production and social skills in this photoshoot. I feel that each time I work on a project like this I get better and better and I gain the confidence to keep pushing myself. I also learn more about professionalism and availability, having the photos available for the talent as quickly as possible via google drive and also how to talk with the models, actors or artists I’m shooting. Finding the spot where you can allow them to be comfortable while also working with them to get the best results and not dishearten them by being bossy. I loved working on this photoshoot, it was an absolute pleasure.


3 ‘Monstrous’ experimental short film

Directed by Kate Jorgenson, Produced by Demi Bird, Cinematography by Brielle O’Mullane, Gaffer by myself, Edited by Kaydee Ball.

This was a wonderful short film to work on, everything had been planned to a T and the girls I was working with all worked professionally and swiftly. I was allowed time before the shoot and in between shots to discuss with both the director and cinematographer my lighting ideas and check with them what their vision was for the project. I also spent some of my time in between takes talking with the actress, Isobel Hammer, and making sure she was comfortable and ready for the next shot as the rest of the team discussed creative ideas. It was completed within three hours and it was a wonderful experience.

The finished film turned out absolutely beautiful, it fitted really well within the experimental brief set by their lecturer and the stylistic and mood brief that the director had established with me.

In this experience I believe I have fulfilled LO 1, LO 3, LO 4, CLO 1, CLO 2, CLO 4, CLO 5, and CLO 7.

Overall in this experience I really enjoyed myself, I learnt alot about how positivity rubs off on those around you and that you have to keep positive and focused yourself for your group to do the same. I’ve learnt overall from this project and the other photoshoots that I have a passion for lighting and I am talented and capable in making beautiful photos and video with my gaffing and I can only hope that it continues to get even better!

One clap, two clap, three clap, forty?

By clapping more or less, you can signal to us which stories really stand out.