Fashion Editorial with Barbra

FASHION EDITORIAL WITH BARBRA

I’ve known designer Barbara for a few years now. We’ve collaborated on several occasions (here for example) and became friends along the way. Earlier this year I decided to carve out a day every month for personal, creative work where I invite various people to collaborate and take some photos just for fun. It allows me to experiment, and try things I don’t get to do with paid clients. It also gets me excited about photography again. Barbra’s been on the list of prospective collaborations for this and lucky for me she was up for having some photos taken. We shot a lot with hard light that day, something I’ve always been scared of but I am scared of it no more thanks to how this shoot turned out. We were going for retro vibes - some Old Hollywood, some 1980s. Have a look below.

Hair, Make Up & Styling: Michelle Watson
Studio: Basement49

GEAR
Nikon D850 + Nikkor 85mm f1.4
Tiffen Black Pro-mist 1/4 Filter
Profoto A1 x 2
Profoto B10
120cm Octabox
Softbox 3' Octa
Softgrid Octa
Reflector

Cheerio 2020

Well, 2020 was a doozy, wasn't it? I wrote a bit about my experience during the first lockdown before - remember that? We thought, or perhaps just hoped, that we were out of the woods by that point and life would merrily if slowly, come back to normal. I mean, LOL! At this point, I feel like that old lady in the Titanic wearily announcing “It’s been 84 years…”.

While my first lockdown was filled with making music, reading books about music and taking online music courses, the autumn one was filled with fanatic cooking and baking. Nigella Lawson has always been a huge inspiration for me (I’m pretty much convinced by this point that we’re the same person) but Lockdown #2 took it to new heights. I couldn’t tell whether these were the signs of me transforming into a fully-fledged “domestic goddess” in my 40s, or that a nervous breakdown was imminent. Still, nobody in my flat was complaining, obviously, and being in the kitchen really helped my overall mental health and became an outlet for creativity. Post-Christmas restrictions, however, just plunged me into a state of numbness. Needing an escape, and not being able to plan a physical one, I’ve been reading about Old Hollywood and watching movies from that era (Gilda, Sunset Boulevard, Jezebel, etc). There is something comforting about getting lost in that world. I also found a brilliant YouTube channel with video essays diving into the history of women in Hollywood through the prism of Academy Awards. Not that I’m obsessive about things or anything.

I do miss working and being creative but have been trying not to think about it or look too far ahead. 2020 has been a challenge and an eye-opening experience for everyone (I didn’t realise I had so many epidemiologists on my social media for example) but it’s over now and despite it being generally shit I still managed to take some photos I’m happy with and here’s a selection of them:

And I loved working with Tam Dean Burn on this music video for Louise Rutkowski:

ALBUMS OF 2020
Róisín Machine Róisín Murphy
What’s Your Pleasure? Jessie Ware
Gaslighter The Chicks
Future Nostalgia Dua Lipa
Women In Music Pt. III HAIM
That's How Rumors… Margo Price
Jaguar Victoria Monét

SONGS OF 2020
Murphy’s Law Róisín Machine
No Time To Die Billie Eilish
Levitating Dua Lipa
Ooh La La Jessie Ware
Midnight Sky Miley Cyrus
Gaslighter The Chicks

Horse - Careful

Horse McDonald is a legend and a recent recipient of DIVA Magazine's Hall of Fame Award. Working with Horse is always a pleasure and we've done several different projects together over the years but the publicity images for her critically-acclaimed one-woman play "Careful" are definitely among my favourites. Shot on a cold winter day at Britannia Panopticon, the world's oldest surviving music hall, it was a very low key affair - just us, lovely Marta on makeup duties and a reflector. The play, written by Lynn Ferguson and directed by Maggie Kinloch, is a brutally honest, and at times painful story of identity struggle and self-acceptance and our goal for the promo images was to capture the intensity and intimacy of the performance. Peter Lindbergh, as well as old Hollywood photography from the 1940s, were our points of reference:

Behind the scenes:

And here are some photos taken during the play's run in Glasgow's Tron Theatre:

Old Hollywood

I've always been obsessed with portraits from the Golden Age of Hollywood, especially the ones taken before World War II broke. I remember cutting out those Dietrich head shots by Don English or numerous publicity stills taken by George Hurrell from newspapers and magazines whenever there was an article on stars or films from that era. Sure, more often than not they were the results of painful sittings with subjects who were contractually obliged to have their shots taken by this or that particular photographer whether they approved of them or not and the end results were retouched to within an inch of their life (I find it funny when people go on about Photoshopping these days as if retouching was the digital age's invention) but when you look at those images today you cannot deny the fact that they are timeless. They will never age and they also seem to have a certain air of melancholy about them. I think my preoccupation with that particular style of photography can be seen in my work at times - the shadows, rich blacks, the drama, use of wide apertures, etc. It's not necessarily something I do consciously  - it just happens to be the kind of aesthetic I'm drawn to. I've always wanted however, to do a shoot that would directly pay homage to that era and this summer I was finally given an opportunity to do so.

I've written previously about the amazing Christine Bovill and her Piaf show at last year's Fringe Festival in Edinburgh and this July I was asked to take some publicity shots specifically to promote her Piaf performances - perfect opportunity to indulge my vintage Hollywood glamour obsession. The super-talented Caroline Stewart was in charge of hair and make up and here's a sample of what we managed to create:

At some point during the session I asked Christine to sing a song in order to get a few performance-like shots. After a few spine-tingling verses sung A capella in French, Caroline was reduced to tears. If you've not been as lucky and haven't had the chance to hear Miss Bovill live I urge you to do so immediately - she currently has a residency at Swing on Hope Street in Glasgow and you can see her perform live with The Shiverin' Sheiks every Thursday. Oh, it's free too!

I'm leaving you with a couple of images of a more dressed-down version of Christine take that same day: