Having known Artist Harland Miller for some time and with his artworks having such strong colour stories, like my work, it seemed a natural fit for us to do a collaboration.
I proposed my ideas to Harland as sketches of models holding books that were bound in his paintings. The wording on the art would relate to the different settings each model would be placed in. The idea also showed a strong reference to Harland’s written works. He loved the idea and so I began to organise the shoot.
To bring my ideas and transform them into my photography, I worked closely with my set designer to make sure the set in each image complimented the colouring and theme of each book cover. For example, the image of the girl in the bath; the tiles in the bathroom match the colour blocks used in Harland’s painting.
For each image, I started with my usual key light – the broncolor Flooter. Depending on the set, I would use the light on its own or add in different gels to enhance one particular colour. In the images of the model on the rug I would use two gels on the same light – each covering half of the light being emitted.
In addition to the key light, I had a broncolor 30 x 120 Softbox with a grid to light the subject’s hair. This Softbox was always placed above and just behind the model’s head to catch the model’s hair and shoulders. As fill lights, I used broncolor 90 x 120 cm and 60 x 60 cm Softboxes to lighten the shadows, gelled with either green, blue or orange filters.
All of the portraits were taken on Rolliflex 6001 with 90/120mm lens, set at f.16 and shot on Kodak ekta 100 ASA film – rated at 80 ASA, to bring more information into the shadow areas. The film was processed at labs in London at + 1/2.
