I’ve just heard I’m the Grand Prize winner at the PDN New York awards with this image below. I was walking around Manhattan looking for things to take photos of and decided to cross over the Queensborough bridge. I didn’t realise it would have a wire mesh along the entire length meaning I could take any shots from the bridge over the river. Then I noticed a hole just wide enough to fit my lens through, I didn’t notice the cable car coming and only saw it through the lens. I got 2 shots before it disappeared out of view and this was one of them.
Producing these shots was Triiiiiiiiiiiicky. I now fully understand why they are called IMPOSSIBLE SHAPES. Trying to place something with no perspective, into a real location with perspective was hard to get my head around.
I’ve made these films to show the complex retouch and comping process we went through to make the shots.
Thanks to Recom Farmhouse for the CGI.
Styling: Gillian Hyland and Natasha Freeman
MUA: Erica Schlegel
Retouch: James O’neill
The dramatic landscape of the North Pennines were the perfect backdrop for a series of epic images with windfarms we shot in February. The freezing fog lent itself to some very atmospheric shots… and some numb fingers.
The images are multiple comps, comprised of the landscape elements, the turbines and people, who were shot in a studio in London. Then all pieced together by Gordon at Featherwax.
And here is a little film showing the comping process: