litebook

2010 Issue 4.

the creative lighting magazine

James Nader
#1 ranked fashion
photographer

Jack Eames
More top tutorials with

Christian
Hough
Find out why the

London College
of Fashion

Goes back to his roots

Behind the
Scenes
with Chris Reeve

celebrates dynamism and diversity PLUS we catch up with two of their

top MA students - Sophie Pycroft & Camilo Echeverri

ashion
can
be
bought. Style cant.
David Bailey once
said that when he died he
wanted to go to Vogue.
But there again he also said
he never cared for fashion
much. He described it as
amusing little seams and witty little pleats and
he added It was the girls I liked.
Well theres no such confusion with our key
photographers in this special fashion issue of
Litebook.
James Nader is internationally acclaimed for his
technically brilliant fashion shoots - and he
studied early Vogue photographers like Albert
Watson and Patrick Demarchelier on his way
up.
Fashion and hair shooter Jack Eames had a
different journey. He started by photographing
prostitutes in Southampton back alleys.
Also in this edition we take a look at whats
going on in the really cool world that is The
London College of Fashion.
And remember the old movie Ice Cold in Alex?
Take a look at our picture version: Ice Cold in
Essex...and see what we put photographer
Chris Reeve and his model through on a
seriously challenging Bowens marketing
campaign shoot.
And Ill leave you with these intriguing thoughts
on fashion from Richard Avedon, one of the
worlds greatest-ever fashion shooters:
I am not interested in the technique of
photography or of camera. I am not interested
in light. What I want is light in which the subject
is free to move in any way without falling into
an ugly light. So that I can get to them, to the
expression they make. If I could do what I want
with my eyes alone, I would be happy. The
camera gets in the way.
If only photography really could be that
cerebral.
David Hollingsworth.
Editor.
Cover Image: James Nader
www.jamesnader.com

03. News
Bowens launches a new easy-to-assemble range of Octo
softboxes. Also, check out our line-up of top photographers
who will be hosting live demos on the Bowens stand at the
Societies Convention in London.

04. James Nader

A unique 21st century photographer.

12. Behind the Scenes - Ice cold in Essex

The real challenges of a Bowens marketing campaign shoot.

14. Jack Eames

In constant pursuit of perfection.

22. Working Space - The LCF

The London College of Fashion - possibly the coolest place
on the planet to learn about photography.

24. Sophie Pycroft

Imagination is more important than technical skill.

27. Camilo Echeverri

When it comes to lighting I love the sun and Bowens battery
packs.

30. Top Gear

I cant see anything on the market to beat Bowens new
Octoboxes. - Steve Aves.

32. Hough To:

On reflection: how to maximise daylight when shooting
indoors.
litebook: Published by Bowens International Ltd. 355-361 Old Road, Clacton-On-Sea, Essex, CO15
3RH. Tel: +44(0)1255 422807. Email: info@bowens.co.uk Any prices quoted are correct at time of
press but may vary by retailer and are subject to change at any time. All models and technical
specifications featured are subject to change without notice. Bowens and the power behind the
picture are registered trademarks of Bowens International Ltd. 2010 Bowens International. E&OE.

Now weve launched new-look, rapid assembly Octoboxes

owens has completely redesigned its awardwinning Octo150 softbox and added a smaller,
highly portable sibling the Octo90.

The new-look Octo150 now features a zip and lock

design for super fast, easy assembly.
Unique to Bowens, the Octo features a perfectly round
front diffuser to create pleasing and natural round catch
lights in the subjects eyes in portraiture.
Additionally the light is mounted inside the Octobox facing
the rear, away from the subject which creates an
enormous reflected soft light and eliminates hotspots. And
due to the fact that there are no extra layers of diffusion
fabric between the light source and the front diffuser, it is
a very efficient piece of equipment which can be used in
conjunction with a relatively small flash such as a
Bowens Gemini 500.
The new Octo90 version has all the features of its bigger
counterpart but in an even more portable format.

This new model (Order code BW1640) ships with two

inner tone reflectors (one gold,
the other silver and gold)
which can be used to
warm up the light and
help
create
more
natural and healthy skin
tones.
UK lighting expert Steve
Aves said: Ive tested
these new products and
frankly I cant see anything else on the softbox
market to beat them.
Nobody really likes putting up a softbox or
taking it down.
But the Bowens boffins have obviously
had their thinking caps on because these two new Octos
are a real breath of fresh air. Sound design, quality
materials and some neat extra touches.

Roll-up. Dont miss our exclusive FREE seminar

sessions at The Societies Convention

Its a first for us at The Societies Convention (Jan

10-17 Novotel, Hammersmith, London). Weve
planned a superb rolling seminar programme
each day on a specially prepared stage in our Stand
area. And its completely FREE on a first come, first
served basis to all Convention visitors.
Well have enigmatic north of England-based fashion
photographer Steve Collinson (In extremis hes quite at
home using a tin lid from a Roses chocolate box to bounce
light into peoples faces. But dont worry, at this show he
promises to employ the rather more reliable Bowens
alternatives.)

Christian Hough, Litebooks resident lighting tutorial expert

will be on hand with highly original live demonstrations and
world-acclaimed
award-winning
portrait
photographers Trevor and Faye Yerbury have signed up
too.
The iconic Edinburgh-based duo has gained international
status for stunning weddings/portraits and classic nude
photography - and all (or most) will be revealed at these
exclusive workshops.
Remember its all FREE.
Demos will run in 30 minute slots starting at 9:30am until
5pm each day.
We look forward to seeing you at the Novotel West.

www.bowens.co.uk 03

Profile

04 www.bowens.co.uk

James Nader

How to
make a fashion
statement
T

ype fashion photographer into Google

and the first name that comes up is James
Nader.

A pole position he has kept for years.

He admits that it helps to have had previous involvement
with a marketing and specialist web development
company: I did pick up a few tips along the way...but the
downside is that I get a lot of spam too, he confesses.
Merit might be another reason he is leading from the front
when it comes to exposure.
James (48) is now widely acclaimed for his technically
brilliant fashion photography but his holding company,
James Nader Productions Limited ensures the
eponymous photographer also continues to embrace a
wider range of photo-disciplines.

www.bowens.co.uk 05

Under that all-embracing commercial

umbrella he also heads up
Photoworkx, a commercial studio
set-up handling people and product
shots, digital retouching and
compositing and Artworkx which
provides original art photography and
specialist framing for hotel and
galleries internationally.
Says James: General agencies may
expect you to be an all-rounder but I
can photograph plain old nuts and
bolts with the same level of
dedication that I employ when I am
shooting fashion with a top model.
A recent featured photographer for
Gok Wans How to look good naked
TV show and also Channel 5s The
gadget show, James has built a
name for highbrow editorial imagery
and expert retouching and composite
skills.
And he can thank a punishment from
a tutor way back on a foundation
course at Wolverhampton University
for his photographic evolution.
I was learning about graphics and
painting but when one day I
decided I didnt want to go on a
French trip he handed me a camera
and told me to spend the day
photographing the city cathedral. I
did it but I also spent time shooting
portraits of my girlfriend...and I just
got the photo-bug after that.

06 www.bowens.co.uk

I can photograph plain

old nuts and bolts with the same
level of dedication that
I employ when I am shooting
fashion with a top model.

James then committed himself to a

three year BA Hons degree course.
He excelled and was immediately
offered the chance to assist a leading
photographer shooting Freemans
catalogue commissions.
I was really looking forward to it but
it all got cancelled at the last minute
so, very disillusioned with the whole
thing, I simply exited photography for
a while and went to work at my
fathers engineering company.
But the photo-bug returned with a
vengeance and James moved to
Athens. I knew there was a thriving
creative magazines market in Greece
at the time he tells Litebook: I
worked there as an assistant for a
while before returning to the UK,
where I started to win business
working with various menswear
clients.
I was shooting transparencies,
medium format it was all boxes of
film and Polaroid. I remember
trashing the then new world of digital
and predicting it would never catch
on. I swore I would never succumb.
But the truth is that when I did it
completely liberated me.
I had been professionally darkroom
trained. I printed my own black and
white work and I learned old
fashioned printing techniques....but
the switch to a digital darkroom just
freed me up.
Being in control of my pictures and
not having to process everything on
a roll of film.......wow that was a giant
leap forward.

I had been professionally

darkroom trained.

I printed my own
black and white
work and I learned
old fashioned printing
techniques....but

the switch to a

digital darkroom
just freed
me up.

He adds: Now you just have to have

a digital workflow and employ
Photoshop /Lightroom software.

www.bowens.co.uk 07

I love the Bowens range.

The company has been around
a long time. I kinda grew up
with the brand really.

But its also about not losing detail in

the switch from colour to black and
white. Its still all about the detail;
dodging and burning in - all of that
stuff is still applicable. Its just that we
no longer do it with chemicals;
instead were doing it with computer
light.
Digital is quite throwaway. Now with
the lighting set-up I can set it at f11`
and go a bit darker or lighter. Whereas
in the old days you couldnt do that
because it was wasting film and
Polaroid.
I can experiment with my lights and I

08 www.bowens.co.uk

can assess an image much better on

a laptop or in the camera than ever I
could by looking at a Polaroid.
Everything is just so much more in
sync between camera and computer
to output.
Im using a Nikon D3X these days
with a new MacBook Pro and an
iPhone. I use all the latest equipment
to show my work at its best.
James Nader has been called a
unique 21st century fashion
photographer - but what is it that
gives him the edge?

I think its having an artistic

background and having experienced
the full gamut of traditional photomethods.
I have a very keen appreciation of
lighting techniques developed after
studying early Vogue photographers
like Albert Watson and Patrick
Demarchelier. The work those guys
produced still stands firm in the test
of time.
Now I work with Bowens kit and the
progressive development of flash but
originally it was all redheads and
blondes.

If I had to

save one piece of kit from a re it would be the brilliant Bowens Travelpak.

I love the Bowens range. The

company has been around a long
time. I kinda grew up with the brand
really.
Most of my shots are quite simple
with just one light but I am very
particular where the hot spots fall or
move across. If I want to use tungsten
continuous lighting I take the softbox
off the Bowens light and use the light
source itself as a tungsten light.

softbox off and use just the modelling

light.
But I confess that if I had to save one
piece of kit from a fire it would be the
brilliant Bowens Travelpak.
James identifies his shooting style as
a cross between Gavin Bond and a
more edgy, quirky LaChapelle.

He adds: Some of my quirky shots

at stately homes are illuminated with
just one light and a reflector. I take the

Many photographers dont have a

great armoury of post production
skills. They just shoot and pass the

Post production is a very comfortable

environment.

images over to a retoucher who

makes them better. Some work shot
by top photographers is not
particularly good at capture stage but after the images have been
retouched they look fantastic.
I like to create a picture and improve
it by bringing a lot of other images
together.
And from a clients point of view the
way I work can be very economical.
If they book me they get only me for
the shoot AND all the post production
work.

www.bowens.co.uk 09

These days

I only

work with people

I want
to work with.
Jamess agent will charge him out at
anything between 2,000 and 4,000
a day but he admits: Depending on
a clients budget I will charge less if it
is a job I know I will enjoy doing.
These days I only work with people I
want to work with.
When creative independence is an
issue James employs what he
describes as: emotional intelligence.
He explains: Of course the client is
paying the bill at the end of the day,
but there have been scenarios where
I have protested about shooting a
particular set or scene as first
prescribed because I just know they
are not going to like the result. I
believe clients are paying for my
experience and skill and I dont want
them remembering the bad shots - so
its better if I show them what I think
they really want.

10 www.bowens.co.uk

And sometimes things go wrong

even when it is assumed the brief is
under total control.
Recalls James: I was once working
on a shoot in a Cardiff shopping
centre. I took all my Bowens lights but
I forgot the shims I needed that day.
My assistant was getting increasingly
concerned as the shoot progressed
but I just told him to watch and learn.
I got some cardboard and gaffer tape
and shaped the lights with the board.
Of course as they got hot they
eventually dropped off.
The client was watching all this but I
calmly announced that I wasnt
worried about anything I was still in
control.
My assistant was so impressed he
tweeted the situation and took a
picture with the cardboard and
mouldy silver gaffer tape all burnt and
hanging off. He said: And this is an
example of James Nader lighting!
James plans to focus much more on
stylish product work in the future:
perfume, jewellery and maybe brands
like Levi.
Probably abandoning the homemade shims idea though.
www.jamesnader.com

My assistant was getting

increasingly concerned
as the shoot progressed but

I just told him to

watch and learn.

By Trevor Lansdown

www.bowens.co.uk 11

Behind the Scenes

Award-winning photographer Chris Reeve on the challenges

of shooting a campaign for the Bowens marketing team:
I just glanced at my watch. Its 7am.
I am prostrate in the middle of an
Essex salt marsh; its freezing.
And Im the lucky one.
Im wearing several layers of clothes.
My model for this Bowens shoot has
definitely drawn the short straw. She
is wearing little more than high heels
and a slinky little off-the-shoulder
number. She is shivering so much her
teeth are rattling.
Were struggling to get a decent shot
or two before the tide goes out (and it
does so at some speed here).
Of course we are not heartless pros
so in a (vain) attempt to mitigate her
discomfort we wrap her in a thin
fleece blanket between shots, while
we adjust our lighting.
Our brief from the Bowens marketing
department required a cover shoot for
a new catalogue. We were to use new
Geminis and a Travelpak, shoot on
location and create exciting imagery
for the companys new Flash:
imaging
freedom
catalogue.
Deadline pre-photokina.

12 www.bowens.co.uk

The last time we worked with Bowens

we came up with the rather novel
notion that it might be cool to cover a
girl in black treacle and then
photograph her, resplendent in a bath
of cold milk.
That worked out quite well and we
picked
up
an
international
photography award for our efforts.
Budgets are tight of course but this
latest brief too has some creative
stretch built-in.

in bright sunshine at high tide taking

an assortment of digital Polaroids
and filing them from location to
Bowens HQ.

Heres how it all took shape:

The first task, as always, is to nail
down viable ideas. I work with my
collection of scrapbooks full of
typography, illustrations, tear sheets
from various magazines and artwork
that has inspired me.
Ill add to this the fact that there is
very little photography in my
scrapbooks I dont want to
plagiarise, even subconsciously.
I rediscovered the salt marsh location
after going through some old student
work.
Next thing I am down there in Essex

Back at the studio Sue (my assistant)

organises permission for us to shoot
on the land (only proviso is that the
pix mustnt be too racy as the land is
owned by a Christian society.)
We give relevant assurances. (It does
intrigue me that the Americans get
upset if we are too racy and the
Germans get upset if we are not racy
enough).
Location sorted. Now all we needed
was a model. Morgana was the
answer. Shes a real professional and
we had used her in a very successful
ringflash campaign a year earlier.

with Chris Reeve

I wanted to photograph her in a bright

pink/red dress and also a blue-biased
one as an alternative.
She is great at styling so I gave her a
budget and packed her off to the
shops.
I studied tide tables at the salt marsh
and worked out the date we could
shoot early morning with as much
water as possible and a date option
for an afternoon session.
Our call sheet was created and
despatched to all relevant parties and
then we just waited on the date and
the weather.
So heres where we came in: freezing
cold and very wet.
We secured three great shots before
both water and light deserted us - but
we were still in good time credit to
the tune of a half day.
Bowens joined us on the second
shoot. Its good to get these
marketing boys away from the
comfort and warmth of their offices.
This time we shot in the afternoon for
a warmer light in an even more
remote area and we got a few good
pictures before the biting wind and
full-on hailstorm meant we had to
finally surrender to the elements.
Two days later Bowens had the final
cut.
Note to Bowens: Any chance the next
shoot might be somewhere warmer?
I am thinking Barbados?
www.reevebanks.co.uk

www.bowens.co.uk 13

Profile

Back to
my
roots
S

o its like this: if you really mean it about

building a reputation for edgy, dark, raw and
sexy photography, some might say a good
place to start focusing would be in the squalid,
festering back alleys of a notorious Southampton
red light district - with a gaggle of mysterious
hookers and a trusty old Pentax 35mm.
Enter Jack Eames.
Now mainly London-based and a celebrated, awardwinning hair, beauty and fashion photographer working
with top clients like Toni & Guy, KMS California and Wella
- alongside cutting edge hair salons up and down the
country Jack is more than happy to get back to his own
roots for Litebook.
I didnt exactly shine at school but somehow conned my
way onto a photojournalism degree course in
Southampton, says Jack, now 36.

14 www.bowens.co.uk

Jack Eames

www.bowens.co.uk 15

I went there first and foremost to

learn how to write, but ended up
falling completely in love with the
photography side of the course.
I was a poverty-stricken student and
I had found cheap accommodation in
the red light district so when it came
to my final year and dissertation I
decided to try and fuse into the fabric
of the area as far as possible and get
to grips with the level of poverty and
deprivation at first hand.

My mantra would

have to be:

desire and
darkness
I went out with my Pentax and
worked hard for a long time to try and
persuade the girls to let me
photograph them. At one point I got
pulled in by the police but I didnt give
up.
It was a dangerous situation for the
girls. They were worried about what
their pimps would do but in the end I
talked some of them round.
One girl told me how she had been
raped a few years earlier and how she
had stabbed the bastard with a
screwdriver.
That incident made me think about
the pictures I wanted to make. I
collected a set of tools together;
screwdrivers, chisels and a hammer
and fixed them into the lining of a
coat.

16 www.bowens.co.uk

The prostitute wore the coat open

showing the tools. I scored the
highest dissertation marks in the
entire year for that coverage and left
with a First Class Honours degree.
The red light shoot was tough on
many fronts. I gave that particular girl
a bit of money but she immediately
made me drop her off at her heroin
supplier. I felt dreadful about it.
And throughout the countless hours I
spent on that project I felt intimidated;
constantly worried about getting my
kit stolen. My teacher, who had
worked with Amnesty International
taught me that in extremis, if
someone tries to steal your camera,
use it as a weapon and just smack
him in the face with it.

we all
share basic feelings
and emotions
As humans

Jack worked on a few newspaper

jobs at a national and regional level
but found himself attracting growing
numbers of commissions to shoot
hair and fashion in Southampton.
I was asked to shoot an H20 festival
campaign and I did some quite
raunchy stuff. As a result I printed
large pictures for an exhibition but
then people started nicking them off
the walls. Curiously I was quite proud
of that.
Now he lives in Hackney but still treks
up to the north of England a couple
of times a month to fulfil commissions
for a number of clients.
In constant pursuit of perfection (and
naturally never finding it) Jack strives
for rawness and edge in his work.

www.bowens.co.uk 17

My mantra would have to be: desire

and darkness he muses. A freeflowing abundance of tension is
crucial. As humans we all share basic
feelings and emotions and they are
centred around desire, sex and
sensuality.
If I can get these three aspects into
my work, with an added dash of
darkness, then I can be reassured
that what I am feeling inside me is
coming into my pictures and
hopefully the client is buzzing on it
too.
The reality these days with digital is
that we all have the same sort of
camera, similar lighting and similar
software, so to be different I want to
use my biggest and unique offering
which is that which makes me tick;
desire and darkness.
Jack has worked for three years with
Andrew OToole an Australian
photo-icon and a pre-eminent beauty
and fashion photographer. (He
worked with Helmut Newton and
Annie Leibovitz back in the day).

inside
me is coming into my
pictures
What I am feeling

Andrew is just the best says Jack.

He has a list of questions he puts to
himself before his hair and beauty
shoots, including; Does the model
look the best she can? Have I got the
best hair on a certain angle of the
face? Is the image interesting in its
composition? Is it glossy magazine
standard? How can I now make it
better?
The late Bob Carlos Clarke is another
mentor. I took 100% inspiration from
Bobs imagery.

18 www.bowens.co.uk

I have always been obsessed with his

work. It reeks of sex.
Paolo Roversi and Guy Bourdin also
feature on Jacks list of all time greats
but painters also inspire.
I saw Bacons work at The Tate. I
arrived first thing in the morning and I
was the last one they threw out that
night. I was besotted.
The 16th century Italian master
Caravaggio is a firm favourite too. I
study his paintings and study exactly
what he does with light. Caravaggio
defined the chiaroscuro technique
darkening shadows and holding the
subject in a blinding shaft of light.
And that has influenced the way I use
light in my work.

free flowing
abundance of tension
A

is crucial
He adds: In the main I shoot with just
one light on the model; a beauty dish
and a background light. I think some
photographers kill their hair and
fashion shots with overuse of lights.
They think that just because theyve
got six lights at hand they must use
them all. They often assume it will
also impress the client.
I dont work like that. I think you have
to have the courage to centre just one
light in my case my trusty Bowens
Gemini - on the model. This gives me
the mood of darkness I crave.
Recently I was commissioned for a
hair shoot with a fantastic model. The
entire kit inventory (all Bowens)
comprised 2 Gemini heads; beauty
dish, and a 5ft x 2ft softbox flagged

www.bowens.co.uk 19

It really is sexual

chemistry. I have to

tease the best out of

them
to give more definition on the
background.
People put hairlights on and
honeycombs on top of heads but I
remind myself that the world itself is
lit by just one light.
For me hairlights kill the feel the
shoot ends up looking like something
for a models portfolio. If you light hair
properly it is all about making the girl
look sexy.
Like all top photographers, Jack
sometimes finds himself addressing
the key question of creative
independence. Paying clients can
demand to run the show with
storyboards and fixed plans ahead of
a shoot.

20 www.bowens.co.uk

Its true. Some clients want things lit

in a certain way. They might pull out
tear sheets and references and
demand the subject is shot to their
specific formula
I listen to them; pick up on their body
language and just try and get them to
come round to my way of thinking. Its
helpful to get all that sorted out right
at the beginning of a shoot session
but occasionally you just have to end
up not working with people whose
views just never marry up with your
own. Fortunately for me thats rare.
Hair and beauty photography is
incredibly niche. I have great respect
for other photographers work and I

never want to poach so I give

potential clients some work that
showcases my own particular style. I
point out that it may be different to
what they are used to but ask them
to consider me if they ever need
imagery like mine.
One of the key challenges for a hair
and fashion photographer can be
time available to shoot.
Jack explains: Often you have just
15 minutes or so, especially with hair
shoots. But the girls I work with are
professional models, not celebrities.
They work with me to generate the
rapport needed.

Sometimes

it takes

years to
figure out

what you
want to say
Its about eye contact and language
used. In a way it is really sexual
chemistry. I have to tease the best out
of them.
And sometimes things do go wrong
on a shoot. He recalls: One night I
had prepared the studio for an
important commission the next day.
Four top models and the client were
turning up. I mislaid the studio keys
and decided I would have to sleep all
night on the studio floor. I got myself
a takeaway and it made me violently
ill all night and all the next day. I still
had to go ahead with the shoot
though. You cant show weakness.
That was probably my most gruelling
shoot ever. Fortunately the client

loved the images.

Post production is big in the Eames
workflow. I shoot with Hasselblad
and use their Phocus software so I
am already manipulating the image
with Phocus filters giving it my feel
I charge around 1100 a day for a
shoot but added to that will be 100
an image for post production work.
Often that means an extra 800 a
shoot.

If the next five years go to plan Jack

will be shooting big campaigns for
Toni & Guy and LOreal and
browsing the results of his efforts in
magazines like Italian Vogue.
Sometimes it takes years to figure
out what you want to say and exactly
who you want to be. Im getting
there.
www.jackeames.com
By Trevor Lansdown

Recently Jack completely reworked

his own website.
I stripped it down to the minimum;
just fashion and hair. I need people to
know that I am not shooting plates of
food or buildings.

Model Agencies: Models1 and Nevs

Makeup artists: Crystabel Riley, Julia Wilson,
Leanne Shaw and Helena Lyons.
Hair: Various including Shinya Fukami, Sanrizz,
Mark Francome and Mark Pearson.

www.bowens.co.uk 21

WorkingSpace

Brand new image : snapshot of the 2m LCF photo-studios

ostgraduates the world over
have been focusing on a
Masters course at the LCF
almost like its going out of fashion.

Following
a
recent
2million
investment in the development of
seven purpose-built and Bowens
enabled photo-studios in a brand
new wing at Lime Grove, Shepherds
Bush, The London College of
Fashions MA Fashion Photography
course is setting itself up to be
possibly the coolest place on the
planet to master the creative
demands of the photo-learning curve.
In case you are interested heres a
heads up on the agenda:
This course explores the rhetoric of
fashion photographic production and
contextualises theory and practice
within fine art, popular culture and
mass media. Through photographic
practice, you will examine social,
cultural and critical issues involved in
the practice of fashion photography
and the impact and construction of
the fashion image as a spectacle. In
broad terms, it is a multidisciplinary
framework for independent study
leading to an original body of
photographic or written work
proposed and negotiated by you.

22 www.bowens.co.uk

The course is divided almost equally

between a structured programme of
Visual Seminars and Work Reviews, in
the first half of the course, and a more
liberated and personal exploration of
the subject and its attendant
influences from Cinema, Fine Art,
Psychology and Semiology, in the
second. For these reasons alone, a
great emphasis is placed not only
upon the photograph itself but also
with the thought processes that came
to form it, together with individualism
for the students themselves in their
approach to picture making.
Got all that?

possibly the coolest

place on the planet to
master the creative
demands of the
photo-learning curve.
In an exclusive interview with Litebook,
Paul Bevan, the course director
explains further:
LCF is a global brand now. Weve got
both London and Fashion in our
title, which makes us unique.
The entire photographic culture has
really developed way beyond what it

was a decade ago. Right now we have

a unique provision. Fashion as a
particular kind of style might be
viewed as transient but the ideas that
underpin it; the social, cultural,
anthropological
and
visual
components remain and they
transcend any perceived transience.
We are dealing with ideas references
to identity, sexuality, gender, society,
class and race. This is where we come
in as imagemakers as we begin to
interrogate, to subvert, to support,
endorse and confirm all these various
ideas, theories and notions.
He adds: The courses each have
individual benchmarks. For example,
a foundation degree might be more
industry facing, whereas a Masters
might be all about a more profound
development and thus be more
individually oriented.
Paul (who has headed the LCF course
for a year) has twenty two new
postgraduates from all over the world
on his latest intake this autumn.
Our students come from diverse
cultures and backgrounds he points
out. We celebrate dynamism and
diversity at the LCF. There is no point in
putting together a cohort made up of
people who are all the same.

London College of Fashion

By the time they come to me the
students have generally experienced
at least a couple of years out of
college. They may have become a bit
tired of following a client brief so they
come here to gain a bit more head
space a little more creative input
and freedom.
I want their time here to be a profound
experience. We engage all of them in
project work that pushes them
forward and induces them to
experiment and take risks.
Some students may have already
made a mark in the commercial world
before they step back into education.

We celebrate
dynamism and
diversity at the LCF.
There is no point in
putting together a
cohort made up of
people who are all
the same.
Adds Paul: M. J. Kim for example,
is a very talented student who already
has a name as a celebrity
photographer. He would have been
Michael Jacksons photographer at
O2 and right now he is Paul
McCartneys photographer. He was
with Mr McCartney when he was
recently presented with an award by
President Obama.
And when MJ came for his interview
here he already had an extensive
portfolio of work that included
portraits of Claudia Schiffer and
Victoria Beckham.

I asked him why he wanted to do this

course and he replied: Once you take
the celebrities out of my pictures,
what are my ideas? I know I have
much more to learn. I want to be able
to think differently.
Another student has just completed a
Jimmy Choo shoot which is being
exhibited in New York.
The Lime Grove facilities, which
comprise six dedicated photostudios
and
one
dual
role
broadcast/film/photography studio
are amongst the best equipped in
London.
Nigel Tribbeck, Technical Manager at
LCF tells Litebook: We offer a whole
range of courses here and we have
over 700 students, including
undergraduates, using the studios
during their courses. Two studios are
completely daylight enabled with
natural light available through the top
and through side windows.
Every studio is equipped with
Bowens equipment. We looked very
carefully at competitor products but
they were too expensive. The Bowens
lighting solution offers a full range of
robust and excellent value for money
products we use Gemini 500R
heads, powerpacks, modifiers,
softboxes, and a wide variety of
accessories.
The
college,
despite
its
comprehensive digital equipment,
including Canon 5Ds and 7Ds,
Hasselblads, and Nikons also
believes in teaching traditional
photographic skills.
Adds Nigel: We have a complete
traditional darkroom and minilab setup. Against all odds we have

maintained a black and white

darkroom and C41/RA4 facilities too.
We believe it is important to get a feel
for these traditional skills. The move
to digital then provides a sound
overall understanding of the medium
of photography.
Photography began as a craft an
analogue medium. Now it has
progressed and evolved in the digital
age. It is an important part of the
student learning experience to
understand
the
silver
halide
processes. We still run courses on
pinhole and Holga cameras too. We
want our students to take some
chances.
Paul Bevan concludes: We run a
personal professional development
programme (PPD) for every student,
to ensure they follow sound practice
and work with integrity.
Some
students of course come here never
having looked at a Polaroid or never
having worked with single sheet film.
Here I run a master class on 5x4 film
and also pinhole cameras. I do this to
completely pull the rug from under
them.
It is a completely new experience.
Fashion is the whole connection
between image, music and style - all
interwoven.
In 2010 a magazine can refer you to a
website where you can watch a film
and you might also have an app on
your iPhone that reads the barcode in
the magazine that orders up that
particular garment you need in a size
12.
You cant do much in isolation any
longer.
www.fashion.arts.ac.uk

www.bowens.co.uk 23

TopOfTheClass

Sophie Pycroft (22) is studying for an MA

in fashion photography at The London
College of Fashion and says Thanks
to Mr Whittaker.

24 www.bowens.co.uk

Litebook: Why photography Sophie?

SP: My interest in photography
stemmed from a passion for art at a
very young age. Creating images was
a skill that I developed, from drawing,
to collage, to painting and eventually
composing photographs. My passion
for photography grew during my Alevels, where I was taught by Mr.
Whittaker, the most enthusiastic and
encouraging photography teacher,
who shared an interest in fashion
photography. It was really seeing the
images in fashion magazines, and
feeling the emotions they evoked that
inspired me to create my own. I still
feel the same spark of emotion when
looking through magazines now, so I
know that Im working towards
something I have a true passion for.
LB: What area(s) of photography are
you most interested in?
SP: I have an appreciation for all great
photographs, whatever the genre.
However my favourite area of
photography is fashion. This
discipline is not just an indicator of
what is in style, but what the cultural
movements are in that particular
moment. They are part of the
documentation of social history, of
what is considered to be acceptable,
controversial or beautiful, and how
this has changed over the years.
Fashion photography is also the most
inventive, and it is only limited by
photographers imaginations.
LB: Where are you currently studying
and what course are you enrolled on?
SP: Im currently studying for an MA
in fashion photography at the London
College of Fashion. I moved from a
small town in South Wales, and have
found that London as a city, the
course and the mix of people on it, a
great inspiration.

Sophie Pycroft

Continual practice is key to improving, be continually inspired and open to new ideas
LB: What have been your favourite and
most
disliked
projects
youve
undertaken so far?
SP: Every new project gets better,
and I wouldnt say I disliked any one
in particular, but there are elements in
each photo shoot that I dislike and if
I was to re-shoot all my projects I
would change elements in each in
order to improve them. I have learned
that sometimes the simplest images
can be the most captivating, and a
couple of projects where I have
worked really hard to cram the frame
with interesting mise en scne have
meant that the set design has
become more important than the
photograph, and that always
backfires.

My favourite projects are currently

involving using my Canon 7D to make
fashion films. I love new challenges
and feel a real sense of achievement
watching back pieces that are made
with movement. I dont think the still
will ever be replaced, but film is an
exciting alternative.
Photographing the catwalks in Paris
and London during fashion week this
year was also a terrific experience,
and being one of few females in the
photography pit means I get away
with murder! There definitely isnt as
much hostility as is portrayed.
LB: Tell us about your aspirations and
ambitions.
SP: As a fashion photographer and

image
maker
my
ultimate
achievement would be the obvious,
to have my pictures grace the pages
of Vogue, particularly the Italian or
French versions. On a more
achievable level (for now) it really
makes me feel proud when someone
identifies an image as being one of
mine, or in my style. Its a great
compliment to think that my
photographs can be recognised. I
aspire to have a huge back-catalogue
that shows my development as a
person and a photographer that
people will enjoy looking at, and
hopefully to inspire some budding
young photographers to pick up a
camera and develop their own style.

www.bowens.co.uk 25

LB: If you could have taken any of the

worlds most famous photographs
which one would it have been?
SP: Dovima with Elephants by
Richard Avedon, 1955. The elegance
of
the
model
contrasted against
the
clumsy
elephants, the
textures, the
pose,
the
beauty. I love
how
the
elephants look like
they are freely posing,
but then you notice the
chain around their legs. This
is the punctum that for me, adds a
slight tension to the grace of the shot.
It makes you look for longer and
arouses questions.
LB: And your favourite piece of lighting
equipment?
SP: The Bowens Gemini 500Ws Pro
kit. For lighting accurately in diverse
studio set-ups you cant beat it. The
kit is not difficult to master for
beginners, and you can
experiment with different
accessories to achieve
the desired effect.
LB: So who is your favourite
photographer and why?
SP: I love so many photographers for
different aspects of their work. Within
the genre of fashion I have taken
influences from among many, Guy
Bourdin, Annie Leibovitz, Man Ray,
Helmut Newton, Steven Klein,
Richard Avedon, Slve Sundsb,
Nick Knightthe list is endless. The
recent editorials that have captured
me and made me stare the longest
are most often by Steven Meisel. The
reason is simply that he is an artist.

26 www.bowens.co.uk

LB: What is your ultimate

fantasy shoot with money no object?
SP: It would have to be something
seriously challenging. I would take
Kristen McMenamy to the salt deserts
in Bolivia, and ask Shona Heath to recreate scene from The Persistence of
Memory by Dali. I would shoot
Kristen wearing Givenchy couture,
Alexander McQueen, and Thierry
Mugler. Alex Box would be the makeup artist, Charlie Le Mindu would
create the hair, Madonnas frozen
would be playing in the background,

from an invisible source, and we

would all have Krispy Kremes to
snack on.
LB: Whats the most important thing
youve learnt about photography so
far?
SP: Continual practice is key to
improving, be continually inspired and
open to new ideas, ask for and listen
to creative criticism. Imagination is
more important than technical skill.
LB: Sold any work yet?
SP: I have had work published online
and in print, and my photographs
have been included in a few different
exhibitions. I have also sold quite a
few prints to private clients. I still
dont really feel that Ive met my
potential, Im still learning. I have
been involved creatively with shoots
that are appearing in the big titles and
on busses around London, styling
and doing creative direction. My
feelings about my work vary.
Sometimes I feel positively, then other
times I hate to look at my own work,
but at least I have an emotional
connection.
It always feels great when my work is
going to be viewed on a public
platform, but then I start to have
doubts about my credibility as an
artist. But if I was happy all the time I
wouldnt be driven to make new
work. I find myself constantly
working, so its a mix of highs and
lows.
LB: What are you plans once youve
finished studying?
SP: To continue learning and working
and then one day become a teacher.
www.sophiepycroft.com

Camilo Echeverri

TopOfTheClass

Camilo Echeverri (33) is currently completing a Masters degree

course in fashion photography at The London College of Fashion
Litebook:
So why photography
Camilo?
CE: I have always been intrigued by
the notion of stopping time in its
tracks through photography.
I love to observe and I enjoy playing
with the machine; the camera. I have
always loved photography but knew
I needed to create a complete
strategy to get where I wanted to be.
LB: What area(s) of photography are
you most interested in?
CE: Well obviously fashion and
journalism are big on my list but right
now I am struggling to find the

common line between these

disciplines. I am always questioning
fashion and the statements it makes
its a compelling puzzle.

I am always
questioning fashion
and the statements it
makes its a
compelling puzzle.
LB: Where are you currently studying
and what course are you enrolled on?
CE: I am doing a Masters in fashion

photography at the LCF.

LB: What have been your favourite and
most
disliked
projects
youve
undertaken so far?
CE: Ha! I simultaneously love and
hate all the projects where I am my
own client.
LB: Tell us about your aspirations and
ambitions.
CE: My only ambition is to ensure
nothing ever deprives me of my
camera!

www.bowens.co.uk 27

LB: So who is your favourite photographer and

why?
CE: I cant choose just one. I respect and
admire many different photographers across
the world.
LB: And your favourite piece of lighting
equipment?
CE: The sun. And if not the sun, then Bowens
portable battery power packs such as The
Explorer 1500.
LB: What is your ultimate fantasy shoot with
money no object?
CE: To me less is always more. I learnt that
years ago from the famous German-American
architect Mies van der Rohe and it still
applies to me today. So unlimited budget
wouldnt change anything for me at all.
LB: Whats the most important thing youve
learnt about photography so far?
CE: Photography is a tool; a communications
medium that is available to help me express
the way I feel and see things. I am still
learning about the process, about contact
with people and with the world.
LB: Sold any work yet?
CE: Four years ago I won a major award with
a piece of work I fully expected to be rejected.
It was a complete surprise but it helped me
to sell some pieces and to get published.
Getting published isnt always the logical
target. I practise photography because I love
the entire process. I like being with people
with this amazing machine (the camera)
between us. I try not to worry about getting
published.
LB: What are you plans once youve finished
studying?
CE: I want to work for myself as much as I
can.
www.camiloecheverri.net

28 www.bowens.co.uk

TopGear

Time to go all soft in the head?

ruth is we are spoilt for

choice when it comes to
softboxes these days.

Fish fryers (as they used to be

called) come in all shapes and sizes
but the real challenge is making the
right choice.
I always think its sound strategy to
invest in well-designed quality. Get a
softbox that has been manufactured
with appropriate materials and
delivers decent output without any
associated and annoying hot spot
problems.
Photographers are using them more
than ever now it seems.
How do I know this? Well the eyes
have it - or to be more accurate, the
square catchlights in the eyes have it.
There they are in every advert and
every fashion shot.
Im not saying that this per se is a bad
thing but for me nicely rounded catch
lights offer a more natural look.

Bowens has gone the

whole hog with the
Octo
Thats why Ive always been a fan of
the Bowens Octo150; the 1.5m
diameter, eight sided softbox.

30 www.bowens.co.uk

Its a brilliant unit, but it is quite a

beast and some photographers might
prefer a smaller version. And with
that in mind, Bowens has just
revamped the Octo range and
designed a 90cm alternative that will
be perfect for the smaller studio and
of course will deliver round
catchlights.
Bowens has gone the whole hog with
the Octo. Theres a new size, new
material and a complete redesign.
Lets be honest, nobody really likes
putting up a softbox or taking it
down.
But the Bowens boffins have
obviously had their thinking caps on
because these two new Octoboxes
are a real breath of fresh air.
They are easy to put up. You dont
have to push and bend very thin rods
that feel like they might snap at any
given moment. In fact all the fiddly
stuff can now be done flat on the
floor.
The Octo comes out of its travel bag
and unfolds like a butterfly.
The supporting rods slot neatly into a
casting that will attach the Octo onto
any Bowens head. Once the rods are
secured the outer cover can be
zipped up and fastened with Velcro.
The entire process only took me a few
minutes and not one expletive was
uttered.

Other smart touches include the very

meaty adjustment handle that fits into
the rear of the casting, enabling easy
movement and adjustment of the
whole box. And the outer cover has a
small slit, allowing the mains lead to
be connected. An air vent helps too.
So with the handle in place and the
mains lead firmly in, the front diffuser
of the box can be attached. Then its
rock and roll.
From start to finish it took me just five
minutes to get the whole thing up.
And trust me; when it is up its very
impressive.

Trust me; when it is

up its very
impressive
The material on the inside of the Octo
is a medium silver surface; not too
harsh; not too soft - ideal for any
application.
For the Octo90 (the perfect portrait
size), the Bowens boys have also
designed two inner skins; tone
reflectors that can add output
warmth. The first is a gold and the
second a silver/gold that can
introduce warmth in different degrees.

R
ne

d Tone Re
Gol
e

r / Gold T
Silve
o

with Steve Aves

eector

r
cto

This is all very good news for the user

photographing small children.
These days so many kids are kept out
of the sun and they can look like little
white ghosts.
So its a real plus to be able to add a
little warmth back into the skin tones
via the softbox.
I took a few snaps with the Octo90
and I defy anyone to take a bad
picture with it.

Bowens at its best

It is simplicity itself and those tone
reflectors really do deliver a warmer
image.
Need more contrast? Shoot without
the front cover and still get an even
coverage from that silver surface.
As for applications, I believe that once
you have the Octo set-up youll never
use anything else.
You can shoot head and shoulders
(even full length if you wish) with the

90 and get wonderfully even results;

great for Hi Key. Removing the tone
reflectors gets you back to that silver
lining, a perfect neutral output that
can shoot pretty much anything.
Finally lets talk about power. Im
frequently asked about what power to
use with a whole host of accessories,
especially softboxes.
Power is a key element to achieving
optimum results from any type of box.
Not enough of it and youre stuck with
mediocre, slightly muddy results. I
always
recommend
choosing
something with a bit more oomph. I
reckon a 400/500j head is the best
option for the Octo90 as it will give
you wide aperture choice.
The classic Octo150 can take a bit
more - and Ive used one with a 750
head with no problems.
Bowens realise that the 150 will be
used with more powerful heads and
so they supply it with a diffuser
reflector that will eliminate any hot

spot. Using the diffuser ensures even

coverage and a softer output.

It is simplicity itself
and those tone
reflectors really do
deliver a warmer
image
In summary Bowens new Octos tick
all the required (soft)boxes: sound
design, quality materials and some
neat extra touches. Bowens at its
best.
Steve Aves has been in the
photographic industry for
over 30 years and is an expert
on studio lighting. He runs a
lighting consultancy advising
on studio design, running
training programmes for
beginners as well as writing
articles and reviews about
lighting equipment.
steveaves@tiscali.co.uk

www.bowens.co.uk 31

with Christian Hough

HoughTo

On Reflection
eeping things simple when
you're on location is always
a good way to get the most
out of your shoots, allowing you to
spend more time on your subject
than on the equipment. There are
times when you simply cannot beat
natural daylight, but how do you
maximise daylight when shooting
indoors?

Well with the help of a good sized

window, a Bowens reflector disk,
polyboards and by utilising your
camera's
ISO
capability,
the
possibilities are endless. In this
edition of Hough-To, Christian walks
through some techniques to help you
make the most of this simple, yet
highly effective lighting technique.
Window Light - I love window light,
it's quick, simple and very effective.
You will often find that more
decorative windows, such as those
found in period properties can really
enhance an image too. Like any form
of lighting, you must also consider the
size of your light source in
comparison ot the size of your
subject. So the larger the window, the
greater the area you can potentially
light.

32 www.bowens.co.uk

Side On - It's important not to forget

that natural light can be used in the
same way as artificial light to shape
your subjects face. Remember, the
sun is just a giant light source and the
clouds are its natural diffuser! In this
shot, the model has been positioned
so that the light shapes the face with
Rembrandt lighting pattern. The
strong sunlight (partially obscured by
the clouds) is coming through the
window from the left of the frame,
whilst light from windows elsewhere
in the room helped lift the background
scenery. The bright sunlight has
highlighted the dust, creating natural
rays, adding to the atmosphere. A

large white polyboard placed on its

side and to the right of the frame has
helped lift the shadows and reduce
the overall contrast of the image.

Schematic 1

info@christianhough.com

There will of course be several other

environmental factors that will affect
the outcome of your shots, which
include the direction of the room
(north or south facing), lightness of
the room, intensity of light coming
through the window and tone of
dcor in the room. However, don't
despair. As usual, there are some very
simple yet effective ways in which we
can help control the light.
TIPS - Make the Most of the ISO Modern DSLR cameras are capable
of incredibly high ISO. Many new
photographers are afraid to utilise
high ISO for fear of digital noise (this
does depend on your camera model
of course). However, as most
professional photographers know,
noise is seldom seen in prints and
higher ISO images are perfectly
useable, with the noise on occasions
actually adding to the aesthetic of the
photograph. It is often better to
expose a photograph properly using
a high ISO than it is to underexpose
and adjust in post-processing,
especially if you're shooting in JPEG.
Consider Using a Tripod - Darker
environments may call for slower
shutter speeds and unless you have
a steady hand, getting slower than
1/125 sec can cause blur, usually
caused by a slight movement of your

From Behind - Strong light coming

directly behind your subject can be
just as effective. As no direct light falls
onto the model's face, it makes for
both flat and flattering light. This can
be very kind to your model. A large
silver Bowens reflector disc was
placed underneath the camera, at the
front of the model. This helped reflect
the light coming through the window
back onto the model and decrease
the overall contrast of the image.

Schematic 2

www.bowens.co.uk 33

camera. A good sturdy tripod can

really help things and providing that
your subject can remain still, it's
possible to still get crisp shots when
utilising a shutter speed as low as
1/15sec. This can prove beneficial if
you're using slower film or your
camera's ISO capability is limited.
However, if your subject isn't still,
then making use of your camera's
ISO, aperture and increasing the
shutter speed is the best way to go.
Think about Aperture

Front On - You can of course use the

window to light your subject face on.
Simply place your model directly in
front of the window and meter
accordingly. If the light is very strong,
then you may find it beneficial to
decrease the contrast by utilising a
Bowens reflector disc or large
polyboard. In this shot, a single silver
reflector disc was used to the right of
the frame to bounce light back onto
the model and lift the shadows.

If you've got a really bright lens and

can shoot at f1.2, then it can be a real
bonus; however, the trade-off can be
that you get a very shallow depth of
field to your image, which can be a
positive or a negative depending on
what you want in your shot! Strong
light coming through the window
against a a dark subject can also
cause some cameras to suffer from
auto focus issues and shooting wide
open can reduce your chances of
getting a sharp image. Don't be afraid
to stop down and increase the ISO
where necessary. Expensive lenses
aren't always the answer.
Utilise
reflector
polyboards

Schematic 3

34 www.bowens.co.uk

disks

and

A collapsable Bowens reflector disc

is the perfect portable solution to
lifting those unwanted shadows and
bouncing light back onto your model.
Its amazing how much of a difference
it can make to your photograph.
Once you've finished, it can be folded
away and placed back in your
photography bag. Here's how a 4in1
reflector works.

info@christianhough.com

All images Christian Hough

Models: Tessa Talbot & Elen Erichson

The reflector disc also has four uses.

A silver reflective slip cover for a
natural colour and a highly reflective
specular reflection and on the reverse
a gold reflective side for a warmer
reflection (perfect for sunsets). That's
not it though, unzipping the cover
then gives you two further options. A
white side for a soft diffused reflection
and a black side to assist with
flagging and deepening shadow
areas. Four great possibilities all of
which are very portable.
For a less portable solution, you can
use polyboards, these are very large 2
metre pieces of polystyrene, white on
one side and painted matt black on
the reverse and can often be found in
professional studios and location
houses. They're ideal for reflecting a
large area of diffused light back onto
your model, or even adding depth to
shadows when using the black side.
Shoot RAW - Although it's not strictly

a lighting technique, it is an important

factor to consider. If possible, it is
always beneficial to shoot RAW as
opposed to JPEG. A RAW file file help
you retrieve and adjust shadow and
highlight detail in high contrast shots
increasing the available dynamic
range, plus allow you to more
accurately adjust the colour balance.
This can be invaluable, especially
when you have limited control over
the light.
Getting Started Use the Light - One
of the things that can have the most
impact is the positioning of your
model, so it pays to know several
ways in which you can utilise window
light to increase your chances of a
successful photograph. Below you'll
find a few images and diagrams to
help you get the best out of the
window light.
What, no camera settings? I hear
you cry. As window light, daylight and

indoor environments can vary so

greatly, the settings I used will be little
help to you. Utilising the above tips
will really help you overcome your
environment and maximise your
chances of a successful shot.
Remember:
The larger the window, the larger
the lighter source and the greater the
area it will cover.
Colour
temperature
varies
throughout the day as does light
coming from different poles.
Cloudy skies aren't as bright, but
can produce a much more flattering
diffused light
For very high contrast images, use
a reflector disc or polyboard to
reduce the contrast and lift the
shadows.
Use a grey card and take a white
balance reference frame for each
location/ window to increase the
chances of colour accuracy.

www.bowens.co.uk 35

WINNERS
Studio Flash System
Gemini 500R
Portable Flash System
Travelpak

c re a t i ve f re e d o m w i t h o u t co m p ro m i s e
Gemini Pro

Travelpak Battery
System

500Ws to 1500Ws models

Fast flash-durations
Quick recycle times
Stop & tenth power control
IR remote controllable
Multi-voltage operation
Plug-in trigger card
Compatible with Pulsar &
PocketWizard trigger cards

Control Panel

Small & Large

Batterypaks

250Ws & 500Ws models

Stop & tenth power control
IR remote controllable
Plug-in trigger card

250Ws & 500Ws models

Easy proportional control
3 modelling modes
Plug-in trigger card

200Ws & 400Ws models

Easy proportional control
3 modelling modes
Small, compact body.

www.bowens.co.uk

Bowens and the power behind the picture are registered trademarks of Bowens International Limited.
PocketWizard is a registered trademark of LPA Design. All other trademarks are the property of their respective owners.
All models and technical specifications featured here may be subject to change without notice.
2010 Bowens International Limited.

Gemini R

Compatible with Pulsar &

PocketWizard trigger cards

Gemini C

Compatible with Pulsar &

PocketWizard trigger cards

GM series