Let me start by saying that photographically I'm a bit of a Luddite. I'm all for new technologies and things that will make my job easier but when it comes to ready made development actions and presets I have, until now, stayed well away from them.

It's not that I'm afraid of using them, it's just that when it comes to processing or developing my images I like to do it myself. I've always held the belief that using preset actions that someone else has developed is a bit like letting them decide how your final images should look. Also, and I'm on record for saying this, I always said that using automated processes helps you stay stupid. You may get nice looking images at the end of the process but unless you know and understand what steps have been taken during those processes you haven't actually learned anything or developed any new skills.

So, when I got the chance to try out the Sleeklens 'Strike a Pose' portrait workflow I decided this was the opportunity I needed to see for myself just how useful (or not) automated workflow tools are and how beneficial (or not) they might be.

Step 1: Installation

Installation was easy and simple. I would normally just dive in, try to do it myself and then turn to the instructions when things don't go as they should (I'm a man, it's what we do). However, as I was testing the system, I decided to break with tradition and follow the instructions first. Instructions were clear, concise, well documented and even included screen-grabs of pop-up windows that you are likely to experience. All done, restart Lightroom and away we go.

When Lightroom opened, all the presets and brushes were installed and located exactly where the instructions said they would be. So far, so good.

Step 2: Process an Image

Before, After & FinalThree images showing the development process from the original through to the final edit. I had recently done a 1940s style vintage portrait session and, as a lot of my work falls within this genre I decided to try the presets and brushes on one of the images from that session. I had worked with two people who were both award winners at the 2015 National Vintage Awards; model, Scarlett Luxe and hair & make-up artist, Bethany Jane Davies of The Vintage Beauty Parlour. When you're working with people of this calibre it's hard to get a bad image and Scarlett was presented to me with perfect hair and make-up. In honesty, this did reduce the amount of post production work required, but there is always something to do to add that final 'je ne sais quoi'.

Step 3: Working with The Presets

Initially, working habits kicked in and I started to make manual adjustments to things like exposure and contrast.  However, I quickly stopped myself and made myself use the presets. At first, I did find the presets a little overwhelming. There were just so many of them to choose from! (69 in total).

I made full use of Lightroom's Navigator window to see a preview of what each preset would look like when applied. Then, when I found one that suited the image, I applied it.

My initial fears about 'staying stupid' where immediately relieved. As a preset was applied I could look at the develop settings on the right-hand side and see which tools had been used and what settings had been applied. And what's more, I could even further adjust them! This changed my attitude to using presets straight away. Although initially I was applying development processes that someone else had created, I actually had full control over those presets and could tweak them until I found them to be what I was looking for.  Plus, if I didn't like the presets when applied, I could easily 'undo' them and start again.

I found the '4-tone tint - golden glow' (but manually reduced the saturation) and then the '4-tone tint - warm up' worked for me.  The finishing touch to get the vintage effect I was after was to add a 'black dreamy' vignette.

That is another nice feature of the workflow presets - they are stackable! You don't have to make do with just one, you can add several together to get the desired result.

Step 4: The Brushes

Although I do use the local adjustment brush quite often, I don't normally use any of the brush presets, but today I was determined to.

As with the presets, I was a little overwhelmed with selection to choose from (62 this time).  However, they are all clearly labelled and it is easy to see what each one does.  Also, as with the presets, the brushes are all configurable. So, if you don't like how a particular brush works, you can tweak it to your satisfaction.

I did find the brushes very useful and I think these will save a lot of time when editing. Many of the tasks that I normally switch over to Photoshop to complete can now be done while staying within Lightroom.

The most useful brushes I found were the 'reduce shiny skin' (my light was reflecting a little) and 'define hair' brushes. Bethany had done an amazing job with Scarlett's hair and I felt that my image didn't necessarily do it justice. However, a couple of quick swipes with the Define Hair brush and the detail just 'popped'! The texture and highlights that I remember seeing during the shoot were now restored.

Step 5: The Final Preset

I had already created an image that I was happy with but I wanted to play some more (yes, I was enjoying it that much). I decided to try out one of the black and white conversion presets. I tried a couple of them before I found the one I liked, but when I applied the 'Greyscale High' preset, BOOM! - the image was finished. The beauty of using the presets is that they don't necessarily undo what the previously applied presets have done. Yes, the greyscale preset converted the image to black and white, but it didn't remove the subtle sepia tones in the shadows that were present from one of the previous presets.

Finally: The Verdict

I tried my best to keep an open mind when using these presets and brushes and I think I achieved it. I started out with a fairly negative view of automated image processes but after working with the Sleeklens set I do think I've changed my mind. They definiteley do simplify the process but they don't take any of the control away from the person doing the edit. I do feel that they will speed up my workflow as I tend to jump between Lightroom and Photoshop to achieve the results I want. Now, however, I can complete many of the tasks within the Lightroom environment.

So, I started out as a bit of a sceptic. Am I now a preset convert? I guess I would have to say 'yes'.

Links and Further Information:

Sleeklens Lightroom presets

Sleeklens 'Srike a Pose' Portrait Workflow

Bethany Jane Davies - The Vintage Beauty Parlour

Scarlett Luxe

I was asked to provide images for an article in Vintage Life Magazine to be published in February 2016.  The article was to feature a woman who is writing a love letter to her husband who has gone to fight in the war.  The images needed to be produced in black and white to be appropriate to the period.

The Planning Stage

I was pleased to be able to work with my good friend, Laura, a model that I have worked with previously on various vintage projects. Not only does Laura have a very authentic vintage look, she also shares my passion for the era.  Laura and I discussed the concept and we started to gather various props including an actual picture of Laura's grandparents on their wedding day, and to scout out locations.

For the location we were initially going to use a coffee bar in Manchester city centre, but plans changed at the last moment when we went to pick out some vintage clothes.

Scouting LocationsPaula and Laura picking out clothes and props Clothing and Location

We visited The Vintage Emporium in Pear Mill, Stockport, where several of the traders had previously offered to loan me clothes for any shoots I did.  Paula, from Mint Vintage immediately rose to the challenge and in next to no time had found us a coat, hat, handbag and gloves, all of which were period authentic.

Whilst at the mill we spotted the recently opened cafe and identified it as the perfect location for the shoot.  We asked if we could stage the shoot there and were pleased to have permission granted.

Getting the Light Right

Scrim & ReflectorLaura on set with the scrim and reflector in place. (© Rebecca Mortimer) Although it would have been easier to set up some studio lights to take full control of the lighting, I wanted to use only the ambient light to give the final image a more authentic look (they wouldn't have had sophisticated lighting set-ups in the 1940s). This did cause one or two issues.  There was a lot of light available in the cafe area, which is generally good thing, but as we were shooting this in December the sun was very low in the sky and the light streaming in from the mill windows was too harsh.  If we positioned Laura towards the window the sun was so bright that Laura couldn't even open her eyes.  If we positioned Laura with her back to the window she was beautifully backlit but her face was in dark shadow.  This called for a little creative thinking.

To reduce the harshness of the direct light I placed a large diffuser (or a 'scrim') behind Laura, between her and the window.  This softened the light considerably but still gave Laura a beautiful rim-light effect from behind.  To get some additional light on Laura's face I positioned a white reflector opposite her and bounced some of the diffused light back towards her.  It worked.  The end result is a set of beautifully lit images without a single flash head being used.

One of the final imagesClick to see the full set The Final Result

The planning, the location scouting and the lighting set-up all paid off.  We moved outside for the final shots as we felt that the story should finish with the letter being posted. We found some great vintage-looking locations around Stockport town centre.  We used an alleyway with an old fashioned street lamp, a hilly street with a genuine period advert painted on the wall, and finally a wall-mounted postbox. We ended up with a set of images that we are delighted with. The high-contrast, black and white processing leaves the images looking very period authentic and we feel that the whole shoot was a great success.

View the Final Images

If you'd like to see the final images from the shoot, CLICK HERE

Behind the Scenes

Photographer, Rebecca Mortimer, was kind enough to photograph the shoot in progress.  Here are some of the behind the scenes images showing the events that took place.

Special Thanks

Like many shoots this was a team effort.  Therefore thanks and acknowledgements are due to:

Haili Hughes - Columnist for Vintage Life Magazine

Laura Norrey - Awesome vintage model. Follow her on Twitter

Rebecca Mortimer - for providing all the behind the scenes images. Also a talented MUA - check her out on Instagram

The Vintage Emporium - for supplying Laura's clothes and providing the cafe location for the shoot. Check out their facebook page here

How to Correct White Balance Using Photoshop

This is something very different for me.  I was sent an image and was asked if I could do anything to rescue it as the colour balance was totally incorrect.

I tried a method that seemed to work quite well and decided to write a blog article about the process so that others may benefit from it, too.  However, when I started writing each step down, the process became far too complicated.  So I decided to produce a short video demonstrating the methods used as showing is better than telling for things like this.

Here is the video showing how I went about it.

Here is the final image, too.  I hope you agree that the finished product is far better than the original image.

Also, if you're curious about what is on the end of the lanyard, it's a Swimcell.  Swimcell is a great way of protecting your mobile phone when you're out and about.  It's completely waterproof and can even be worn when you go swimming!  For more details about the Swimcell, visit the website at www.swimcell.com

Like most photographers, from time to time I get requests to provide headshots for actors.  Whilst this can be a simple procedure it is very easy to get it wrong. Actors need headshots for two main reasons; for casting purposes or for publicity purposes.  The requirements for both types of headshot are very different and could make the difference between the actor being selected for a role or audition, or being rejected.

Therefore, I thought I would provide a few pointers for taking headshots for casting.

First of all, for the photographer…

1. Time
Don’t rush taking headshots.  The client may be used to being on stage or being on set in a TV studio, but that doesn’t mean that they will immediately be comfortable being in front of you and your camera.  The American headshot photographer, Peter Hurley, says that portraiture is 90% counselling and 10% photography.  You have to build rapport with your client before they will be comfortable and appear natural in front of the camera.  They may be actors but they are not robots and they will need time to relax.

2. Lighting
Dramatic lighting may look really good on some portraits but it’s not for headshots.  The lighting needs to be even, soft and flattering.  It’s OK to have differentiation between the key light and the fill light, but no more than one to one and a half stops.  An artistic portrait with deep shadows is not what casting directors are looking for.

3. Focus
One casting director told me that “the eyes really are the window to the soul”.  The eyes have to be pin-sharp in the headshot and should be clear and bright with nice catch-lights.  Also, depth of field should be sufficient for the whole of the face to be in focus. As with point two, shallow depth of field may produce an image that is artistically pleasing but the casting director needs to see all of the face clearly.

4. Background
A simple non-distracting background is absolutely essential.  It doesn’t have to be plain white, but it does have to be non-descript.  The last thing you want is for the backdrop to take your attention away from the person in the image.  Whether taken in-doors our outside make sure you have a simple background and, where possible, throw it out of focus.  This also relates to point three and there is often a trade-off between the depth of field being sufficient to get all of the face in focus but shallow enough to throw the background out of focus.  Choose your lens and focal length carefully.

5. Pose and composition
As the title suggests, this is a headshot and should include no more than the head and shoulders.  A current trend is to crop off the top of the head and although this may be popular it is not suitable for casting purposes – especially in the UK.  The pose should be such that at least 75% of the face is visible.  It is OK to have the face turned slightly away from the camera but not so much that it is almost a profile shot.

6. Post Production
Casting directors have told me that what they most want to see is a true representation of the person they are going to see when they turn up for audition.  A very slight amount of retouching is possible but not the full skin-smoothing glamour process that may be used for a magazine shoot.  I use the ‘two week’ rule.  If a mark on the face is likely to be there for more than two weeks then it really should stay there in the photograph.  It’s OK to remove spots or blemishes that would clear up within a few days but things like moles or permanent facial features should remain.  And the same goes for wrinkles I’m afraid.  A casting director does not want to see a headshot of someone that looks twenty but looks more like forty when they turn up for audition.

Secondly, for the actor…

1. Time
Read the above.  You need to arrive at the shoot location early so that you have enough time to relax before you get in front of the camera.  The last thing you want is a headshot with a red face because you had to run the last half-mile to the studio to get there on time.  You need to look your best and that includes looking fresh and relaxed.

2. Make-up
The casting director is looking for a true representation of you; something as close to your normal, everyday look as possible.  If you are female it is best that you wear no more than a basic essential layer of make up for headshots, and something that looks natural.  You don’t want to look as if you’ve just stopped off for a quick photo session on your way to a night out.  Save the glamour look for your publicity shots, not your casting shots.

3. Hair
Please wash your hair the night before or on the day of the shoot.  And take a hairbrush or comb with you.  I have been surprised on a few occasions by actors that have travelled for an hour on public transport to get to the studio and then not even bothered to tidy their hair for the shoot.  Choose a style that keeps your hair away from your face.  Also, if you have long hair, make sure you get some shots with the hair up as well as down.

4. Clothing
As already mentioned above, this is a headshot session not a glamour or fashion shoot.  Keep your clothing simple and understated rather than garish and distracting.  Keep the colours plain and simple, something that compliments your eyes and skin tone.  Remember, the most important part of the headshot is your head; don’t wear anything that will draw the attention away from it.

5. Preparation
In the run up to headshot day make sure you are well rested. Get at least two good nights’ sleep - preferably a week!  And keep your body well hydrated.  Good sleep and hydration will keep your skin looking fresh and your eyes looking bright and clear.

I hope the above gives you some pointers on getting your headshots right.  Whichever side of the camera you end up on, I wish you the very best of luck with your career.

Psychologists tell us that once something is seen it cannot be unseen.  Somehow that image remains with us forever just waiting to be brought back into conscious memory.  Sometimes we recall the images by choice and sometimes they just ‘pop-up’ in our memories whether they are welcome or not.

I believe in this way we are indirectly influenced by what we see and, as photographers, we use this inspiration to influence our own creative work. NEW YORK, NEW YORK: EAST RIVER DRIVECopyright Norman Parkinson Ltd./ courtesy Norman Parkinson Archive

But how far can we take inspiration before it becomes copying?

* Image: NEW YORK, NEW YORK: EAST RIVER DRIVE, Copyright Norman Parkinson Ltd./ courtesy Norman Parkinson Archive

Some of my favourite photographers, people like Henri Cartier-Bresson and Robert Doisneau, created images that told stories of everyday life.  They recorded the things that happened around them, everyday events, social occasions and people going about their normal duties.  They captured them on film and thanks to modern digitalisation they are there for us all to see today.  In fact, we can learn about the way people lived by looking at and enjoying these images today.

Then, there’s my favourite street photographer of all time, Vivian Maier.  Today, Maier would be classed as a hobbyist photographer – someone who takes photographs just for the pleasure of it.  However, for those who know of her work, she is classed by many as possibly the best street photographer that has ever lived.  Employed as a Nanny in Chicago and New York, Maier used her spare time to document the life that happened around her.  She photographed everything; children playing in the street, homeless people begging for food, drunks being carried off by police, lovers holding hands in a restaurant - the list is endless.  Yet, thanks to her skill, determination and effort it is all there for us to see and enjoy today.

But what about tomorrow?  What will my great grandchildren have to look back on from today?  The answer, unfortunately, is very little.

Today’s life is not being recorded in the same way.  If you so much as produce a camera in a public place you are likely to get very stern looks form the people you point it at – and that’s if you’re lucky.  Some street photographers have been threatened and actually assaulted for trying to capture everyday life.  People tell you that you don’t have a right to take their photograph without their permission.  Yet, they are already being photographed by several thousand CCTV cameras without giving permission for that.

If the public don’t stop you from taking photographs then it’s a strong possibility the security guards will.  They often quote laws that don’t exist or even suggest that taking photographs in public areas could be classed as an act of terrorism.  If questioned about the laws they are citing their most likely response is to involve the police.

Then, when the police do get involved, they also cite rules and regulations that have no relevance or jurisdiction over the taking of photographs in public places.  The police will also, quite often, ask photographers to cease taking images or even request that the photographer deletes images from their camera.  This is despite the police issuing guidelines for photography in public places stating that photographers must not be prevented from taking images and that officers have no right to ask a photographer to delete images.

As a result of all this, the sad outcome is that there are fewer and fewer photographers prepared to go out and record life around them today.  Street photography is dying out.  The Cartier-Bressons, Doisneaus and Maiers of yesterday don’t exist today.

Where does that leave us?  Unfortunately it leaves us with the sad news that today has no history.

Images accompanying this article are © 2012 Maloof Collection, Ltd. — All Rights Reserved, and have been used by kind permission.

For more information on the work of Vivian Maier please visit www.vivanmaier.com & www.artsy.net/artist/vivian-maier

It doesn't matter what you're passionate about.  Just let your passion exude and take over, and those around you will be affected by it.

I've had the pleasure of working with a few passionate people and I just love being in their presence. There's just something captivating  that sweeps you along with them.

Passionate about Coffee!

I had the pleasure to meet Sophie Highfield just before Christmas as she was getting ready to open her second Cafe Blend coffee shop in the UK.  Sophie discovered her passion for coffee while she was travelling and it is this passion that has led her to open a chain of unique coffee shops.  Sophie doesn't just supply coffee because she knows people will buy it, she does it because she is passionate about what she does.  The range of coffees, coffee-martinis and speciality teas that Cafe Blend produce are quite unique.

I recently had the opportunity to photograph some of the Cafe Blend drinks and it was a pleasure to hear Sophie enthuse about the products - from the specialist coffee blend they use and all the other ingredients to the time, skill and technique they put into making each drink.  As well as photographing them I also had the opportunity to sample one or two of them.  I can honestly say they taste as good as they look.

#TheKiss2012

Vintage Passion

Somebody else I worked with who is passionate about what they do is Laura Norrey.  Laura is a model with a passion for the 1950's.  We met as a result of a tweet I sent asking for a 1950's style model.  Within minutes, three separate people had recommended Laura and I'm glad they did.  Laura is a quintessential 1950's model - elegant, refined, delicate and she just oozes style.  When I met her it was actually a surprise to see her in colour - I almost expected her to be in black and white.

I worked with Laura on 'The Kiss', a recreation of a classic shot.  Laura's passion for everything vintage was totally contagious and this was evident in her attention to detail and just how much hard work she put into the shoot.  I have some other projects in the pipeline which will allow me to work with Laura again, and I can honestly say I can't wait for them to happen.

I'm passionate about photography.  It's why I do what I do.  One thing I have noticed, though, is that my passion increases when I am around other people who are passionate about what they do.  There appears to be some from of exponential growth.  It's synergy in its truest sense - the end result is far greater than the sum of the component parts.

So, if you want to be successful, if you want people to love what you do to the same extent that you do, get passionate about it. Then connect with other people that are passionate about what they do.  Success, then, is only a matter of time.

If you would like to know more about the people mentioned in this article, you can find them here:

• Cafe Blend - website: www.cafeblend.co.uk  Follow Cafe Blend on Twitter: @cafe_blend
• Laura Norrey - Model Mayhem page.  Follow Laura on Twitter: @LaraLaRouge

Some people call us ‘togs’ (as in phoTOGraphers).  Yet again, I know quite a few other people who see that as a derogatory term.  I’m quite happy to be called a tog and so are most of my photographer friends.  In fact, we got the word ‘togging’ added to the urban dictionary as a description of what a bunch of togs do.

There appears to be a theoretical hierarchy in photography circles – pro’s at the top, then togs, amateurs and then the lowest of the low is a GWC – ‘Guy With Camera’  Unfortunately this is definitely a derogatory term.  It refers to a certain type of person who buys all the right equipment so that they can get closer to models that they normally wouldn’t get the opportunity to associate with.

So who am I?  Well, I’m a photographer.  It’s what I do for a living so I guess that makes me a professional photographer.  I’m a tog.  It’s what I do.  It’s who I am.  I suppose you could call me a Guy With a Camera.  I am male, and I do have a camera.  In certain photography circles I am called ‘The Tedge’ – that’s a whole different story and not one I’m going to share now.

So what should you call me?  Actually, in all honesty, I don’t care what you call me.  The only thing I do care about is that you do call me.

Just call me!

Taking Pictures for the Press

As more and more newspapers are reducing the number of staff photographers they employ, it is becoming more important for event organisers to have their own photographers present.  It is, therefore, also important to understand the type of images that the newspapers are likely to use or likely to reject.

Here are some of my tips for taking press images.

Fill the Frame

This is one of the first photography techniques I teach my students.  Before you take the image, have a good look all around the view finder.  Make sure your main subject fills the frame.  Our brain cuts off anything we don’t feel is relevant, but unfortunately our camera doesn’t.  Therefore, when we see the image we’ve taken we suddenly find that the main subject is tiny and surrounded by a lot of space.

Get the Eyes

If you are photographing people, make sure the eyes are in focus and are looking at you.  If the eyes are sharp other areas of the image that are not quite in focus will be overlooked.  Obviously, aim to get the whole image in focus, but you absolutely must have the eyes in focus.

Make sure the eyes are looking at you and are open!  When taking a group shot at an event it is highly likely that someone will be distracted by what is going on around them and will look away just at the point you take the picture.  Make a lot of noise.  Keep telling the group that you need their attention and keep checking through the viewfinder.

Also, people blink.  They do it all the time.  When you have a group of people posing for a photograph the chances of one of them blinking just when you take the picture are multiplied.  A blink only lasts a fraction of a second.  Therefore, take several shots in rapid succession and before the group disassembles check the back of your camera to make sure you have all eyes open.

Tell the Story

Once upon a time photographs were used to support the text in a newspaper article.  Then, in the 1940’s, that all changed and the picture became the story with the text supporting the picture.

In these current times of instant everything, the average attention span is dramatically reducing.  When you think about the shots you take, assume that nobody will read the text unless the image first grabs their attention.  Make sure people can look at the image and immediately understand what is going on.

Think About the Background

It does matter what is behind the subject in the image.  If the background is too cluttered it will become a distraction.  Also, keep an eye out for objects that might look odd in the image – poles growing out of people’s heads etc.

Where possible get some distance between your subject and the background.  This will give your image more impact and make your subject more noticeable.  If you must use a wall as a background get your subjects to stand at least 2 metres away from it (unless the wall is important to the story).  That way the wall is likely to be thrown out of focus.  If you are taking your image at an event and there is likely to be a lot of people in the background, pull your subject as far away from the rest of the people as possible.  Again, this will give your subject some separation from the surroundings and make them more noticeable rather than being lost in a crowd.

Get Some Activity in the Shot

If the event includes lots of activity, capture some in your shot.  There’s nothing worse than seeing an image of a group of people standing still when the event had lots of excitement and movement.  If it’s a sponsored run get pictures of people running, if it’s a netball match get pictures of people shooting for the net.  They don’t have to be live pictures. You can separate a group of people, give them instructions and then shoot away.

Don’t Forget the Cute Factor

Everybody loves cute pictures.  OK, not quite everybody, but the newspapers do.  A cute picture of a child will almost certainly get in the papers.  It adds the ‘aww’ factor – the human interest factor. Local papers love images of local children.

Call in the Professionals

If you are staging an event and want some publicity in the media, now is not the time for someone to pull out a phone-camera and snap away thinking that the Nationals will beat a path to your door wanting to print the images.  Neither is it the time for someone with a half-decent camera and good intentions.  Make sure that whoever has the responsibility for taking pictures at your event really understands what they are doing, how to create pictures that the press will use and how to use the equipment properly.

The key word in the above sentence is ‘create’.  The images from your event should be created and not just snapshots of opportunities that present themselves.  Carefully plan and stage each image.

Your organisation’s reputation hangs on the quality of the images submitted to the press.  Thousands (if not millions) of people will see them.  If in doubt, call in a professional photographer with experience of submitting images to the press.  The cost may not be as high as you think and the benefits will be endless.

As an example, on Saturday I met Dani.  Dani's reputation had gone before him so I knew what to expect.  However, I was still a little unprepared for the actual event and was still a little surprised.

Dani is a punk.  He has the whole punk thing down to a T - ripped clothing, very tall, spiked Mohican hair cut, body piercings and tattoos.  To be honest, if we were to find ourselves walking towards each other along a street on a dark night, I think I would feel a little apprehensive.  But, as I said before, I had already heard of Dani and I knew about his reputation.  Dani is well educated, well spoken, extremely polite and extremely obliging.  He would do anything to help anyone.  During the shoot on Saturday Dani worked very hard and I don't think he grumbled once about being asked to do some ridiculous things by the other photographers.  He is one of the most likeable, professional people I've met.

When I talk about the shoots I have done or what I have coming up, it's interesting to see the reactions from the people I talk to - particularly non-photographers.  What I've learned is to get to know the person behind the image first and not to judge anyone on appearance.  In fact, not to judge them at all.  It's good advice because they could actually misjudge me (or you), too.

Last Saturday, 31st March, an associate photographer (Oaktree Photography) and myself arranged a Studio Day for other photographers to get some studio experience.  We had 10 photographers and 4 models in total and a good time was had by all.

For some of the photographers involved this was the first time they had been in a professional studio.  It was good to see the progression throughout the day. In particular, one of the photographers who was initially very hesitant to get involved, blossomed over the period of four hours and by the end of the day was right in the thick of it, giving the model clear directions and actually demonstrating how she wanted the model to position themselves.

I think we are going to be arranging more of these days in the near future.  Watch this space if you're interested.