Its always good to keep pushing the limits with photography. The photographs you see before you were taken early this year for the photo-library, Cultura Images. Under the art direction of Mark Turner the intention was to photography everyday scenes using high speed flash to record extreme movement. An extensive casting with undertaken to find two models with good core strength who could move and jump elegantly.

More images can be seen at http://www.simonmccomb.fotopic.net

New advertising 2009.

 The photographs shown below were taken for a Pan-European advertising campaign for the sliming drug, Appesat. 

The beauty of reportage is that it never really goes out of fashion. With so much of the our print media we now receive either retouched or over manipulated, it is very difficult for the viewer to know what is ‘real’ and what is retouched. Our trust in printed imagery is changing. However a reaction to this trend is steadily taking shape and there is now a movement back to ‘pure’ photography. Photography has always been about capturing the moment and never more so than now. As budgets tighten reportage photography offers an effective alternative to the glossy unbelievable imagery in so much of today’s editorial and advertising. 

Subsequently when Audrey Dickie of Gigha Hertitage trust approached me to produce photographs for a forthcoming calendar I jumped at the chance. This gave me the chance to go back to my roots and work on a real reportage assignment.

Working without payment but with all expenses paid Audrey asked me provide portraits of the colourful characters on the Island of Gigha. The intention of the calendar is to help maintain the Island’s profile.

Gigha is a unique community owned Island, seven miles long by a mile and half wide situated three miles west of the Kintyre Pensular.

In 2002 the Islanders with the help of the Scottish Land Fund and the lottery bought back their island from the private land owner Derek Holt with a £3.5m grant.

From my perspective the intention of the project was to keep the assignment as real and natural as possible. Armed with only a Canon 5d digital camera and two lenses a, 17-35 mm and 50 mm I set off for Gigha. I remember reading an interview with Sabiastiao Salgado in which he claimed it was important to be as close to the subject as possible. He did’nt believe in using telephoto lenses!

I was allocated two hours with each person, this would hopefully give me the opportunity to build up a picture of their working life. 

Pictured above and below are portraits of some of the workers of Tarbet Farm.

Thanks must go to Mark, Adam and Kirsten for giving up their time during the milking of the cows.

Kirsten with Daisy on her lap

Whenever working with ‘real’ people( not actors or models) it is important to quickly establish a rapport, subsequently this will allow the portrait session to flow naturally.  The more you engage with you subject the greater the return. 

Each person chosen for the portrait session had a wonderful story to tell, none more so than the chairman of the trust Willie McSporran, pictured below.

Ann has recently become the new Minister on the Island and is pictured inside Gigha Church

The award winning wind farm on the island is an impressive project. In its first full year of operation it generated £100,000 of profit to reinvest into the community. Andy is in charge of maintenance and dat to day running of the wind farm.

John Martin is pictured in the wonderful clear waters off the boat house beach. Later that week John rowed around the Island for charity.

What a pair of rogues. Johnny and Willie being themselves.

Ewan adds to the fun

The offshore salmon cages at the Salmon farm 

Gigha Halibut Farm

A wonderful misty morning was spent photographing Kenny and Betty Robison at Ardlamy farm. Kenny has a great relationship with his herd of Friesan dairy cattle. After the photo shoot Betty treated us to tea and toast in her lovely farmhouse kitchen. 

Great photography is very rarely the product of luck. With my photography, weeks of meticulous planning goes into each shoot. Before travelling to Morocco in the March of 2008, I spent weeks searching for relevant and visually interesting locations. I wanted to shoot a portraiture project based at the Berber Fortress of Ait Benhaddou. A large portion of David Lean’s classic film ‘Lawrence of Arabia’ was made around the UNESCO world heritage site at Ait Benhaddou.

The UNESCO site is also a celebrated location for the Berber people of Morocco.

For the photographs I used as a reference the painting by Francisco de Zurbaran of St Francis standing in his tomb (see painting illustrated below). The lighting in the painting was inspired by Caravaggio.

Ait Benhaddou is a fortified Kasbah build on a hill side and as with most of the ancient buildings in Morocco the rooms are exceptionally dark except for one or two small natural skylights.

Next, it was essential to win over the trust of our Moroccan friends. Spending time with people before portrait sessions is not only essential but interesting and rewarding. So after two days and endless cups of ‘Moroccan whisky’ (Moroccan green tea) the portrait session commenced.

The final chosen image of Abdul is illustrated below drawing on the influence of Francisco’s painting.The shoot was conducted in near candle light and took two hours to complete using a Canon EOS 5D digital camera rated at 200asa.

Before leaving for Morocco I wrote several personal projects that I intended to undertake during my two week stay in the Country.

I have always been interested in the colour of moonlight and how it effects the Earth. The colour temperature of moonlight is 20000K and during long exposures it can produce extraordinary results in photographs.

Light pollution can play havoc during long moonlit exposures, so the Moroccan desert would provide an ideal location for this type of photography.

Keeping the tripod still and focusing in the darkness also proved to be demanding, but the results shown below of Ait Benhaddou illustrate what can be achieved with the right technical research.

I have recently been influenced by the paintings of Andrew Wyeth. I particularly like his composition and the feeling of desolation in his paintings. I believe his image construction is almost photographic.

Feeling inspired, I flew to Iceland to undertake a series self initiated assignments. Stylist Cathy Sinker, had provided an elegant Victorian antique chiffon dress.

Iceland is visually stunning, with monumental waterfalls, volcanic lava encrusted valleys and wide open black sand beaches. But it is also incredibly windy and very cold.

After five days of near Siberian weather a decision was taken to shoot purely the backgrounds in Iceland, saving the model from hypothermia. The photo shoot  was then resumed in the warmth of a London studio. Make-up artist Jane Sinclair then applied beautiful hair and make up and finally Richard Palmer at the Parlour creative constructed and completed the composition in Photoshop CS2.

Without doubt lighting plays an essential part of multi image layering. The original photograph of the field of lava was taken at midnight, during the summer solstice in Iceland. To recreate this mood ‘Keno flo’ lights were positioned high above the model and adjusted to the correct colour temperature.

To finish the image an old hotel was photographed in perspective at Cape Cornwall and this was added to the top right hand corner of the image.

Model : Gosh at MOT, 014426838918

Stylist : Cathy Sinker, 07774993600

Make-up : Jane Sinclair, 07887576222

Retouching by Richard Palmer at The Parlour Creative, 07870149637 or richard@parlourcreative.co.uk

Assistant : Stuart Rose, 07801186217

Simon McComb : 07802 585028

simon@simonmccomb.co.uk

When used with thought and consideration re-touching can be an invaluable tool for the photographer. Images can only be constructed to look believable if re-touching is part of the original image construction process. With this in mind I flew to Cuba to photograph several bars and cafes, that would later provide the background for lifestyle photographs taken in my London studio.

For the styling the intention was to draw on influences from Baz Luhrmann’s film, ‘Romeo and Juliet’. Again Cathy Sinker provided an amazing selection of clothing including a replica gun. Mark Pugh and Culver from Mot model agency kindly gave up their time to model and Jane Sinclair made them into startling figures.

After several experiments with different poses, Mark’s pose without the gun was chosen. Then it was the turn of finding the appropriate location in Havana. An exhaustive search was conducted throughout Havana, and eventually the Polar cafe near the Hotel National was chosen.

The completed photograph is shown below after re-touching by Richard Palmer at the Parlour Creative. 

Styling by Cathy Sinker : 07774 993600

Re-touching by Richard Palmer at the Parlour Creative : 0207 287 7370

Make-up by Jane Sinclair : 07887 576222

I have worked closely with Make-up artist Jane Sinclair over a number of years, frequently in our personal work we like to push the boundaries. Enclosed below is a photography of Izzy. Izzy wasn’t a model but Jane spotted her at a wedding and thought she looked stunning. After much cajoling Izzy agreed to pose for a portrait session. 

The make-up for the photograph took two hours to complete and yes her hair is real.

Jane Sinclair can be reached on : 07887576222

Photographing Celebrities.

A few of years ago I was commissioned by Siegel Gale on behalf of Eurotel (a Czech telecommunications company) to photograph icons of Eastern European culture.

After successfully photographing Ice Hockey players, Opera Singers, Artists and Television presenters I was finally commissioned to photograph Garry Kasparov. 

Garry Kasparov is a phenomenon in Eastern Europe, almost on the same scale as David Beckham in the West. After an exhaustive location search the presidential suite at the Savoy hotel in Prague was chosen for the shoot. We were promised by our Czech producers that we would have over three hours for the portrait session.

On the morning of the shoot a ‘bomb shell’ was dropped, because of television commitments we now had just EIGHT minutes to complete the shoot. 

Three different lighting set ups and five cameras were loaded with film. In eight minutes 32 rolls of film were shot including two costume changes. Some of the examples are illustrated below.

Art Director : Kam Devsi @ Siegel Gale 

Assistant : Stuart Rose

Production by Forward

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In early 2007, ten surfers, four from Australia and six from the UK decide to charter a boat in the Indian Ocean with the instruction to travel-guide, ??take us to places never surfed, where tourists haven’t dared to venture. In April 2008 this dream became reality. After months planning, Anthony Colas, an experienced surf guide from the Basque region of France was chosen to guide us through the Southern Atolls of the Maldives. After spending one day and one night in the grim mini Manhattan that is Male, we set sail. Twelve hours of motoring later passing through some of the most stunning seascapes imaginable we arrived at our first anchorage, the Meemu atoll. After a quick change of clothes our milky white bodies were thrown into the water for a quick surf before sunset. This was our first chance to acclimatize to the heat of the Indian ocean. 

Anthony attempts to calm our concerns, ” don’t worry, the surf break is over there, its that dot in the middle of the Indian ocean”. 

After a restful night sleeping under the stars we were greeted by the most amazing sunrise and a display by a local pod of dolphins.

With the ocean starting to become calm a decision was taken to motor further south towards the equator and the more exposed reefs of the Thaa atoll. By this stage I was beginning thinking that I had died and gone straight to Heaven. The journey south was through some of the most beautiful, unspoilt seascapes I had ever seen, lush palm fringed islands, crystal clear coral reefs, a mirror smooth sea and not a sole for miles around. With stunning views like this, what started out as a one week holiday/ one week photo-shoot was rapidy turned into a two week photo-shoot!

The Thaa atoll gave us our first chance to surf in waves that resembled a giant aquarium. On catching a wave hundreds of parrot fish would quickly flee the reef above which you were surfing. The refraction of the crystal clear water gave the impression we were only surfing inches above razor sharp coral, this combined with the fact we were hundreds of miles from nearest medical help left most feeling a little uneasy when surfing in the first week. 

For the next two weeks every day would follow the same surreal routine. A sunrise shout by the first person to wake up was followed by a 2 hour sunrise surf (most of us found the only way to wake up was jump overboard from the top deck). Then a ‘wolf’ whistle from the crew anchored in the channel announced breakfast was ready. After a short rest, another surf for two-three hours followed by a beautiful lunch caught fresh from the sea by our cook. An after lunch rest or read was then superseded by ANOTHER surf until sunset. Our evening meal was usually conducted in near silence as most of us were too shattered to talk.

A generous statement by the captain of free beer as a recompense for a broken air conditioning generator seemed wonderful offer at first, but after one sleepless night in cabins that resembled the steam room at my local health club a decision was made by most of us to sleep under the stars on the top deck!

After several days surfing the perfect waves on the south eastern edge of Thaa atoll, Anthony our guide recommended we travel three hours south to one of the few inhabited islands on the Atoll. A wonderful afternoon was spent surfing in front of the spectacular palm fringed island succeeded by our first introduction to authentic Maldivian culture. Nearly all the Islands in the thousand strong island chain are Muslim. And each island would seem to follow a similar layout of perfect grid pattern streets, a mosque, a community centre, a general store, a football and volleyball pitch and bizarrely a mobile phone mast. The locals were shocked to see our grinning European faces. We were now hundreds of miles from the nearest holiday resort. Even more surprising was when one of the fishermen said the magical words ‘Manchester United’, tonight on television. So there we were at 11.45 p.m, laying down in a concrete hut with only coconuts for refreshments watching the champions league! Paradise!

A true desert island!

We soon learnt that each island has a function within the atoll. Some islands are used like the one below for growing vegetables for the region and subsequently only have a population of a handful of people, others support the thriving line caught tuna fishing industry like the one above, while at least one Island in the chain will provide medical facilities.

As mentioned previously the intention of the second week was to devote time to a photo-shoot primarily for a new clothing label, Irribaren based in Australia. The clothing label is one of the few ethically traded ’surf’ clothing labels. A sample photograph taken from the top deck appears below.

On the first friday afternoon of our trip a boat laden with local Maldivian surfers appeared from one of the neighbouring islands. This was our first contact with other surfers for more than a week and was also due to be our only one during our entire stay. It was humbling to watch them surf in jeans on a mixture of broken boards and boards without surfboard wax. Surfing without wax, now that takes some balance! 

With our spirit of adventure now firmly ingrained and our surfing confidence increasing we decided to head further south again to explore the Gaafu Atoll. Gaafu Atoll is only 60 miles north of the equator and home to one the most intimidating waves in the region, Yin Yang.

Although the take off on the wave is pleasant, the wave then accelerates over a razor sharp coral reef forming one of the most powerful waves in the region. Any mistake here is rewarded with a trip to the local hospital (which luckily is situated on the adjacent island). From my experience of surfing around the world I have always found that if I have any doubts about the reef I’m surfing on, the best solution is to swim amongst waves with a mask and flippers. At least that way I know what the hazards are. Even from underwater and behind the wave one can see how the wave breaks, like a cylinder sucking water from the reef.

The photograph below illustrates a lovely story. Nick is 49, an Osteopath from the south coast of England, and this was his first ever surfing holiday. So after hearing the frightening accounts of what could happen to him if he collided with coral, Nick decided to watch from the sanctuary of the boat. After all it was looking like he could make a small fortune from treating the wounded. But frustration got the better of him and after two days of watching, Nick decided to paddle out to the waves. This is his first wave, an absolute screamer.

Our surf guide Anthony was very keen to emphasis the dangers of surfing the infamous reef, paradoxically minutes after this photograph was taken Anthony didn’t heed his own advice and got pitched head first onto the reef resulting in 12 stitches and a very serious head injury!

Anthony still smiling but very concussed after his accident. The bloody opening in his hat shows where is head crashed into the reef.

This photograph looks like the aftermath of the Tsunami, but is actually one of the main changes that will take place to the Atoll in 2009 with the opening of the first tourist resort ,the Olhuveli village. I suppose this underdeveloped wilderness had to change one day. I just hope the local community benefit from the proposed $600 per night 5 star resort. The concrete posts lying in the water will later be used to support the wooden bungalows so sort after by wealthy tourists from China.  

The Asian Tsunami had a devastating effect on the Maldives. Over ten thousand people lost their lives and many more lost their ability to grow vegetables with so much of the soil infected with sea water. Fortunately some of the islands are now starting develop vegetable plots for the first time since the devastation.

The south west monsoon usually arrives in late May but unluckily for us the rains and the strong winds commenced in the last few days of our voyage.This still gave me wonderful opportunities for photography because, despite the inclement weather above the water, below the water the visibility remained stunningly clear.

My main photographic subject for the last few days were the children from the neighbouring island, many of whom would spend hours diving off the top deck of adjacent fishing boats.

This was intended to be a once in a lifetime voyage, the only problem is I want to do whole journey again, and straight away.

This was an ambitious two week photographic project to follow the route of the Kasbahs from Marrakech in the west to Merzouga in the east of the country. Our intention was to immerse ourselves deep into Moroccan culture by staying in the wonderful ryads and auberges along the route. Time was needed in each location to win over the trust of each of our photographic subjects. Our journey started at the wonderful Ryad El Borj in the Medina of Marrakech. This hotel was chosen because of its great interiors, ideal for shooting portraiture projects. A new blog will appear showcasing this work in the coming weeks.

After a long arduous 8 hour drive through the Atlas mountains we arrived at the Kasbah Ellouze in Tamdaght. The village is close to the legendary UNESCO listed kasbah of Ait Benhaddou made famous in David Lean’s Lawrence of Arabia. Some amazing characters inhabit Ait Benhaddou and each one has an amzing story to tell. One of the main reasons for visiting Ait Benhaddou was to photograph the village under moonlight. The clear unpolluted desert air would be perfect to photograph the village using purely the light from the moon. The surreal results which are reflective of moonlight in a 1970’s film are shown below.

After two days in the windswept valleys of Ait Benhaddou we followed a recommendation from Alistair Sawday’s ‘Special places to stay in Morocco’ and headed for the mysterious fortified pise village of Tinejdad. Built by the nomads of the day the village is a film set grid of alleyways designed as a defence system. Today the village retains an authentic innocence bereft of tourists. A lovely story was told to us by the museum guide of the Kasbah. Every friday afternoon the local unmarried women of the surrounding villages would meet on top of the small hill behind the village to talk and bathe in hot springs. At the end of the day each of the girls would roll down the hill. The direction the women finish up in decides the village they will find their future husband in. What an innocent yet effective way of finding your match! 

Two beautiful moonlit nights in the medieval Maison d’Hote El Khorbat in Tinejdad were followed by another four hour drive through some of the most deserted but beautiful landscape to the romantic sand dune dominated village of Merzouga. Now made famous by the Paris-Dakar rally the villages boast some of the tallest sand dunes anywhere in the world.

Our return journey to Marrakesh took us via the arid desert landscape that runs parallel to the Algerian border and on to the tourist town of Zagora.

From there our route to Marrakech passed the beautiful palm groves that line the valley just outside Zagora and the incongruous ‘Gladiator’ film set at Ouarzazate studios.  

Morocco is a wonderful country with very friendly welcoming people, more so when you embrace their culture. The country is rich in film set locations and interesting characters. It can be tiring though, especially when you travel with a camera. Even when you think you are alone in the most remote parts of the country someone will appear demanding money for a modelling fee or to show you a sunrise or sunset. Fake ‘Berbers’ are everywhere but retaining a sense of humour is essential to enjoying a good assignment in Morocco. Its also important to remember that 20p or the equivalent is nothing to us but everything to people who do not belong to a welfare state. Would I go back, yes straight away.

If you have any more questions don’t hesitate to contact me at :

simon@simonmccomb.co.uk

or visit my website

simonmccomb.co.uk

In the spring of 2008 I was commissioned by the Body Shop International to produce photographs for their Autumn 2008 collection. The photographs were taken for a global brand identity campaign

The brief for the assignment was to move away from the bland white backgrounds and stark white locations synonymous with so many lifestyle shoots. Instead the Bodyshop required warm autumnal tones, saturated dark backgrounds and models with expressive and cheerful personalities.

We also searched for models who could act as well as look good. It was important for each scenario to be believable.

After an exhaustive casting in which nearly 200 models turned up in a period of over two hours, five models were chosen to represent the different age groups required. Next up was the location search. This became a real challenge to find a vibrant, colourful setting.

After visiting over 40 properties in the London area with the help of 1st option and Zownir, a rather elegant four storey town house was chosen in the Richmond area. Unusually the owner had painted the house in browns, reds and greens which was perfect for our shoot.

Lighting is essential to good health and beauty photography, so for this shoot ‘film’ lighting was chosen. Daylight and Tungsten lights were mixed to give a cinematic feel and emphasize the feeling of warmth. 

Art Director : Scott Corbett

Make-up : Jane Sinclair

Assistant : Stuart Rose

The second commission from the Bodyshop was to produce photographs for one of their key areas of marketing, the Bodyshop ‘at home brand’. These are parties in which a professional Bodyshop consultant demonstrates a selection of new products from the Bodyshop range. The parties are cheerful, entertaining, informative and the photography should reflect this. 

Art Director : Scott Corbett

Make-up : Kim Jacobs

Assistant : Stuart Rose

Contact : Simon McComb : 07802 585028