Eddie Hearn : Sunday Mirror

Last week I got the opportunity to shoot editorial portraits of Eddie Hearn for Focus Images Ltd for the Sunday Mirror. Tom Hopkinson from the Mirror was doing an exclusive interview with Eddie after his press conference at the Courthouse Hotel Shoreditch, where he was promoting Wednesday’s boxing night in Bethnal Green.

I knew I won’t have much time with Eddie, so I made sure to show up early and find a good spot for a range of portraits. The Courthouse Hotel has a great interior and first I was drawn to the main lobby and bar. Unfortunately by the time of our interview the bar would be open and busy. Luckily the hotel staff was really helpful and gave me access to a private bar upstairs, where I could setup and do some test shots, so by the time Eddie would be in front of my lens I would need less then five minutes to get all the shots. Also it was really helpful for Tom to interview Eddie there, away from the busy press conference.

I decided to start with some standing portraits, lit with my new favourite softbox to bring on location, the Pixapro 90cm octagonal umbrella softbox. It’s a great modifier and so quick and easy to setup! Behind the bar I tucked away another speedlight, which I used to bounce light off a mirror to act like a fill or kicker on camera right.

For the portraits of Eddie sitting, I just needed to move around the softbox and turn off the second light. Very simple lighting, but I concentrated on the composition and especially Eddie’s expression. I was really happy to see that the Sunday Mirror also used my favourite frame to go with their story:

As the interview took place before the photo shoot and I had already setup for the portraits, I actually used the same lighting (just had to move the key light a bit) to take some photos of the interview. As there was literally no ambient light in the background from this angle, I just added another speedlight to lighten up the wall behind Eddie!

Looking forward to shooting more editorial portraits like this. Even though there is a lot of pressure to get the shot, I love the challenge of creating something in a short amount of time. Actually, it is all about preparation and being able to deliver when the subject is ready!

IMPRESSIONIST PHOTOGRAPHY

It all started in 2014, when I was planning to visit Hong Kong for the first time. Wherever I travel I want to get at least one unique personal picture for myself, something special that maybe hasn’t been photographed before. Of course I will take pictures of the main sights, like the Hong Kong Island Skyline seen from Kowloon, but I won’t spend too much time photographing them. I know, it has been photographed before a million times, and many times better than I could achieve with the gear I travel with. As someone passionate about street photography I am usually drawn to street scenes, moments that might capture the feel or culture of a place.

This time, I wanted to try out something different. The skyline of Hong Kong Island is unique itself and I wanted to experiment with it and make an image just for myself. From a young age I was interested in Impressionism, especially in the work of Claude Monet, however that art form is naturally quite a contrast to photography.

Photography is mainly about recording the "real world”, portraying something how it really looks like. Of course you can change a scene through framing, lighting, add colour gels, smoke etc. and create something that is not actually real. Furthermore Photoshop offers endless possibilities to create whatever you like, but generally the aim is to make something at least “look real”!  

Impressionism on the other hand is more about the subjective perception of a scene. The Tate explains that impressionists “found that they could capture the momentary and transient effects of sunlight by working quickly, in front of their subjects, in the open air rather than in a studio. This resulted in a greater awareness of light and colour and the shifting pattern of the natural scene.”

What’s particularly interesting is that Impressionism was actually also “partly a reaction by artists to the challenge presented by photography, which seemed to devalue the artist's skill in reproducing reality. Photography actually inspired artists to pursue other means of creative expression, and rather than compete with photography to emulate reality, the Impressionists sought to express their perceptions of nature, rather than create exact representations. Photography encouraged painters to exploit aspects of the painting medium, like colour, which photography then lacked: The Impressionists were the first to consciously offer a subjective alternative to the photograph. [Wikipedia]

Back to Hong Kong, my idea was to capture an image that represents the Skyline in a different way. My first thought was to try a slightly longer exposure and pan the camera up and down, like a brush. My vision of the shot was that it might look somewhat similar to a barcode.

I was travelling light and didn’t bring a tripod, so I was panning the camera up and down just hand held at about 1/5  to 1/30 of a second. As with any new technique it is all about trial and error, and after a few shots I got the effect I was looking for. However due to the long exposure (I didn’t bring a ND filter either), even at a high aperture, the images came out completely overexposed. So I wasn’t sure if I could work with the files in Lightroom. Hence I was really surprised how much information there was still left in the extremely overexposed raw files. The colours were obviously completely washed out, so in addition to pulling back the exposure I also had to push the saturation up close to the maximum and then adjust the colours individually. Usually red and warm tones, at least with my camera, are blowing out quickly, so I had to pull back red and orange tones a bit after the saturation adjustment.

Hong Kong Island 1

The previous photo was taken at f/16 at 1/30s, whereas the following one at f/16 at 1/10s. Obviously this one was even more overexposed and not much of the warmer and brighter tones were left. Even though it came closer to my “barcode” vision, I do prefer to retain more colours in my images in this project.

 Hong Kong Island 2

Hong Kong Island 2

Back in London I continued working on this technique as a personal project. It is very time consuming and some days I wouldn’t get a single frame that worked. I wanted to keep the images more organic, so I kept working without a tripod and it was great to just walk around and be more fluid with my decisions.

When I first started taking vertical panning photos of the Houses of Parliament, it didn’t really work or feel right though. The problem was that I would completely loose Westminster Bridge. I could emphasise the bridge by panning horizontally, but then I would loose Big Ben. That made me think to work with a double exposure, first panning vertically, followed by panning horizontally. It took me countless trials, considering the variables involved, the speed and direction of each pan and aligning the two exposures!

But eventually I did end up with a frame captured in camera that worked for me:

Westminster

For subjects other than recognisable buildings or parts of the city, the light becomes even more important. The light from the sun setting really gave the trees in Green Park here much more shape, and of course the warm colour added to the feel of the image:

Green Park

By the way Claude Monet also worked in London for a while producing his “Thames Series” and my favourite painting “Leicester Square at night”.

Both can be seen until 7th May 2018 in “The EY Exhibition: Impressionists in London” at the Tate Britain in London.

Earlier this year I travelled to New York then, which has been on my bucket list for so long. New York really helped me to enhance my body of work in street photography and ultimately inspired me to start my own dedicated website where I share my personal work, rather than mixing it with my editorial and commercial work. That in turn also reignited my passion for my impressionist project.

I made sure to have enough time on top of the Empire State Building to experiment with panning my camera while capturing the amazing views. I love how the image came out in the end as if there are strokes from a paintbrush. You can clearly see the new World Trade Centre, thanks to its iconic architecture. All the glass buildings turned blue, while the older New York buildings maintained the red, brown and yellow colours, with some of the few trees in Manhattan bringing in some green! 

 Manhattan

Manhattan

Finally, I think it is so important not to forget to really take in your experiences when you travel. I try to make a conscious effort to step back and just take in the culture, the scene, the light, the smell, the sound, the weather and so on, so I can really remember it later on. I rather take fewer photos, but the ones I do take are then the gateway to my memories in the future. It is like a good soundtrack to a film. When you hear a song of a movie you have seen ages ago, it brings back the scenes and feel of the movie!

PRINTS - FREQUENTLY ASKED QUESTIONS

I am excited to be offering prints for sale of some of my work. In today’s world we are experiencing most photography only on our screens, however the end result of photography for me will always be a print!

At the moment I am offering 30 selected images as prints for sale. Please contact me on info@wilhaub.com if you are interested in an image not currently in this selection.


What print size are you offering?

I am offering three sizes for every image. 6x4 images are available in 15.0” x 10.0”, 30.0” x 20.0” and 45.0” x 30.0”. Other formats (square, 14x11, etc) are available in similar sizes, which you can see on the print order page. There you can also view the print on the wall of a virtual room to give you a better idea of the size!


What type of printing and paper are you offering?

All my prints are produced by theprintspace, a creative photographic and fine art print studio and gallery in London using Giclée printing. Giclée printing (French “gicler” meaning “to squirt or spray”) is a fine art digital printing process combining pigment based inks with high quality archival quality paper to achieve an inkjet print of superior archival quality.

All images are printed on Hahnemühle Bamboo paper, which is a fine art paper made from 90% Bamboo fibres and 10% cotton and is therefore especially environmentally friendly. It is also particularly suitable for warm-toned colour and monochrome prints and offers maximum ageing resistance.


Are you shipping worldwide?

Yes, international shipping is available!


How much is shipping?

Free delivery is included in the price, globally! All orders are shipped using Royal Mail signed for services. 


Can I also order mounting and/or framing?

Mounting and framing is not available at the moment.


How will the print look like in real life?

There are differences between the appearance of an image on screen and a print of the same image. A computer screen gives off light while a print reflects light that is falling on it.

Furthermore your monitor might no be calibrated correctly, so that you won’t see the colours correctly (e.g. to cool or warm), but also the ambient light will have an effect on how you perceive the colours.

To give you an idea I added a couple of images of an actual print and a short unpacking video, but this again is a digital representation of the print seen on a screen…


Please don’t hesitate to contact me on info@wilhaub.com if you have any questions not listed here! 

SUB-FRAMING

Sub-framing is a composition technique in photography, where you put the subject or an object in a frame within the image. You can frame it with lines, other objects, out of focus areas, light and shadow areas to name a few.

I like to use sub-framing in my street photography to provide a more interesting point of view or show a bit of context. In general I want to create more visually interesting images and I like juxtaposing people with their environment. Framing interesting people or situations within their environment, especially other moving objects, just adds another layer to the idea of capturing a unique moment.

When I am taking pictures of sights (e.g. World Trade Centre or Big Ben) I usually can’t stop thinking that these have been photographed before millions of times. So when I am travelling I of course take the obvious choice of photos, but I also know that it has been done before and certainly has been done before way better. I am always striving to get a different picture of the sights, a different angle or some detail I find interesting, something a little bit unexpected. Often I achieve this through sub-framing:

Most of these compositions are different to the usual image of these sights, but just taken from a different point of view. However, I also try to find frames that are just there temporarily, e.g. the World Trade Centre framed within a graffiti within a building site window; can you call that “double sub-framing”!? ;-) The important point is though that in a few months when the construction work is done, this view will not exist anymore, making it also just a moment in time.

When I went to Washington I already knew what to expect from the sights. I’ve seen the Capitol, the White House, the Washington Monument  and the Abraham Lincoln memorial many a times before, in the news, on photographs and in movies. However I didn’t expect to see so many food trucks on Capitol Hill! Maybe I was just hungry, but it really captured my interest. Furthermore I am a foodie anyway and especially love street food, so I tried to incorporate the food trucks in my photos of the capitol, while still putting the emphasize on the main subject.

Product Photography

Product Photography is mainly about accurately presenting a product online or in catalogues or magazines. However more creative, eye-catching images are needed in marketing or in web design as hero images!

I’ve been updating my commercial product photography portfolio recently to show more of my work that can be used for advertising, online or in print!

In contrast to portraiture there is no human interaction in still life photography, however great attention to detail is of the essence, to make products stand out! Most product photos are very simple in composition, so every little piece of dust, any crease or light reflection or shadow will be noticeable and distracting. So my job is to avoid all these pitfalls while creating interesting images.

Here are a few examples of different approaches to present products:

Using colour to attract attention:

The standard white background product image, but with a little twist….

The natural “lifestyle” look:

Check out more product photos in my portfolio and get in touch if you need your products to shine on your website or even on a billboard!