Black and white conversion

I swear by a black & white conversion that I first saw in the magazine Photography Monthly back in May this year and, after reading an article in Light Stalking about such processes, thought I'd post it up on here.

Credit for this process goes to photographer Greg Gorman. It is a lengthy process but I have it set it up as an action in Photoshop. One push of a button (F2 in my case) and the PS goes through all the steps in layers, leaving me in full control over contrast, levels toning etc.

Seeing as it was already publicised, I'm sure I can divulge the details seeing as the creator is credited above... so click 'read more' for the details.

Digital SLR Photography Reader's Showcase

Really chuffed to see one of my photos included in the Reader's Showcase pages of the November 2010 issue of UK magazine Digital SLR Photography... a publication I have enjoyed for some time now... and they gave my picture a full page.

Thanks to Samsung as well for the Premium Plus memory card I got for having the picture included.

The image they featured (below) was taken for a fashion shoot in the June edition of Pjazza, a Maltese lifestyle magazine.

Editor and stylist: Isabel Ripard

Make-up: Justin Brincat

Hair: Antonio Patane'

Models: Lara Pace Brincau and Lara Cutajar

Visit Digital SLR Photography here.

Rules of Engagement photo shoot tear sheets

Here are tear sheets from the fashion shoot 'Rules of Engagement' for Pjazza magazine, October 2010:

Read "Behind the scenes of Rules of Engagement" for more information.

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Behind the scenes of Rules of Engagement – Pjazza magazine October 2010 photo shoot

On September 12^th, we turned up at the plush surroundings of The Phoenicia Hotel, situated just outside Malta’s capital city of Valletta. Our bunch consisted of me, stylist and shoot co-ordinator Isabel Ripard, make-up artist Justin Brincat, hair stylist Antonio Patane’ and models Davide Tucci and Rodianne Grech.

The team behind the camera know and respect each other, so it is always a pleasure working with them all. I like working with familiar collaborators as it makes the whole process easier and we understand each other, know our characters and they know what I expect and what I want from a shoot or production. Antonio is Italian and doesn’t speak much English... and I speak less Italian, yet we seem to understand each other and manage to take the piss out of each other all the same. Isabel cracks up at this, able to understand both of us.

Ethiopian Cross

This is a photo I took of a friend's Ethiopian processional cross which he bought whilst filming a documentary there. I loved the distinctive African appearance through the intricate lattice work and the ageless qualities of the object. I intended to process this in a tinted, contrasty black and white right from the start.

I use rough sheets (rough for texture) of white card for the backdrop and used available light, angling the scene for the shadow of the cross.

Details: 50mm lens, 1.3 sec, f/5. ISO 100.

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What Every Photographer Should Know About Reducing Noise in Photoshop

Another excellent article from the Light Stalking guys:


What Every Photographer Should Know About Reducing Noise in Photoshop

All aboard the 3D bandwagon!

Who needs a story when you've got a pair of these?

As I set out to write this, I think to myself; 'Is it a coincidence that the number 3 key on my keyboard is also the key for the £ symbol?' 3D or £D?


It seems that more and more ‘big’ movies are being made to cater for the new 3D fad. Or, at least I hope it is a fad and not something to stay and increase. In my opinion, on the whole 3D is a cheap side-show gimmick and its spectacle (if you want to call it that) detracts from the emphasis of the elements of a film that really matter... story, characters and theme. And anybody that says that these things don’t matter in a mainstream movie clearly hasn’t seen Insomnia (flawed as it might have been) and Toy Story 3 (yes I know... but that was a 3D movie that bucked the trend as a solitary beacon). Actually, the 3D element in Toy Story 3 was completely pointless to me. 3D doesn’t make a film immersive... story, character and theme does that in a much more clever, subtle and effective way.

Light trails

After a long, pretty tough day editing, and admiring Bruno's Mamiya RB67 that morning (Bruno is my editor, friend and long time collaborator), I was sitting in my car on the Gozo Channel ferry with my (non-Mamiya) camera in its camera bag on the passenger seat. I thought about taking some pictures to pass the time on the mind-numbingly boring 25 minute crossing.


I shot a set of pics from behind the steering wheel, through my filthy windscreen to get light trail effects. The dirty glass, I think (if noticeable at all) adds to the grungy feel.


The following images were taken with a 28-135mm zoom lens. I zoomed in and out whilst taking exposures set at 1/5 sec, f/4,5, ISO 100 and processed in Photoshop.

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Should You Really Shoot in RAW?

Should You Really Shoot in RAW?

Brilliant article on Light Stalking. I have had this debate more often than I feel I should... even had an issue with a 'prominent' photographer in Malta who argued about shooting and supplying images (for professional use) in RAW when the pictures needed some extensive  exposure fixing.

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