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April 28th, 2010 by admin

We recently celebrated my son’s 3rd birthday, and since we have been so time poor, the solution for party food was Crust Pizza! Everyone loved the pizza, including my father who very rarely eats pizza. We ordered around 15 pizza’s of various flavours, and some of my favourites were Peri Peri Chicken, Szechuan Chilli Prawn and Mediterranean Lamb.


April 28th, 2010 by admin

The last few weeks have been really busy for me, with shoots almost every day. And every day I’m not shooting were taken up with the need to edit and distribute my work.

Here is a pic of me at Bondi Beach, taken by Dave Watson, thanks Dave!, where I was photographing Nacho Pop’s road trip which was part of the TV show: So You Think You Can Dance. More pics are on the official site.

How to: Shoot Food

April 28th, 2010 by admin

Similar to my “How to: Shoot Concerts” post, here is a brief outline of how I photograph food.
This does depend a lot more on what the client wants. If the product is destined to be on a restaurant’s menu, I will shoot it quite differently to how I would shoot an editorial feature on food.

Repeat business is a very good thing for a photographer, it means you are at the very least, doing a good job. Last year my favourite Korean restaurant in Sydney, Min Young To, asked me to shoot their new lunch menu. Recently they had developed a new dinner menu, and once again asked me to shoot their latest spread. Being open 24 hours, MYT has a wide range of dishes, so a huge amount of shots were taken.

My setup for this type of shoot has evolved from shooting products for various magazines, and consists of a portable white plastic background, two 580EX’s with shoot through umbrellas, triggered by pocket wizards. All easy to transport and setup on site.

This set up gives me lots of flexibility for angles and lighting and results in clean images perfect for a menu, or backlit signs.
I usually use my Canon 100mm Macro lens for these, which gives a good working distance and super sharp results.

Below is a 100% crop of the above shot.


April 7th, 2010 by admin

The new issue of Digital Photography and Design just hit the stands. Inside is a 4 page interview and profile with me. Starting from page 14. I’m chuffed with it. I submitted about 10 shots and they used 4, which is cool.

Pick up a copy now!


March 31st, 2010 by admin

After last nights Drifter’s Unleashed launch, I popped around to Mascot KrispyKreme. JDMST is one of the coolest car forums out there, and it was great to catch up with a stack of old friends I haddn’t seen in a while.

I was filming a bit with the 5D2, but took a couple of snaps with my second camera.

A UK built EP3 and a late model Nissan Cube. The evolving JDMST scene.

More Cubism.

Rainy wings.

This HOT R32 Golf is stacked with JDM parts.

My camera looks even cooler when Herman is holding it.

Wet sticker.

DC5 looks massive when next to a Cappuccino.

Hot DC2R.

Fat Semi Slicks

March 31st, 2010 by admin

When I sold my old Work Equip wheels, I changed the direction of my MX-5 from a street car that looks cool and handles great, to a track car that handles great and performs well. And as such, the 949Racing wheels needed some high performance tyres. With the size I had planned to run not being readily available, I called Taleb Tyres to help out and order a set of brand new Toyo Proxes R888s. The size I went for is 225/45/15. Pretty wide for a small MX-5.

Fitting them to the 9-inch wide 6UL’s wasn’t a problem for the Taleb crew.

They make it look soo easy.

The 6UL have twin valves, and before the car hits the track I’ll fill the tyres with Nitrogen.

Fat rubber always looks cool.

Lucky? Let’s hope.

Now to fit them to the car :)

How to: Shoot Concerts

March 23rd, 2010 by admin

Rather than putting up these shots as a look what I just shot post, I’ll attack this one as how it was shot. As I have had several requests on how to shoot certain events with and rock concerts being one of more popular.

I don’t shoot a lot of music, I’m no Tony Mott or Daniel Boud, but I do get the odd request to cover an upcoming artist, or if an event is sponsored by a company I’m often asked to get PR shots. This was a Mickey Avalon concert I was asked to shoot by one of the managers.

I also don’t like to say you need the best gear to get the shot, but for dark venues for live performances, you really do need the best gear you can get. It doesn’t have to be expensive, but it’s all about fast glass and low noise.

For a budget kit I would say a 50mm 1.8 (or 1.4 if you want to keep it for a while) is the best bang for buck lens, and a clean SLR such as a Canon 5D (mark I), which can be had for about $1000 now, are the best budget choices. A lot of venues and artists you will need to shoot at ISO 1600, so having a good clean SLR is the key. Most of the modern Pro bodies are still super clean at 1600, with the 1DmkIV and D3S able to go to 3200 and 6400 and still have good clean shots. It all depends on what the images are going to be used for. Web stuff, feel free to use 3200. However if its going to be printed, than 1600 would be my upper limit.

If you can get access to the photographers pool at an event than a 50mm can do the job, it will mean you are close enough to fill the frame with the performer, but if you want crowd shots, or head and shoulders, then you need other lenses. My standard even kit is the 15mm fisheye, 85 f1.2, 24-70 f2.8 and 70-200 f2.8. I do have a 35 f1.4 and 50 f1.2 on the list as I find a max aperture of f2.8 quite restrictive for many venues. Flash is often not permitted at large events.

In this shot I turned the flash on, as I knew it wasn’t pointed at the stage, and I wanted to light up the crowds faces.

Camera settings, I usually run either aperture priority and vary my ISO to make sure I have a fast enough shutter speed, or manual, with the shutter set to the bare minimum I can hand hold with the lens I’m using, aperture wide open (or close to it) and as low an ISO as I can to get by, in this case, 1600 or 3200.

Using the lighting at the venue is the key, and take plenty of shots as the artist moves through the lights.

You will probably already be low, but try to have some nice lights behind the performer to lift them from the stage.

Focus settings are a personal thing, and depends on what camera and lens you are using, as well as how much the performer moves. If they aren’t running across the stage I will use one-shot modes. If they are, then it has to be continuous tracking.

I often look for contrasting colours in the lighting, and when they move into it fire off plenty of shots.

Don’t forget the supporting performers, they often make for great shots too.


March 15th, 2010 by admin

This post is for my Northern Hemisphere friends, who don’t really know the awesomeness that is a Kebab.
These days it’s rare for me to have one, but after a night out, at 2AM, there is nothing better.

In the U.S. Kebabs or Kabobs (lol) are thought of as anything on a skewer. Here is Aus, it’s mainly the Turkish population, who have introduced this ingenious dinner in a packet to us.

Personally, I always go for Beef. Lamb is ok, but then its a Yerros not a Kebab.

TASTY. You have no idea.

Kebab in Bokeh. I go beef, lettuce, tomato, Tabouli and Homous with BBQ sauce.
I guess the closest U.S. equivalent would probably be a Burrito.

Surf Life Saving

March 12th, 2010 by admin

I had to travel to the NSW Central Coast for a shoot recently, it was at the NSW Junior Surf Life Saving titles, which is a huge event with over 10,000 people attending.

The flag races are sort of like musical chairs, where there is one “flag” less than the number of competitors.

Surf racing mals are not for stand up surfing.


I liked how this sequence turned out.

The Business

March 12th, 2010 by admin

On our flight to Japan this year, we ended up flying to Tokyo via Singapore, as we had to coordinate people arriving from various cities, using Singapore as the hub meant that we all arrived in Tokyo at the same time.

It was my first time on the A380, and while it’s a pretty ugly plane from the outside, it was very very comfortable. It’s so smooth, when taking off, you barely notice it accelerate or lift off. The engines are exceptionally quiet, and as such, the other plane noises stand out more. Extending the flaps for landing is very noisy downstairs.

Economy class was nice enough with decent room. The seats were not as good as those on VAustralia, they were noticeably wider. I sat upstairs and downstairs, and as far forward downstairs is my vote. It’s smoother than up at the back.

The screen is 10.6 inches and the entertainment is pretty good.

Food in economy was edible, a little better than both VAus and Qantas in recent memory. VAus did have the cool feature in that a bar was available midflight with snacks and drinks.

Coming into Narita we had some decent tail winds, and I think I set a new personal record for the fastest I’ve ever been, 1267km/h but we did hit a peak of 1278km/h when I was waiting for the restroom.

On the route back from Singapore to Sydney William and I were lucky enough to sample Business Class. Thanks Charles!

On the SQ A380 Business is better than a lot of airlines first class. The seats are amazing. The A380 is a widebody jet, with 3,4,3 seats in Economy. In Business it’s 1,2,1. Everyone has an isle seat.

You could fit two people in that single seat.

Entree. It was great. Table cloths, amazing French wine, yeah I could get used to this.

Main was a steak cooked to my taste. I’ve paid for worse meals than this.

The seat folds in half to make a fully flat bed, however even in the seating position there is more than enough leg room. My 6’2″ frame fit in the footrest with room to spare. The screen is 15.4 inches however the content is identical to economy, so the picture looks a little more pixelated than on the 10-inch screens. Powered noise-cancelling headphones are also provided. The console is awesome too, with nice storage compartments and hooks for your gear.

Look where the seatbelt comes out, its easily 1.5 times a regular seat.

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