broad daylight
We had two more lights; one to hit
both Alex and the top of the concrete
balustrade – balanced with available
light and a fill-in down the stairs.
Then when he arrived we just told him
not to smile. With people like Alex you
have to quickly take control - or they
will.”
Ross, a trained illustrator, created a
storyboard for each sitter ahead of
the shoot. “We had sketches and we
took them with us wherever we went”
he says.
The Peter Capaldi shot was created
to look like a film set and the shot of
leading human rights lawyer Aamer
Anwar was a tough ask for the sitter
too.
Says Ross: “Aamer was wonderful.
We created a Tree of Liberty shot to
symbolise Burns’ hatred of slavery –
and we needed Aamer to pose
barefoot.
Again the ground was absolutely
freezing – but he never complained
for one moment.”
The portrait of novelist Andrew
O’Hagan presented its own special
set of difficulties as Tricia explains:
“Andrew had chosen Burns’ famous
poem: ‘For a’ that and
a’ that – it’s an anthem
to the human spirit
really and we decided
to set Andrew on Irvine
beach close to where
he was brought up.
© broad daylight ltd
www.broaddaylightltd.co.uk
16 www.bowens.co.uk
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36