‘Bowens lighting equipment last year completely changed bothmy game andmy outlook.’
“But I’d love to do something really different. It frustrates me that bands always play it so safe with their CD imagery. I’ve always wanted to shoot a really iconic CD cover. That would really rock.”
SPG used to try and avoid shooting in a studio. “I’m not a ‘techie’ person at all” she muses. “So I used to be a bit put-off by the thought of learning about lighting. However, I have to admit that test driving some Bowens lighting equipment
last year completely
changed both my game and my outlook. Previously I was just using flimsy portable lighting as my primary set- up. But I soon realised that I couldn’t
08 www.bowens.co.uk
get the image I had in my mind with unsuitable equipment. So I decided to get myself sorted with some serious lighting kit.” NowwithmyGemini 500smy outlook on lighting is completely different - and now I take Bowens kit with me everywhere I go. I feel so much more confident adaptingmy lighting requirements for each job after spending months brushing up on my technique. “I use my Gemini set-up for everything – frommy backstage work with bands, to elaborate scenes I’ve created, like my image ‘Alice (In Wonderland) falling down the rabbit hole’. That image alone involved shooting over a hundred different props and
creating a composite of them all. I couldn’t have done that without some seriously impressive lighting.”
No fan of meticulous planning, Sarah confesses that she blags her way through meetings with commercial clients. “I certainly don’t over-think my concepts or ideas, but wait until the initial meeting with the client before I come up with any proposal at all,” she says. “I’ve never been stuck for an idea. In fact, themore pressure I’munder, the better the idea tends to be. I just get on a roll.”
SPG splits her workflow into three distinct areas.
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