Continuing my series of old Pride photos from 2004, to mark events in Orlando this week, this is a photograph of gay police officers who were taking part in the march that day.
Following on from my post yesterday, I will be featuring an image from my London Pride archive every day this week, in response to the mass murder of innocent people at a gay club in Orlando.
I chose today’s image and title – No ifs, no buts – to counteract some of the stories already appearing in the media about the motivation of the killer.
Recently, I had been looking back through my archive at the photos I took at the start of the Pride parade in London in 2004. It was such a wonderful morning. Everyone was in such high spirits and so open to having their photographs taken.
In light of the terrible news coming out of Orlando today, I have decided to publish a photography from my Pride archive every day this week. I know it’s not much, in the face of the senseless tragedy that has occurred there, but I just want to do something to counteract the hatred that can exist in the world.
This photograph was taken near Waterloo station in London, in a railway underpass. It was a natural light shoot, so I was relying on the light coming in from one side of the arch to light Adam, the model.
This is the fifth and final image in this week’s segment on a studio lighting session I recently attended, where I photographed Angel. This lighting set up for this shot was very balanced. I should perhaps have posted this image first in the series, as it shows Angel at his most natural. It was really interesting to learn how different lighting set ups can create a completely different feel in an image. Each of the five photos are so different, just with fairly simple modifications to the lighting and poses of the model. I hope to get back to the studio soon to try out more techniques.
This week, I’m going to be posting a series of shots from a recent photoshoot with Angel, a model I worked with while I was learning more about studio lighting.
I find it fascinating that it is possible to create such different photographic looks with the same model by changing the position and intensity of lights, and combining that with light or dark backdrops, reflectors to thrown back light, and/or black boards to absorb it.
Of course, it helps having a model with amazing bone structure and who is comfortable posing and being photographed. If someone was trying to light my face, it would be a completely different story!
I have a lot yet to learn about studio lighting but this session felt like a good step forward in terms of my knowledge.