Aviphile

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My latest shoot. The idea was there. I know the images are interesting, but I’m still not satisfied with them. Not because of the model, Jacqueline Tatum, her 11 birds, or the makeup artist, Natalie Moreno. It’s the lighting.

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Sometimes I make the mistake of being lazy. I’ll admit it. I love the way natural window light looks, so even though I’m in an environment that I know doesn’t have sufficient window light, and I have my strobes with me, I’m stubborn. It’s a flaw I think I’ve always had, and still proves to be something I need to overcome.

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Setting up strobes can be a huge pain. On top of that, I was nervous to use them around live birds for fear of frightening them off. The result, poor lighting. Don’t get me wrong, I still enjoy the images, I just wish they were….more.

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More impactful. More dramatic. More inspiring.

There’s always something to improve on as a photographer. I think laziness is my latest goal.

{For more of my work, visit my Instagram}

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On Levitation

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Surreal art, and specifically surreal photography, is something I’ve always wanted to get into. I love the idea of transforming my fantasy land into a format that other people can see, and hopefully get sucked into the way one would with a really good book. As far as actually being able to produce such surreal pieces, it requires A LOT of practice and experimentation, which I, unfortunately, don’t always have time for with a full-time job.

Levitation photography is a form of surreal art that’s actually really popular right now, which is great, except I feel like there is a lot of it out there, so it doesn’t necessarily make my work stand out as much. Don’t get me wrong, I love it, and I love having a lot of inspiration to look at, but it does make getting noticed a little more difficult.

That being said, it’s a perfect way to practice some of the more complex Photoshop skills that I would need to move forward with other surrealistic work. So naturally, I went for it.

My first few attempts weren’t bad, (if I do say so myself), though they were a bit complicated to put together as I was unaccustomed to shooting the base images the way I should have. Some were more simple than others, where I could just shoot the background and then shoot the model, but others required a little finesse, if you will.

My first mistakes forced me to adjust the way I shoot the images to give me more options and range of motion. I now shoot separate images for different sections of the body, hair, fabric, etc. And when the final images are taken into Photoshop, I glue my model back together in the position I want her to be in.

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Learning to cut bits and pieces off of each image so you can put them together into one final image forces you to see the work differently. The part of the dress that’s on her chest can also substitute for a piece that’s floating in the air. Or sometimes you need to paint in a section for it to look like it’s naturally floating. As time went on, I learned to see what needed to be added or removed to give the image the illusion I was looking for.

I generally felt that levitation was my stepping stone to more complex art, and in a way, it is. But I’ve also started appreciating it for what it is, even if everyone else is doing it too. Not only that, but I was recently lucky enough to be hired for a specific job solely based on my levitation work! (Yay me!) And with the right connections from an amazing model, Janelle Allisa, I was able to shoot the album cover for Electric Century, (by Mikey Way), for their debut album “For the Night to Control.”

With some graphic help from my boyfriend, Amir, we made a successful album cover that was exclusively released via Kerrang Magazine all over the world.

Hopefully soon I will be able to put together some more surreal work and post it for you all to see, but for now, practice makes perfect!

{For more from this series and others, visit my Instagram}

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