Page 25 - Q01-2021 Fins Magazine

`

E
TA
SN
L
T
T Y
BR
E
Pat P sure they’re always comfortable. tiles or anything like that. And then
Can you tell us as the Otherwise, you might find yourself we actually have what’s called a
photographer setting up the in a situation that you didn’t see bubble bar behind her. So basically,
shoot, what safety precautions, coming. a bar that is blowing bubbles out.
what type of resources you have And that’s the texture that’s behind
available? JW her.
You’ve got to be hyper aware of
Brett S what’s going on and watch for Pat P
Yeah, absolutely. So, when you’re problems or signs. Okay. You are such a MacGyver
doing an underwater photo shoot, with everything in your
you need to think about everything Brett S photography, it seems from the
that can go wrong. If you’re Exactly, yeah. If you’re not totally lighting to the backdrops.
shooting in an empty pool with experienced with that, then have
water in it, and it’s just you and someone on set who can be your Brett S
a model, then you need to think safety person, who you can listen I wasn’t really sure how we were
about who’s going to save me if to and respect their opinion. So going to do this before we started,
I get into trouble, who’s going to if you’ve got someone who is, but what you can’t see is that I
save them if they get into trouble. say a rescue diver who’s on set, have an assistant off the side here
and they’re telling you that the and she has special strobe light.
So generally, shooting without a model is starting to get tired, you So, it’s just a very small light, small
safety person is not recommended, need to call it. You need to listen amount of light that’s coming out.
especially if you’re inexperienced. to the people that are telling you And she was just aiming that at
Have someone else that can keep what they’re seeing and make a her eyeball the whole time. So
an eye on both of you. You might judgement based on that. the shadow that’s on her chin and
be working with someone who is around that is because this light is
an amazing underwater model, JW just on her eye. And I didn’t know
mermaid or free diver. But if you’re That makes sense. I did notice what the effect was going to be
putting yourself in a situation that some of your images have once we started with the bubbles,
you’re not used to like, if you’re not prosthetic make up. you never know what’s going to
used to being in open water, or the happen. There’s a light behind her
sea is a little bit big that day, then Brett S where she was going to end up.
you’re in the dangerous zone. You Yes. That particular image was a So, a lot of this is just you know,
need to make sure that everybody collaboration with the prosthetic dealing with the chaos and then
is looked after. And whether artist, Kerrin Jackson, who has kind of making a payoff.
that’s having a safety person done quite a lot of movie-based
who is capable of coming in and prosthetics. This was a personal JW
physically saving you or throwing project that she was doing where No, it’s amazing. It’s just having
you a life preserver or a float, any she created this snake woman. great ingredients and a great
of that sort of stuff, these are the She wanted to do some shots director and then coming up with
things that you need to have on underwater. So this is what we this magic, these colors. These
hand. did. This is actually shot in her colors just work perfectly together.
swimming pool in Hollywood. It This is totally incredible.
The other thing is communication was the first time this model had
as well. There is the dynamic ever done an underwater photo Pat P
between a model and the shoot. An image like this Brett, I’m a
photographer sometimes becomes photographer that prepares to just
a little bit uneven. The model Pat P go get the shot right the first time
wants to please the photographer This looks like it was shot at night. with a minimal post. What type
and do what’s needed to get the of time did you spend on post in
photo. So, they may sort of push Brett S this? And how much time do you
themselves out of their experience This was shot during the day; I generally spend on post-edits for
level. Sometimes if they’re starting think it was late afternoon. She’s your images.
to feel tired, or cold, or any of only in about three feet of water.
those sorts of things, they might So she’s literally kneeling down Brett S
not vocalize it. So, you really need and kind of leaning back and This one was a little special
to be on it in terms of watching looking up. She’s not very deep at because this is a showcase of
what they’re doing, communicating all. I blacked out the pool basically, Karen’s work. So, she made the
with them all the time making to stop the look of the pool, any prosthetic, and she did the paint
24 25