ROB DURSTON PHOTOGRAPHY

Archive for February, 2012

Anatomy of a Campaign – Sangers

Its coming up to a year since I shot this little campaign for Sangers Pharmaceutical. It was definitely a fun one. Chris from Fire IMC (RIP) approached me with an idea of different locations around Northern Ireland, showing the diverse landscape with one of their vans driving through it. He had a pretty good idea of which regions he wanted to use but that was pretty much it. He left it up to me to find exact locations and scenarios for the vans. Normally for a automotive shoot you would have lighting set up; HMI’s or in the least some big strobes but because of the budget and size of this production it was decided all of that would be staying at the studio and it would be just man and camera scenario, well with an assistant or two to spot for me so I didn’t get run over by any random traffic.

Derry/Londonderry – Of course we had to have the wall in the shot, to place it as being in Derry. We could have just had it running parallel to the wall but it would have been just too two dimensional. I would have liked a real “in yo face” image of the van driving straight for the camera, through one of the wall arches but we wouldn’t have been able to see the branding on the van and more so, I’m sure the PSNI wouldn’t have approved of me lying on the road, directing a 2 tonne van towards me with traffic and pedestrians everywhere. We ended up after scouting around on a reccy day, deciding on the Ferryquay Gate for the van to be coming through. On the day of the shoot everything worked out as planned; the van was backlit, we had a blue sky and traffic was low, making for a great contrasty image, really showing off the van and the branding on the side.

Sangers Pharmaceutical in Derry

Sangers Pharmaceutical in Derry

Glenshaine Pass – This proved to be one of the more difficult locations just for the sheer madness of the wind howling up and down the pass on any given day. It is also not any easy location to make the landscape shine as well as have your product in the foreground, attempting to be the hero. The beautiful rolling hills and valleys in the Glenshaine are all just a little too far from the road itself but we found a few locations that lent to a tidy compromise. As well as the two or three stationary set ups we also ventured to try some moving shots, car to van. I can’t say they were really that successful with all the traffic flowing through the pass, as it made it difficult to get a clear shot at any one time. It did prove humourous though when I spied off in the far right of the viewfinder a PSNI police car zooming up the pass towards our Audi A6 chase car; I’m guessing he didn’t spot me, hanging out the window with my upper body contorting out and over the white lines of the road and into the other lane. The image they ended up using was one of our static 15 foot ladder shots with the van passing in front of the rolling hills.

Sangers Pharmaceutical in the Glenshaine Pass

Sangers Pharmaceutical in the Glenshaine Pass

Fermanagh – The brief for this one was simple, show some elevation, the van and some water. All said and good but its near impossible, at least I never found a location on a road where you could place a van and still see the lakes in the background. Oops, I take that back, I did find one location like that, on a bend in front a farm, unfortunately though the client didn’t like it. I spent two days scouting around the area when I finally came up with a suitable option. Looking up and over a small dock area, towards a bridge where we could have the van drive over. At this point though we were starting to run out of time and acceptable days to shoot on. Taking what we could get weather wise, after the long drive out to the location we set up the camera, moved a few boats around and radioed over to the driver to make a dozen passes over the bridge, changing his lane positions slightly to give us a better view of the side of the truck.

Sangers Pharmaceutical in Fermanagh

Sangers Pharmaceutical in Fermanagh

Belleek – Here we are in beautiful Belleek. We end up with a beautiful sunny day for this one. Good too, since I didn’t get a chance to scout this location because we were picking it up as an option to one we had shot in the Mournes that didn’t really scream “Sangers” for the client. Since we’re in Belleek what do we have for landscapes or recognizable landmarks? Why the huge Belleek Pottery building of course. I tried a few different angles on the building, placing the van around its outer perimeter. The most picturesque was the van coming over the bridge. Again we waited for the sun to backlight the van slightly and had the driver make a couple of dozen runs due to the heavy spring traffic coming through.
I wonder if anyone can tell me geographically what’s wrong with this picture?

Sangers Pharmaceutical in Belleek

Sangers Pharmaceutical in Belleek

Belfast – Belfast proved to be the quickest and one of the most fun locations to shoot. Hanging out of the window of the A6, zipping around Belfast City Hall, first thing on a Sunday morning, swapping lanes and dodging early morning pedestrians we finished before the major church going traffic appeared. We didn’t really have a whole lot of options here. A static shot, even from the 15 foot ladder didn’t do anything for the van or the building. It needed some movement. Chris manned the driver’s seat and we sliced through those empty Belfast downtown streets, chasing down our van driver in a unrehearsed game of cat and mouse. No options when it came to lighting, sun position etc, so we just went for it, knowing that any changes or extras we wanted would have to be added in post. We were lucky that for the most part, the several selects were all spot on and the final pick just needed the sky brought down slightly.

Sangers Pharmaceutical in Belfast

Sangers Pharmaceutical in Belfast

So there you have it, another short and sweet campaign brought to you by Rob Durston Photography, thanks for reading.


Weather, Invest NI and Northern Ireland

I was contacted by Genesis Advertising a while back in regards to doing a couple of simple ads for Invest NI. As most people can probable understand however, shooting on location in Northern Ireland in January is never simple.
The first task was to photograph a golfer teeing up. It was blowing gales and raining for the weeks over the December holidays but one day the rain let up, the wind however didn’t. Darren the creative on the shoot told me of a tight and tidy greens over at a lawn bowling pitch near his place. I had been searching through all the golf courses and even football pitches for some short, well keep grass, no luck what so ever. Everything was soaked and muddy and soaked.
We arrived on the edge of Belfast Lough at our destination. My trusty Kato (aka Bubbles aka Cef) unloaded the lighting and cameras from the car while I did a quick scout around. We found a nice sheltered area from the wind with a decent non-descript background. Darren and his model arrived and we light the poor guy up. It was still quite windy and cold for the most part but the sun was on our side, giving us a tiny amount of warmth behind the hedges of the bowling pitch.
The idea was to back light him from up high with a Profoto ProAcute 600B and a silver softlight reflector, on camera left with we used a touch of warm fill from a California Sunbounce Pro, low on camera right. A super shallow depth of field was used to really focus your eye down on the ball itself. I think it worked out well and with a little tweaking in Photoshop, it fit the bill perfectly.

Golfer teeing up

Golfer teeing up

Our next subject matter was a lot less glamourous; a double decker London bus and unfortunately it was not located in London. We drove up to the manufacturer in Ballymena and were given ten minutes with the “special” bus in the parking lot, just where it was. Not too much we can do to make it “sing” so we lit it from camera left with a normal reflector on the ProAcute 600B, just giving the paint a little pop as well as the chrome on the wheel. I warmed it up a little in post and retouched out a few loose items on the ground and it matched up pretty well with the golf image.

Big Red London Double Decker Bus

Big Red London Double Decker Bus

This is the final ad

Invest NI "Driver & Driven"

Invest NI “Driver & Driven”

The final assignment was to photograph the Carrick a Rede bridge on the north coast. Again, this is January so its not exactly tanning weather. I don about seven layers and my parka, knowing full well its going to be a long walk in and a long potential wait for the right clouds and weather. It was cold and windy on the very edge of the bridge; there is really nothing stopping me from falling 50 feet down into the chilly water below except for me wrapping my arm around the ropes of the bridge and hanging on in the wind.We waited and shot intermittently for a couple of hours before I moved over to the near side of the bridge. Here I literally hung my lower body off the cliff to get the best angle on it; trying to make it as extreme as possible for Darren’s layout.
It ended up, that the choice pick was a layered merge of four frames with a nice blue sky and a slight wisp of clouds leading into the background of more dense mass. Some light retouching in Photoshop to clean up the foreground and that was that.

Carrick a Rede Rope Bridge

Carrick a Rede Rope Bridge

Here is the final for this one.

Invest NI "Beauty & Brains"

Invest NI “Beauty & Brains”

p.s. I did not take the image of the graph.

"Legs a dangling"

“Legs a dangling”

Hanging on the edge of the bridge

Hanging on the edge of the bridge

Balaclavas are a photographer's best friend

Balaclavas are a photographer’s best friend


A short little test with Fuji film and Canon digital

I haven’t been in the studio for a while so I thought I would do a little half day test with Sophia Taylor, Ashley Morhej and Lee Stinton. Lee couldn’t make it to the studio so Sophia went to his place to have her hair done and Ashley touched up on set as needed. Sophia had an idea of what she wanted from the day and so did I.
Sophia had an image that she liked the style of, that she wanted to try for herself. It was a simple lighting with a little back light and a small amount of flare in one of the corners. Not too difficult but her image had hours if not days of retouching on it and for our purposes we weren’t going to be putting in that amount of time for such a simple shot.

What I felt were the more exciting images were the beauty images we did on white as well as a couple of impromptu grabs while meandering around the studio. I should state here that I was flipping back and forth between digital and film. The digital was pretty straight forward; a Canon 5D Mk2 with a 70-200. The film on the other hand was Fuji 400H colour neg and Fuji RMS (which was to be cross processed). I had my faithful Mamiya RZ with a 90mm F3.5; I like to handhold the Mamiya as much as possible, cradling it like the monster it is in my hands. Youcef was there to help me, passing cameras and lenses back and forth as I swapped as the need arose. I like the images that we got out of the couple of hours in the studio. Below you can compare for yourself which you like better. They are retouched in Photoshop but they are not direct copies of each others style and feeling. Each medium I feel has its own style and I try to let that show through in the final result.
All the lighting was with Profoto ProAcutes

Sophia 1

Simple lighting with a Profoto Silver Softlight and Canon 5D Mk2. Small amount of retouching in Photoshop.

Sophia 2

Simple Lighting with a Profoto Silver Softlight and Canon 5D Mk2, retouched in Photoshop.

Sophia 3

Simple Lighting with a Profoto Silver Softlight and Mamiya RZ on Fuji 400H, retouched in Photoshop

Sophia 4

Simple lighting with a Profoto Silver Softlight on a Mamiya RZ with Fuji RMS cross processed and retouched in Photoshop

Sophia 5

Simple lighting with a Profoto Silver Softlight on a Mamiya RZ with Fuji RMS cross processed and retouched in Photoshop