Editorial
Photographer: Adam Flipp
Stylist: Michael Azzollini @ DLM
Makeup: Desiree Wise @ Network
Hair: Sarah laidlaw @ Union Management
Models: Elena, Neus, Rhianna, Sam Harris @ Chic
Zac @ Jaz daily management
Mathew Burrows, Gigi, @ Priscillas
Emily @ London
Polina k, Felica K @ Viviens
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WE RECENTLY SHOT FOR THE ICONIC L.A LABEL JOHNNY WAS. THE AIM FOR THIS SHOOT WAS TO AID THE BRANDS IDENTITY IN AUSTRALIA
We recently shot for the iconic L.A label Johnny Was. The aim for this shoot was to aid the brands identity in Australia and create images that were more relevant to the brands fast growing market down under.
Johnny Was is an internationally recognised brand with a broad following. Therefore it was important for the Australian wholesalers , “International Fashion Group” to create a shoot that works in the Australia market but at the same time still identifies with the brands core vision.
Check out more of the recent campaigns we have been working on at http://www.adamflipp.com/fashionadvertising
I just brought three Profoto d1-500-air lights for the e-commerce studio I set up. These lights are fantastic, super easy to use and very fast for a small unit.
The coolest thing about them is they work off mains power but they can be plugged into the Profoto generator. http://www.profoto.com/batpac/
I purchased my D1′s from http://www.amazon.com
There are ways around the shipping restrictions that make these so much cheaper than buying them in OZ
Super performance in a small, affordable package
Compact and lightweight
Integrated reflector
7 f-stop power range
Short flash duration and fast recycling times
Accepting the Profoto light shaping tools system
Connect to your PC or Mac with Profoto Studio Air software
Product number:
901024
Ok anyone that says the original version of this lens was good needs to get glasses, that’s me being polite.
Finally Canon released -EF-24-70mm-f2.8L-II as a replacement and this version has been design specifically for digital photography unlike its predecessor which was still left over from the film age.
Its not image stabilised, however it is much sharper and lighter. I spoke to the guys at CPS (Canon Professional Services) prior to buying this and was advised that the mark 1 of this lens rated about 4.5 out of 10, with this lens scoring a 9.5 on the same scale.
Obviously this is talk from someone hired to preach company stats but after using this lens I agree. Its fantastic and a great addition to the Canon line up.
There were a few things I questioned about this lens, the image quality is great but I don’t understand why the focal length lock button is limited to 24mm as I feel it would have been a great feature to add onto the other focal lengths.
The other questionable update is the new lens hood, it now comes with a release button, I understand why Canon have added it however I loved the old style of hood. The old style had less moving parts and I can see this new feature breaking after constant use.
I’ve shot a few jobs with this lens now and it was worth the money. I purchased my lens at http://www.digidirect.com.au/camera_lenses/canon/standard
PHOTOGRAPHY | ADAM FLIPP
STYLIST | AILEEN MAR
HAIR | JAMES PEARCE @ NAMES AGENCY
MAKE UP | RAE MORRIS
MODEL | ALICA @ CHADWICK MODEL MANAGEMENT
www.adamflipp.com
http://www.cleo.com.au
Photography notes:
Canon 1ds Mark 3 with 100mm L series macro lens.
This shot was shot at B2 studios and we used a four light set up. Broncolor gear with a raw head above camera for the front light, black cards on the model.
Back ground we used 2 heads, however the model was a long way from the back ground to give us the black edge. One controlled light source from behind the model was used for highlighting the water. The skill with this is lighting water on a white background. The lighter the back ground the harder it is to get detail in the water. The front light is high key but all of the detail is recorded.
