2. Dappled sunlight is perfect for beauty shots when used well.

3. Simple natural light portraits like this made up 80% of the workshop.

4. A slash of flash set up this simple portrait.

5. I love natural light contra jour portraits.

6. Simple key and kick lighting created by the urban environment.

7. I always look for an alternative angle. Stina's soft shadow is accentuated by her bias cut dress.

8. Key and kick lighting at a very low level gave us a challenge to capture sharp pictures.

9. Orange and blue colours blinded us at this location. This mono shot clears the tones and simplifies the lines. We had the choice of doubling the light but I like the simple single shadow lighting.

10. Striking light occurs in the most unlikely places. I love converging lines and grids.

11. Natural light, a door and a drain pipe provide the perfect space for Stina to occupy.

12. The word on the left is 'bombed' but looks better shortened to 'bed'. Stina's pose and the low viewpoint make the shot for me. A splash of flash from a Speedlight on a stand brings the shot alive.

13. I couldn't resist this frame.

14. Rivets and a tight crop add to the intensity of this shot.

15. As the day got hotter, Stina got cooler. Aviators helped the look.

16. Stina's cool look adds to the gravity created by the forced framing.

1. What can I say? The moment was fabulous. Chloe is lit with an Arri 300 as a key light and an Arri 150w kicker from the right of frame. The Lupo 800 provided the upstage kick from the left of frame.

2. A beautiful dress provided by Diva Corsets of London. They provided their whole 'new collection' for us to shoot. Chloe and her mum raided the London store in style, walking out with thousands of pounds worth of stock. A Lupo 800 was used as the key light.

3. A Lupo 800 provided a key light for Chloe and a Lupo 1200 was used as a backlight. Ambient light did the rest.

4. That pink dress is fabulous. And so is Chloe.

5. A pair of Arris lit this scene. A white balance of 3400k ensured we had a rich warm look.

6. Gold shoes to match the mirror. Details are important.

7. Funky Diva. All we needed was a jazz band and a microphone for Chloe.

8. Chloe looks great from above or below the lens. I love those fingerless gloves.

9. The English rose look came next. Lupo 800 with a sheet of half white diffusion clipped to the barn doors was used as a keylight.

10. The shoot was bright and light. The weather wasn't though.

11. The sofa in the Kings room was perfectly lit by the window behind the camera. A Lupo 800 provided a kick light from the right.

12. That copper bath haunts me. Every time I see it, I'm stumped for shot ideas. If it wasn't plumbed in, I'd shoot it in the ballroom.

13. Fabulous fun.

14. I chose to shoot by the wardrobe to include the reflections of the windows. The last time Chloe was shot here she was in the wardrobe! Under Chris Hanley's direction I should add.

15. When shooting a collection don't forget the full length shot. Natural light was perfect in this doorway.

16. Perfect pinks. An Arri 150 dimmed to half power was the keylight.

17. The same Arri keyed Chloe in this shot too.

18. I always encourage delegates to find the 'other' viewpoint. There is often more than one great shoot spot.

19. Shots with a visual barrier are very powerful. It's a technique I love to exploit.

20. I used my now sold 24mm-70mm lens for this shot. It's a very versatile lens and the last of my zooms to go. I now shoot primes, for a while anyway. An Arri 300 with a sheet of diffusion was all I used to light Chloe.

21. This classic screen makes a fabulous background. One Lupo 800 was used to light the scene.

22. The Lupo is fantastic here. Window light provided the contrast control.

23. The ambient light in the scene was all I used for this exposure at 1/20th second.

24. We were back in the dining room for the last session of the day. A flourish of lights were used for this shot. The 1200 Lupo (250w), the 800 Lupo (150w) and my trusty Arri 300.

Pin board 1. This is a collection of ideas pulled off the net from a few of the world's finest art and beauty photographers. I love the poses, hair, makeup and scene placement. The idea is not to recreate these shots but to use them as inspiration during the shoot to help create the mood of a shot through Chloe's expression or the use of light and space.

Pin board 2. This shows the extremes of picture styles with anonymity on the left and character intensity on the right. Chloe Jasmine will come with ideas too and together we aim to create magic.

dl1. No vintage set is complete without a monochrome beauty shot. 100mm lens at f/2.8

dl2. Rain is in the air but the fun had started right from the off.

dl3. Chris and I have left all our shots in colour. I've shown some in my vintage colour look and kept some in natural colour just for comparison. In an album I'd go for natural colour or monochrome throughout. For canvases or wall art I'd go for the vintage look.

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dl10. These shots were lit using natural light.

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dl13. I used a pair of Lupo Fresnel lights for these shots.

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dl21. I used an Arri 300 light for these frames.

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dl30. This was the last frame of the day taken just for fun and used a pair of Speedlights in Lovegrove 2 point lighting style.

ch1. Typical first shot of a cherish session to get your client relaxed in front of camera.

ch2. I'm pleased with this shot, especially as I had moved shelving to get it which subsequently collapsed and took forever to reassemble. Colour temperature down to 3,000K and an Arri 300 providing a slash of light with its barn doors.

ch3. Changing my position gives me scope to add cameo images to the album collection.

ch4. The old telephone booth and a craftily hidden lowel ID light provides fab atmospheric lighting. I love Jenny's cheekbones, they're beautiful.

ch5 & 6 & 7. My take on a classic Marilyn picture. The whole team coming together to create these fab images. Chloe excels in her role as the iconic Monroe, Samantha and Victoria our stylists create the superb look, and Katie Hanson's dress design with Claire's arranging make this set on the stairs wonderful.

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ch8. Another Claire set up. The money shot I think Damien calls it. A great album opener. The shot sets the scene with lots of info for the viewer to absorb.

ch9. 10. 11. 12. I gave Chloe and Charlie a scenario to act out then wandered around them with a 70-200mm and shot a collection of pictures for the album

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ch13. This is one of my favourite set ups on the station. The quirky pose makes it an editorial fave, with previous shots making front covers and blog title pages.

ch14 and ch15 Jenny looks a million euro's in this £20 vintage inspired dress. In the right setting and with just a couple of speedlights, fantastic fashion images are easily achievable.

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ch16. Reflection Shots always delight clients. I never tell them I'm shooting one. Nearly always they don't notice, so its a nice surprise at their viewing.

ch17 Another technique which gives clients a surprise is how to achieve shots like this in dark spaces. Get a monopod, lean against a train door, tell your client to stand still, and shoot at iso 800 1/15th sec at f2.8 Shimples

ch18. Jenny had a genuine 1940's ladies coat with her. With a single speedlight and 5,400k colour temp set, we did an impromptu Cherish the coat.

ch19. This time two speedlights and 10,000K. I allowed a little flare to creep into the frame to create a low sun on an early autumn evening.

ch20. We placed Jenny in the window of the train door. We place a single zoomed in speedlight about 10 foot down the platform.

ch21. Moving into the carriages, the light levels fluctuated by stops as the sun couldn't make up its mind what to do. Chloe with her skillful slink approached the camera, expertly keeping her face in the window light.

ch22. Stopping at the end of her catwalk in just the right place, worked the camera.

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ch25. 26. I call this type of lit scene, Caravaggio light. He's one of my favourite painters, and Chloe looks divine in this patch of light.

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ch27. 28. With 10,000K set on the white balance, we wanted to create an out of Africa type scene. The pose was a bit fiddly but Chloe and Charlie mastered it to Claires perfection who is hiding around the carriage corner.

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ch29. 30. And finally finishing off my images, a neat little trick Damien taught me. I have a small 7inch reflector which was a freebie with something. This little reflector can bounce light and fill a dark space with great light. I set up the lowel id on a stand, pointed the head to the floor, and claire held the reflector directly under the light and bounced it onto Chloe.

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One bare faced 580EX2 Speedlight on a stand was all we used for this sequence of frames.

I showed the delegates how I interact with someone to create a bit of fun. We had fun all day.

We took our single Speedlight round the corner and into the shade for this one light shot.

Crisp wonderful light from one 580EX2 Speedlight was what I used here.

By 11 O'clock the dark glasses were off to reveal Chloe's beautiful eyes. My 100mm lens was still the only lens needed.

Hard light used well is wonderfully flattering. I was still thinking mono but the lure of the colourful pub walls soon to become too much.

One mention of Joanna Lumley earlier in the day and there she was, in a younger guise.

Every now and then the real world delivers wonderful light without the need for intervention. We quickly grabbed a few frames while the reflected sun played it's part.

I managed to shock a few delegates with my seemingly cavalier approach to exposure. This is straight from camera.

The needle was off the meter at +2 stops and the pixels were screaming. This Manchester pub wall was now in Morocco in my mind. I encouraged the delegates to use their own settings and to choose an aperture to suit. I also ensure that all the camera screens are set up correctly. When sailing this close to the wind it is a good idea to use a Hoodman viewer to accurately asses what clipping is occurring.

Off came the 100mm lens for the first time in weeks and on went my 21mm prime. I had my white balance set to 8200k for all these shots to add to the hot look. I must admit I stole the idea for this shot from a delegate We are all learning together.

An Orbis ring flash adapter provided the light for this frame.

I love concertina shutters like these. After our first break it was time for 2 Speedlights.

With the lighting set correctly the camera position can be really flexible. I was 90 degrees from the previous shot with identical lighting for this frame.

The same lighting rig was carried around the corner to create this next sequence of shots.

I used an STE-2 to control the ratio of the lighting between groups A and B in this shot.

Pink and blue - harmony.

Next it was white balance shifting time for this shot taken at 3400k with just a single on camera flash with Honl filter for illumination.

After lunch things got more complicated but we were all ready for it. A 60cm Lastolite ezybox hotshoe and a pair of Speedlights on stands were used to create 3 point lighting.

When you work with dynamic people or children it's all about the moment. Capturing the peak of emotion, shooting with a rhythm and going with the flow are vital but not easy without practice.

I next showed how to shoot at 1/4000th and f/2.8 with the Pocket Wizard system. The transition to speeds above the sync speed are seamless and no effort or thinking is required. It just works. I lit Chloe with a 580EX2 in a Lastolite Ezybox.

This is my bird shit shot. After all, that was what provided the fabulous texture and tones in the background. The Ezybox was all I used for this shot too.

The sun had gone and Chloe went climbing. I put our own sun in the mix by using a 580EX2 Speedlight on manual mode at full power as a backlight.

I opened up my 100mm lens by 3 stops and went all dreamy with my shots.

This Ezybox shot is bang on the standard exposure. Softlight like this is often used for beauty shots but I do prefer hard light. Chloe looks fabulous here so I kept it in my set.

This delightful editorial style shot is a fusion of the high camera angle, Chloe's distant relaxed gaze and the floral design of her top. The French manicure finishes the look.

I found some green glass that had been white washed on the inside to provide the background. I lit this shot with on camera flash. It doesn't get simpler than this.

We finished the day with a Lovegrove slash of flash. One Speedlight and my trusty 100mm lens.

1. A simple white balance shift to 4200k was all I needed to create this cool aqua look. The lighting was from one Lupo 800 HMI and a top secret reflection making process

2. After the first two sessions using single and double lights, I showed how to create a classic three point lighting set up.

3. My Dulux Ice Storm 2 wall is perfect for mono portraits. Put light on it and it can be white. Switch the light off and it will be black. Here I've used a diffused spot effect to go from zone 6 to zone 1 in the Ansel Adams scale.

4. I used a beauty dish with a shower cap accessory to key Chloe here. This modern softer light makes this shot completely different to the vintage look I created at my last studio lighting workshop. I discuss and demonstrate all the looks with my delegates while we feast on capturing beautiful portraits.

5. A quick shift of the lighting balance and we have gone punk! With edgy make up and a studded leather jacket the look would have been completed. Billy Idol would have looked great in this light (in his day).

6. Osbourne and Little wall coverings are so divine. I've only got 3 drops but that's enough to add interest to a look. Soft key and hard kick 2 point lighting accentuates Chloe's fabulous jaw line.

7. Channel in blue. My yellow wall becomes English mustard with a bit less light on it. Wayfarers complete the summer of 69 look.

8. Just one light in the optimum position is all you need plus the odd reflector.

9. The same yellow wall but in my Bowens sunlight.

10. Pop the white balance to 2600k for a bit of blue action.

11. In the white corner with a pair of gridded 500Ws Bowens Prolites circa 1996. Still going strong after 14 years of demanding service.

12. Next it was time to shoot the same corner with continuous light. The Lupo 1200 provided the slash of light while the Lupo 800 was warming up as an area flood. The warm up period gives a green light, it soon passes to reveal pure white light.

13. I love shooting with continuous light because what you see is what you get and with the Lupo HMI lights you can shoot hand held too because of their efficient light output.

14. Lupo 800 light is so fabulous to work with. As a Fresnel spotlight is creates a crisp shadow and accentuates cheekbones like no soft light can ever do.

15. Chloe taught us all how to be ravishingly radiant. This is a look that will make her famous for sure. Me too if I tag along

16. I love this photograph. A great proportion of my favourite pictures have eyes closed. As a viewer I'm drawn into this shot.

17. This reminds me of Testino's picture of Madonna for her album 'Ray of Light'. I don't want to look at the album artwork now because it will look completely different, but to me there is a connection and that's what matters.

18. One of the gels in the Lovegrove Studio Collection was rigged to light the background and the flash head was set at power level 1. This deeply seductive blue could not be created by lighting a white background. You need grey to bring out the full range of hues and luminance.

19. Gel 6 is a shocker. This has not had any saturation increase. It is as straight from camera.

20. We then broke off from f/16 and opened up to f/2.8 for a bit of a shake up. The light here was daylight coming through my open door in the studio.

21. We shot a few naturally lit French art movie frames before getting back to swinging lights in the studio.

22. All the lights were hard sources and upstage for this shot.

23. We had some fun to finish the day. Chloe and Vicky made a toga and I made waves with an old film trick I learned in the 80s at the BBC.

24. My heart skipped a beat when I saw this shot on the back of my camera. One Lupo 800 light was all I used plus a bit of magic. Continuous light is perfect for this kind of effect because what you see is what you get. White balance was 3800k.

1. This frame of Stina was shot in front of a concrete pillar supporting a link road in Bristol. The lighting design is simple but effective. Two 3/4 backlights were provided by a couple of Mobil heads and a Broncolor ringflash on camera completed the look. ISO 200, 1/200th at f/11

2. Make up for the shoot was provided by the very talented Kelly Standaloft. The weather was often overcast and we used big flash for all our shots including this frame.

3. This is the image we set up to create. I lit Stina with a Broncolor beauty dish on a magic arm clamped to a Lowel Grand Stand. This rig gave us the opportunity to position the beauty dish directly above the shooting line. A second Mobil head provided the kick light on the left. ISO 250, f/14 1/200th second.

4. This second shot of Stina with the same make up and outfit was lit with a single ringflash unit. A budlia bush provided a striking background.

5. In close up, is is easy to see the appeal of ringflash.

6. I love railway tracks and this ringflash lit shot shows a vulnerability. The tracks and sleepers look big alongside Stina.

7. A variation on the shot above.

8. The second look of the day featured gold lips. I lit this frame with a bare faceed beauty dish on a Magic Arm and Grand Stand rig. Without the Magic Arm the lighting stand would have been in the shot.

9. Here is a close up showing Stina's gold lips.

10. I wanted to test out a new dingle technique so we waited for the rain to stop before giving it a go. Lit with a bare faced Mobil head and a Sycamore tree branch

11. The sun soon came out and together with a couple of Mobil packs on full power we made this street look shot. I used my 14-24mm lens at 14mm.

12. As above. Beauty dish key light and a bare faced Mobil head as a kicker.

13. The last set up of the day featured the most elaborate make up and a three point lighting set up.

14. Here's a mono version of the look for good measure.

16. This, the last frame shows the value of vibrant kick lighting.

1. Hello Boys. Remember the billboard adverts of the 90's? This shot reminds me of them with it's low angle viewpoint. Chloe looks fantastic in this baby Doll outfit by Lulu and Lush.

2. This dress from the prom collection was our first outfit and I lit this scene with a pair of Arri 300w fresnel spotlights. The mono post production look is from my Lovegrove Vintage actions collection available to Marko advanced delegates.

3. I love the opportunity to shoot Chloe in close up. Her classic bone structure and hair suit this vintage lighting look. All my shots were at ISO400 1/30th at f/4. If I had my 100mm Macro lens I would have shot at ISO 200 at f/2.8 instead. I used a monopod throughout the session.

4. This is the first of my pictures processed with my vintage colour action that is reminiscent of the Agfa slide film processed in C40 chemistry look of the 70s.

5. Maunsel is full of wonderful objects and mirrors. Sometimes it's hard to be selective. Lit with a pair of Arris and a Lowel. One 300w Arri from the right of the camera on Chloe, One 150w from the left of Chloe acting as an upstage key and a Lowel battery light illuminating the rim of the mirror in the foreground. Each light has a distinct purpose and requires careful positioning. Once you know what to do with the lights the process is straightforward as you can see exactly what you are getting. The lighting balance would never look like this with flash.

6. This is the natural colour balance to give you some idea of the tones and colours of our starting point.

7. Every dress was shot full length to meet the fashion brief and we then went in for close ups.

8. I love the opportunity to take arty farty pictures too. A pair of mirrors opposite each other in a room is a perfect invite to have some fun.

9. We had a two hour power cut in the middle of the day and this gave me the opportunity to test out the new 300w and 150w inverter battery power supplies that we are launching later this month. I used a battery powered Arri 300w and a battery powered Arri 150w to light Chloe in this shot plus a battery powered Lowel 100w light on the painting too.

10. Lighting as above. I love the interplay between the people in the painting and Chloe.

11. The background to this shot is a pair of bunches of flowers on pedestalls infront of a window and behind my Lastolite Scrim Jim. They don't make Scrim Jims any more but it is essentially a bit of fine white net stretched over a 6' x 4' frame. I bought mine in 1996 when I was lighting at the BBC and it has done me well over the years. The key light on Chloe is a Lowel 100W battery light. The white balance was set to 3400k.

12. Another shot taken in the power cut. The screen was lit with an Arri 150w plugged into my 150w inverter power supply and the Lowel 100w battery light. Window light was our key for Chloe. My white balance was set to 8000k

13. A close up under the same lighting conditions as above.

14. We them moved into the bar area at Maunsel while the power was off to pick up this simple shot lit with one Lowel battery light and a hint of daylight from a distant window that fell onto Chloe's legs.

15. This shot was lit with distant window light only and I wandered from my comfortable ISO 400 1/30th at f/4 right down to ISO 800, 1/25th at f/2.8 for this frame.

16. After lunch the power was back on and we went into the Boudoir for a few shots of Chloe in this baby doll outfit. I lit this with a 400w HMI Fresnel spotlight. It is a bit fierce so I doored it in and added a sheet of diffusion material to cut it back a bit. We are about to start supplying a new range of up to date HMI Fresnel spotlights with the electronics built into the lamp units. The power values that will be best for stills work will be the super efficient 150w and 250w versions. Both lamps will be daylight colour balanced and able to be run as battery lights too. More details to follow next week.

17. Here's a close up with the HMI being used as a Hollywood kick light.

18. This change of viewpoint puts emphasis on the dress. Lighting as above.

19. It was out of the boudoir and into one of the other 16 bedrooms at Maunsel. This shot is lit with just the window light. Sometimes the best lighting decision is to do nothing and go with what you have. ISO 400, 1/125th at f/4

20. A close up of the radiantly gorgeous Chloe with lighting provided by the window.

21. The wardrobe in the same room as shots the two shots above became my next background. Again we decided not to use any illumination at all bar the window light.

22. I took my HMI up into the attic to light this scene from Alice in Wonderland. I bounced the light off the top half of a pale cream door.

23. I had to use the copper bath for a couple of shots, it would have been rude not too. I lit Chloe with an Arri 150w light from over her right shoulder and the Lowel battery light became the key light. It's worth noting we used the Lowel light on full power for all the shots and as I never use the dimmer, I have managed to get an exclusive supply of the Lowel i light without a dimmer, at a saving of £50. This makes the most popular battery light even more affordable. There is a flood and spot facility and barn doors to cut the light output should you wish to do so or you can move the lamp back a bit if necessary too.

24. The same scene above shot from the Kings bedroom.

25. I snuck in this simple window lit shot on route to the bar. I was a grabbed frame but it's simplicity works for me.

2. Stina has a wonderful look that is accentuated with classic two point beauty lighting. Lit using the ambient light by this building ventilation duct.

3. I love simple shots that don't involve eye contact. The black and white shots are kept beautifully calm with Marko's post production. It's so easy to get lured into high contrast post production at the expense of subtlety.

4. This available light shot builds on an inverted triangle pose. Stina's eyes draw the viewer in. I wish I had been able to use my 100mm lens for this shot. I set my 70-200 mm at 100 mm but it is not the same.

5. I used a cranked up Speedlight to light this study of Stina.

6. This shot has so many things wrong with it but I liked it enough in the viewfinder to press the shutter button so here it is.

7. Fun shots like this are all about timing and rhythm. Shame it's not quite sharp but the action carries the lack of crispness. Again, I was missing my 100 mm Macro f/2.8L IS lens.

8. Some of my favourite shots are taken with the simplest of setups. On camera flash was all I used for this shot of Stina.

9. The interior of the top bar of the Pitcher and Piano in Bristol has many sweet shoot zones like this one.

10. Rivets are a portrait photographers best friend. Well mine anyway. The blue was courtesy of a homemade full CTB gel on my Honl Speed Strap. The key light was a second Speedlight with a full CTO gel.

11. It was raining when I took this shot. Cold, dark and wet - a perfect summer day. It looks like it is sunny but that is just trickery with Speedlights, gels and white balance settings. Marko had to edit out the rain drops that had become streaks because the flash units were on full power. All the Speedlights were triggered with the ST-E2 throughout the shoot, as that is what my delegate was using.

12. The same lighting as above only this time we reversed the shoot by 180 degrees and changed the colour settings.

13. New light through old windows. Each time I visit a place I look to shoot it differently. This advertising hoarding is a great background to work with.

14. A favourite location of mine given a new twist with the addition of a second Speedlight.

1. A silver umbrella and my Mobil kit on 1/4 power was all that was needed for this figure in the landscape study. You can see the path of illumination as it cuts through the summer corn.

2. The day started with a beauty set up that is more frequently found in the studio. I'm a great advocate of taking studio lighting techniques out into the real world. Three flashes and a reflector all played vital roles.

3. It was then out with the gels for this more theatrical take on the shot above.

4. All the light on Chloe is from the flash and the background rocks too.

5. The sun went in so we made our own with one Bron head on a Lowel Grand Stand beaming down through the trees. A beauty dish at 5 metres provided the keylight.

6. After an early lunch we went on to location 2. We climbed though a hole in a hedge, over some barbed wire and into the field. We took care not to disturb the crop whilst shooting this figure in the landscape set.

7. Monochrome suits scenes with strong somewhat overbearing colours.

8. The light from a single flash head into a silver umbrella was perfect for this shot and the one above.

9. I held the camera over my head for this fab shot full of Chloe's effervescence.

10. Another of my favourite frames from the dozen or so that make up my sequence.

11. The red dress, the coat, the shoes and the lipstick are Chloe's design, the lighting is mine. f/20 at ISO 200 is an indulgence.

12. I borrowed this cloth from Julie's props store with a vision to creating a take on the bridal veil in the wind. Tara is just out of the shot having just wafted and released the fabric.

13. The sun came out and there was time for a few contra jour frames using just natural light before moving on. I showed how to bleach the shot with exposure to create this high key look. I used my trusty Hoodman Loupe to asses the exposure. The clarity of a well processed high key mono image leaves me tingling.

14. Sensual beauty, a caught moment in time.

15. Ringflash was the order of the day at the logs. We climbed over locked gates and failed to read warning signs about trespassers being shot on sight, all in the name of art. Chloe was covered in scratches and cuts by this stage but still gave us her all. This moment was a reaction to being stung by nettles.

16. Full on fashion for the cover of a magazine, such is the look from the ringflash.

17. We finished the day with a beach shot at Clevedon. Two Bron heads barefaced and of course the sun for good measure. We were in a sun trap and baking by this point. I used my 21mm lens for this shot.

18. This shot of the same lighting set up was taken with my 70-200mm. Oh, how I long to have my 100m lens back from repair.

This is what was referred to as a money shot on film sets at the BBC. In one shot you get to see the props, location, and where the budget has gone. It’s an establishing shot that lets the close ups that follow it in the film (or photo album) sit comfortably without questions. Careful placement of Jay in the sunlight gave him the contrast needed to stand out and all I had to do was add a key light for Chloe from the right of shot.

I placed Jay to the left of Chloe by moving my camera position to the left. This classic feature film technique allows the viewer to see more of the story than either of the characters. We understand that Chloe is playing hard to get and Jay is interested. Yet Jay and Chloe are relying on intuition. Same lighting as above.

Back lighting is the single distinguishing feature that unites all the classic films of the last century. Shooting into the light is another classic technique. Having the brightest part of the scene the furthest away gives depth and the illusion of three dimensions. In this frame I got lucky with the railway worker. I set Chloe with her back to Jay and the camera and I used an over the shoulder look to add to the drama of the scene. Shot on a Canon 5Dmk2 with a 100mm macro f/2.8L IS lens at f/2.8

By moving to camera left I closed down the shot to contain the background to just the carriage. Jay was directed to whisper naughty ideas into Chloe’s ears. The back light for both these shots is provided by a barefaced Speedlight on a stand triggered with the camera makers infra red system. When I’m teaching, I’ll rig both a Canon and a Nikon Speedlight on the same stand so that all the delegates can get the same shots no matter what system they are using.

Shooting with my 100mm prime lens, I had to move in to get the close ups. The process of getting closer to the subject creates an intimacy in the picture that is not achieved by zooming in. The rapport and magic between Chloe and I is captured in a way that makes the viewer of the photograph feel completely involved.

This ticket hall hasn’t changed for years. That mix of glazed tiles and mahogany sets the scene while a slash of an upstage Fresnel key light completes the timeless look. It’s easy to set continuous light because what you see is what you get.

Another feature of recreating the vintage look is using the ‘Hollywood cheek triangle’ of light for the close ups. You set a Fresnel light so that your subjects nose shadow crosses their cheek shadow to enclose a triangle of light on the side nearest to the camera. I directed a strong intense look from Jay and asked Chloe to melt into him and to close her eyes. This shot almost has a film poster look about it.

Another ‘cheek triangle’ close up, this time it’s of Chloe. Two Fresnel spotlights were used in a two point lighting configuration to complete the look.

Chris Hanley and I swap models and delegates throughout our joint workshops to enable all the delegates to shoot all the set ups with both of us. I moved into one of the carriages for one session to get this shot of Jenni. I lit her using a 400w Kobold fresnel spotlight rigged on the platform and I took the shot with my 21mm Zeiss manual focus f/2.8 lens at f/2.8. This lens has a sharpness and clarity wide open that I’ve never seen equaled in a wide angle optic.

Text has such power in an image it often detracts the viewers attention from the subject. In this case, the Gill Sans regular font adds to the period look.

I started shooting a sequence of pictures through the glass of the carriage windows to evoke a sense of romance. The glass provides a barrier too, making our subject appear beyond reach.

By the time I was shooting this frame the potential of this technique was coming to me. Directing Jenni was not easy through the glass but we managed.

I asked Jenni to swap sides in the carriage to help me control the reflections of the platform in the glass. I then directed her pose precisely, when I looked through my viewfinder it made my heart miss a beat. I always have a few artists work in mind when I’m shooting, Edward Hopper, and Jack Vetriano were the subconscious inspirations for this picture.

Infra red shots have a naturally low contrast in this kind of light. A texture and tint applied in post production completes the look.

The radiant glow in this shot was provided by my Arri 300w light.

Heading into the realms of fine art is richly rewarding when shooting with infrared. At 800 ISO on my 5D IR, there is a noise and tonal range that lends itself to this kind of image

The dappled light is from my Arri 300w reflected into a sheet of silver plastic.

Marko chose to use a different post production look for this frame lit entirely by daylight coming through an open door.