Adam Rowney




With the equinox almost upon us, and spring peaking it’s head up from winters long sleep, it seemed appropriate to release this festival inspired headdress shoot. I came across an image that Rosie had taken while at Boomtown, wearing the gorgeous headdress shown below, and I fell in love with the look. After discussing ideas, we planned the followings series of images. A single flashgun was used to create the harsh lighting, to mimic a sunlit environment for the images to blossom in. I have worked with both Rosie and Ashley a number of times, so it was great to work together again!

Model – Rosie Dent
MUA / Hair Styling – Ashley Kay Gifford / Primp Powder Pout





Model – Thais


One of the last sets of images I took of 2014, and one of my favourites. Thais and I have been talking about working with each other for so long now, and to finally shoot together was amazing! We didn’t have a particularly complex concept, we just decided to use beautiful items that would work well, to keep the hair natural and messy, the retouching to a minimum, and the lighting quite soft and beautiful to go with all of this.

You can find Thais over on Facebook and Instagram.






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Model – Toby Peach


For this shoot, I wanted to go for a more sophisticated and charming look, so I worked with the equally sophisticated and charming Toby Peach, an actor and workshop organiser, and model for MOT. I kept the lighting quite stark to go with the clean cut styling of the shoot. I used a flashgun, just off centre from the cameras viewpoint. It’s about as basic as you can get for lighting, but quite effective.

Model – Toby Peach – MOT Models






Removing Banding With Digital Noise




What is banding?

Banding is an unwanted visual artifact caused by changes in brightness / colour values. As shown above, it is where the image has unwanted lines / bands across what should be a smooth gradient. It’s a common problem with digitised images, caused by there not being enough information to allow a smooth gradient to be shown. It’s often seen in images that show a vignette, or in images that have the sky or a sunset in them.

I use Adjustment Layers a lot. They are non-destructive way to edit an image, to change the curves, levels, colours, hues and saturations etc. But like all methods to adjust colour values, they can cause banding. Although the great thing about Adjustment Layers is they come with a mask, which in this case is very useful, as you can add digital noise to help remove any banding.


To remove banding from a mask, you can follow these really basic steps shown below.

Step 1: Click on the mask. If you want to view the mask directly, without seeing the image itself, you can click on the mask while holding down on the Alt Key. This is what I have done for the below example. It is a great way to see how much digital noise you need to use.

Step 2: Go to Filter –> Noise –> Add Noise

Step 3: The Add Noise box will come up. Depending on the resolution of your image, you will have to adjust this to fit your needs. I personally use 3-5%, but you should experiment with your images. I set the distribution to Gaussian. Being subtle is the key, as if you add too much noise, it will start to show through on the image.

Extra: If you want to add digital noise direct to a layer, then make sure you tick the Monochromatic box. If you do not do this, you will get coloured artifacts showing in the image. A word of warning though, this is a destructive technique, so make sure you do this to a duplicated layer.


And that’s it. It’s that simple. I use this on virtually every mask that I create, and it helps hide banding. Below I have included a real example where banding was an issue. The image had a Solid Colour Adjustment Layer that had a strong gradient added to it. This caused banding, so I used digital noise to hide the banding.


 banding_potentialexampleYou found me!

Fire Red

This series of images was created way back in February 2014. I have collaborated with my old housecat*, Gestalta, a number of times. The last two times were for the Porcelain shoot in 2013, and the Diamond Shoot that I did in 2012. I’ve always wanted to create a black & white series that had a powerful red aspect added in post production, and I was so excited with the resulting images! She reminds me a little of the character Rachael from Blade Runner in this.

*Gestalta, Rebecca Tun and I lived together for a year, along with Gestalta’s three cats Charlie, Stumpy, and Wicket. We often call each other housecats =^_^=

Model – Gestalta
Hair / Makeup – Hellan Judd