Adam Rowney

Windswept Overhead

I took this shot of Ella while testing out my camera phone. I treated it as a still life, so I adjusted her hair, hand positions, direction of her look etc. She has such gorgeous long and beautiful hair, and it had recently been dyed with henna, so it looked incredible from this angle. On a side note, I definitely love the windswept look for overhead shots.

I wanted something portable to carry around on our walks out in the countryside together, and so I went for a phone that could take good images (for a phone at least), and the LGG4 had good reviews. The LGG4 allow manual control over focus, white balance, shutter speed, and ISO. It also has RAW capability, so it seemed a good choice. The image has been heavily cropped, and it was shot in a dark room, so I think considering the sensor is so incredibly small, it did a good job.

Here is a bonus shot of Totty, owner of Ella, via my Instagram – @adamrowneyphoto.

 

 

Dreamlike and Ethereal

I’ve always been a big fan of ethereal images. Whether they are created with the environment / background, by the styling, editing, posing, or any other aspect that helps create the final shot. I just love that lost, dreamlike appearance. And I definitely like it when this kind of image is woven together with dark and atmospheric lighting. I tried to bring that all together with this shoot.

Model Via Base Model Management

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Workhorse; Or How I Learnt Not To Be A Bambi And To Be More Flexible.

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I’ve been using Nikon for just over a decade now. I started out with a film camera, a Nikon F65, and spent most of my final teenage years traveling and photographing the people around me. It wasn’t a great camera, but it got the job done. I was new to the photographic scene, a hobbyist at best, and the F65 offered me something light, portable, and easy to use. Traveling and photographing those around me was the catalyst for my love of photography.

When I got home, I applied for a university course in photography, and moved over to digital. I stuck with Nikon purely because I already had equipment from that brand, so it made sense, and it still does make a lot of sense to do this. Sticking with a brand allows you to upgrade without upgrading your entire system. This much is obvious, but by sticking with one brand, and never using or experimenting with other platforms, you can lose flexibility.

I work in commercial fashion and ecommerce, and depending on the job, you can sometimes use your own camera, or you have to use one that is provided, or with certain clients, you are expected to rent out (at their cost usually) a certain system / platform. This is where it pays to be flexible within the industry. There are certain expectations that everyone will realise when coming into the industry. The need to know how to use RAW, how to tether to Capture One, how to use Photoshop and so on. These are the cited industry standards that every studio will use. But what is often not talked about is knowing how to use the different camera systems.

When I was a Bambi first starting out in the industry, my workhorse was my Nikon. I loved my camera, but I personally found that more often than not, a great many commercial studios use or prefer the use of Canon. For myself, having never really experimented with Canon, I was put into the deep end. I had a lot to learn, and it made me realise how inflexible I had become. In a short space of time, I had to research the camera I was using, so I could be as quick and efficient with it as possible. In the middle of a shoot, I don’t want to stop and think about something, stopping the flow of the team. The camera at the end of the day is just another tool, and I needed to know that tool off by heart.

Fast forward to today, and I am far more flexible and ready for what the industry can throw at me. I can use multiple platforms, and with every aspect I learn from a new system, I can often mirror what I know to other systems.  I’ve come to realise that research and experimentation is key. Different brands have different layouts, and more often the not, even the menu systems between different cameras of the same brand can often be different.

So in short; be more flexible, and your field of expertise will be that little bit easier to conquer. Do your research, and by all means, don’t be afraid to experiment.

Suit + Beard Shoot

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When it comes to shooting male models for personal work, I have a certain look that I tend to aim for. I like extremes, polar opposites if you will. With male models I tend to prefer either a really androgynous look, or a more masculine appearance, preferably with a beard! So it came about that I started planning for a dapper gentleman shoot, and ended up working with the very dapper Simon Crawford from First Model Management. I kept with the old school look and gave the images a dark and brooding black and white edit

Model – Simon Crawford

Styling – Jaleesa Burgess

Hair + Makeup – Lauren Irwin

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Model – Helen Stephens

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Helen Stephens was in London for a few days, shooting with photographers based in the area. We had been talking off and on for a while about working together, so this seemed a good opportunity. We kept the styling pretty simple, and focused more on the images overall look. The lighting, the angles, the poses, etc. Helen’s hair has such a striking colour, so it was always going to look incredible against a stark white wall. The blindfold was a play on a subtle sexual aesthetic that I think can look amazing, like the Kitten Shoot I did in May. I was wary that if shot in the wrong way, it would take from the images, but I think we got beautiful results.

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