ORANGE IN AFRICA

It’s a great testament to the vibrant Congo Crew that they were able to take direction from a french-less photographer with no experience in either basket ball, or bag modelling. Deciphering hand gestures, grunts and emotional high pitched whines are wonderful around post dinner charades but when a massive Orange stills campaign is underway its very important that everyone should know precisely wha to do, and when to do it. At some point, in frustration at not being able to describe that Isabelle’s dress should flare up as she walked, I confess to placing my hands very high up inside that dress and demonstrating the effect I desired by sort of ‘clapping around the crotch’, as it were. Isabelle smiled, and the crew cheered. Team work. As a photographer, releasing the shutter is the easiest of tasks, all other tasks are made much easier when all other role players are pulling in the same direction. By any means possible, you must be able to effect this – or things will fall apart. They didn’t fall apart in Kinshasa, and had no reason to. The production crew were intuitive, models though street cast, were awesome. For example, the night before I clapped inside Isabelle’s dress she had stood half naked and shivering in cell phone light while a tailor expertly fitted the next day’s garment. For hours. Her smile in the end image was probably in relief that the fiasco would now be over…though she has gone on to be involved in more Kinshasa production, and she’ll be very good at it.

Picked last for most ball sports as a kid, I found myself trying to explain to an undergrad doctor who had far madder skills than I, how I wanted him to appear in the final image. That the ‘ball’ would be ‘dropped in’ in retouch – his body position had to suit the text placement and his eye line had to measure up to the layout – though I wasn’t quite sure what that meant either. My own eyes were nervously darting around. Any activity on a Kinshasa street draws attention and I had learnt this the hard way when a bullying gendarme had taken my camera the day before. I got it back, just. But the thing is when you’re shooting with one eye on your subject and one eye on whoever is going to come down the road next, you’ve got to be quick. Everyone does. And everyone was. The Doctor knew what to do despite my flailing’s and strange hopping about.

Quickest to understand urgency though was perhaps our driver, papa Christoff, who took us to the airport the following day. Kabila was about to announce his willingness, or lack thereof, of allowing elections to continue and the populace were tense and peppered with cops. The last ‘insurrection’ had left heartache and a hundred dead on the streets. That wasn’t long ago. Papa Christoff flew us to the airport in a Toyota Fortuner. Vendors ducked their heads down as we zoomed overhead, and children lay face down amongst squawking chickens and cowering hounds. Any one who could afford to leave, was leaving. Africa is the happiest and saddest land, and thats one of the reasons why. Its also one of the reasons why I love working here, photographing. You can see more of the campaign work here http://www.huwmorris.com

 

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TEAMWORK IS DREAMWORK

No cornier slogan could be truer, particularly when it comes to my output as an advertising photographer in the last ten years. The first ad campaign I ever landed was while working as a lowly studio assistant in London’s Park Royal Studios – I had sent a small portfolio of my work through to creative directors and photographic agents across the city, and had finally been ‘given a chance’.

Apart from sending in a treatment to win the campaign, keeping a hush about my meager experience, and pressing the shutter…so much of the work on this shoot was done by others behind the scenes, who were willing to give me a chance and push me forward: Producers, agency creatives, retouchers, models, stylists, assistants…I repeatedly owe these role players a great deal.

Not least, the retoucher.

On that particular campaign the team that dealt with the post production was Stanley’s in Covent Garden…while I had followed the brief well, and shot the various elements decently – the surprise lesson in my sudden ‘step up’ was the final polish…Badger at Stanley’s eventually suggested that I need not be in Covent Garden on the first train every morning, and that he could simply mail me updates. I suppose the lesson being that when possible, release your grip and allow the pros their space.

The retoucher is perhaps the most unsung of superhero’s, and relationship with a good one can boost any photographers trajectory. There are many good ones in the city of Johannesburg where I now work as a photographer. Zelda Meerholz is deservedly listed in Luerzers Archive, and Simon Keeling is like an Adobe fighter pilot! I know there are others too, but let me ring a quiet bell here for the legendary Paul Vermeulen. I’m certain that there may well have been some subtle cursing from Paul when being pushed into the tiniest of deadlines and being kicked in the CTRL ALT DEL of ‘oh, we can just fix that in post!’ Paul has always been a gentleman, and has always produced Grade A, oak churned, premium product…the images above are excerpts from an ISUZU shoot we’ve just finished.