Famous and Professional Photographer Profiles: RAY MASSEY : YOU ARE IN GOOD HANDS

Advertising professional photographer Ray Massey isn't any stranger to approaching with strange and beautiful methods for interacting a company’s concept. Caroline Wilkinson foretells him about his latest handiwork

“THEY Found Me and Requested 'How would you're doing so?A Many art company directors nowadays believe that a marketing campaign needs to be created with CGI, however in the situation of Ecclesiastical Insurance Group - the customer of AGA advertising who hired me - something so fake did not fit the business's values. This insurance company, that was founded two centuries ago. specialises in unusual and period qualities like places of worship, grade II listed structures, care houses, schools and football arenas. It is a company that's built on being caring, honest and human. By allowing the campaign shots using actual hands, it's designed to help remind clients of the core values and reflect the campaign’s concept, that is by using Ecclesiastical, you are forever in good hands.

"While AGA emerged using the concepts for every hands, for example a blueberry skin to represent accidents, so each picture had some relevance to the kinds of guidelines they offer and qualities they insure - it had been my job to learn how to execute them. While I have never done body painting before. I am noted for approaching with economical and inventive answer-s to complex problems

and getting a higher-finish team that gives an exciting-in-one creative solution on-site. As I already had my retouches, my boy Jean-Michel Massey.

I only understood of 1 individual who could create such works of art manually which was Annie Ralli. who prior to the times of CGI colored skills and sets for that BBC. I additionally needed an electronic operator because I am not shooting in the stylish having a 35mm.

I am using a 45-megapixel Hasselblad that's connected towards the retoucher's computer. When I required the shots, another person needed to manage them download the Raw files, back them up and also have them edited. I additionally were built with a photo taking assistant to assist using the lighting.

"Each set-up would be a situation of having fun with the lights and exposures to develop the result I needed. The backdrop must be dark and vignetted to own image depth and also the hands lit sufficient to become dramatic although not in a way the light falls off them as well rapidly. I frequently rim-lit both your hands too to provide them a 3-dimensional feel, specially when it's supported by black to ensure they are stick out

"I mainly use Profoto strobes and striplights I love the standard from the light and shadows it produces. The toughest images to light were from the gold arms made to resemble a frame to represent galleries. It's very hard to capture the gold quality without coming them out. The moment whitened light hits gold, it desaturates it and so I needed to use reflected light by bouncing the strobes onto the arms using gold reflectors. Sometimes I take a step back from my set-ups in the finish from the cay astonished by the way they look, as frequently I have progressively developed the result throughout the day with the addition of, and awkwardly placing, lights and lighting helps.

“Each hands required each day to shoot, with around six hours of arduous painting plus some slight retouching later on. This is a very long time for somebody to have their hands in place and in addition it meant when they required a rest, we needed to totally reset the shoot.

"We selected the hands models to match the topic from Body London, for example for that runners we understood we would have liked your hands but we would have liked the fingers to appear slim and agile. Similarly for that castle we chose early, rough hands with hairy arms to utilize the grass. The majority of the hands were colored free-hands using reference images, but Annie produced the image from the castle by mixing images directly into one illustration that they came onto a obvious transparent cell, which she then forecasted onto both your hands like a guide. The look am complex it required two background artists to accomplish.

"We've got around getting the arms and physiques within the shots by getting them hold their hands above their mind or from themselves. For that castle we needed to convey a black cloth within the model's mind so he would not be made on camera, otherwise we controlled the sunlight therefore the vignette hid the arms.

"We attempted to obtain around we're able to in-camera, however, many pictures needed more retouching than the others. For example, the daisy was shot in 2 stages: first the adult hands for that outer circle, then your children's for that center. It got very crowded. Both your hands were then composited together, while a leg was altered to appear such as the stem. Whereas images such as the football players, charitable organisation box and pen pot are straight shots, using the latter featuring a combination of the woman's along with a man's hands.

"Probably the most complicated image was from the runners.

Once we'd cast nimble fingers we needed to measure how wide we wanted the tracks to become after which Annie colored it. both your hands and also the out-of-focus crowd for any backdrop. Then we needed to light and photograph the track, hands and background individually, without moving your camera, because the man’s arms could only come while watching background we needed to retouch them out.

"Ultimately we would have liked both your hands to become recognisable but to pressure audiences to perform a double-decide to try retain their attention for extended. We would have liked these to see. say. a blueberry first after which hands - hopefully we been successful." Watch the behind the curtain footage from the shoot at See More

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