Missing In Iceland


Roadscapes and Landscapes

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The Mercedes GLE250D

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Pulled out the Broncolor Siros L 800 monolight to fill in the nose.

Diamond Beach

Skógafoss Waterfalls

Random snap of this grey GLE250D!



Behind The Scenes (Webb and me)




Special thanks to Mercedes-Benz Australia and Iceland for the GLE250d!

LARP Armour Shoot with Ryan Rikic

It's been an agonisingly long wait for personal work opportunities this year. While I welcome the busy year commercially, my personal portfolio has ultimately suffered because of it. Desperate to break some ice, and chasing a couple of leads - I finally managed to piece something together. Albeit a really quick and simple shoot.


Behind The Scenes

The premise was to create a really simple, home studio style portrait; but shot in a way inspired by the look of oil-paintings in the past. I remember during my conference tour in Madrid last year, I stopped by some local art museums and felt incredibly inspired by the look and feel of the time. This has been sitting on my to-do list ever since.

Ryan Rikic modelled with an outstanding custom outfit by Prince Armory, and wielding props made by Infinite Bladeworks. Tahlee assisted with the props, lighting and styling. The backdrop image was a cheap eBay purchase, and required a bit of retouching to fix visible creases and folds.



As lame as my garage may look, I was armed with some great new gear to play with. This year I've made the switch to Broncolor lights, after making a new endorsement deal with the Swiss manufacturer. 

Full disclosure aside, I had already tested them well on a billboard shoot for Jaguar recently, as well as my car photography tutorial with RGGEDU in the United States. This LARP armour shoot gave me an opportunity to test them out on human subjects again, after my new Octabox had arrived from SunStudios Sydney.

The key was to have really consistent, quality light, and being able to easily control the settings of the light whilst I worked on refining the formula. These new Siros L 800 monolights support WiFi control with my iPhone. A couple of swipes with my fingers and it was easy to find that right balance with the lights. These lights are lithium battered powered, so I really look forward to using them on talent outdoors.

All in all, this shoot took about an hour to setup, an hour to shoot and an hour to retouch. Ryan received a link to the edited photos before they even got home. A really simple shoot, but a great first test shooting talent with my new lights and modifiers. 



Model Ryan Rikic / Costume Prince Armory / Props Infinite Bladeworks / Lighting from Broncolor / Photography by Easton Chang

Vitoria and the Pagani Zonda S Roadster

On the 1st of June 2015 we arrived at the warehouse storing the only Pagani in Australia. The 2005 Pagani Zonda S Roadster.

Under the possession of Adam Kaplan of Hunter Holden, this car has participated in numerous car and community events around the Sydney region. It's turning 10 this year, so what a special way to celebrate.

My chosen model Vitoria Triboni, was an easy choice. We first worked together in 2013 on a Ministry of Sound album cover and I've been keen to get to work with this outrageously talented model again since.


Behind The Scenes

With such a rare opportunity we just had to get a videographer on board. My friend Joel Black of Tommirock Studios volunteered for duty, and with very minimum equipment (he could only bring what he could fit in his lap as we already had a full car) I love the outcome he produced.

Image courtesy of Joel Black/Tommirock Studios

Image courtesy of Joel Black/Tommirock Studios

Us boys just HAD to get a look at that engine before we left.

Us boys just HAD to get a look at that engine before we left.

As difficult as it may be to believe, this ended up being a surprisingly difficult shoot for me. Whilst I've shot precious metal with models before, the Zonda was by far the lowest and widest car I've done this with to date. The car is incredibly low and wide, and Vitoria was incredibly tall and thin, composition is tricky to say the least.

It's easy to think it was easy just by looking at the images with the formula already laid out here. But I really had to frame, think and reframe throughout most of the 3 hours we shot. It was important to observe height, distance, positioning and balancing ambient lighting with our strobes. But experimenting with different focal lengths played the biggest part in exacting the correct formula which complimented both car and model.

With supercars and supermodels, it made sense to maintain the standards with a super HMUA and designer. With Steff Matheson attending hair and makeup, this was the second time I got to team up with the amazing Sarah Joseph Couture and her boutique pieces. Her dresses simply exude class, and is as much the supermodel as Vitoria and the Pagani.

Being such a rare exotic we wanted to keep the kilometres low. I ultimately decided to use the very warehouse it was kept in to shoot as it provided a private and safe place for the 5 hours needed (2 hours hair and makeup, 3 hours photography). It's not the best setting for this shoot, but considering the privacy (as well as the bonus of not adding precious milage to the supercar as it is already there) it was definitely the best option we had.

That romantic Italian fantasy backdrop will have to wait for a time I one day get to share a date with the Huayra, my current all-time favourite supercar.



Photography by Easton Chang / Car and location supplied by Adam Kaplan of Hunter Holden / Videography by Joel Black of Tommirock Studios / Hair and Makeup by Steff Matheson / Model Vitoria Triboni / Dress and styling by Sarah Joseph Couture / Assisted by Chris Bromley

Lily and Smoke Bombs

Today I managed to get a hold of some smoke bomb cartridges and use them to some decent effect in a last minute shoot.

Compared with the vaporising based smoke machine before, smoke bombs can be coloured which gives them a unique point of difference to traditional smoke machines. Believe it or not, this was actually just a test shoot. I have a more ambitious concept in mind for coloured smoke, but being so flimsy and unpredictable to manipulate with for photography, I thought it'd be wise to at least test them out once or twice first. 

With a new blue dress recently made up, this was a great opportunity to shoot one of Tarese's newest creations. Plus we had a new beautiful model to bring a fresh face to the table. This was my first time working with Lily Harding as well as the wonderfully talented make up artist Maria Koster.

I found the red bomb far more effective at creating whimsical colour and drama to the scene, with the blue bombs being much less so. In fact the blue was so weak in saturation it looked almost the same as normal smoke (won't be using those again).

I did packed my Phottix Indra500 kit, but today I decided to go with completely natural light. Do however expect epic lighting setups when we do the big one!


Behind The Scenes

Photography by Easton Chang / Model Lily Harding / Designer Tarese Klemens / Hair and Make Up by Maria Koster / Assistant by Justin Blake and Ian Hurst