Andrew g hobbs photographer biography template

Andrew G. Hobbs

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  • Andrew G. Hobbs is a photographer that lives in London.

    Andrew g hobbs photographer biography template free We're going to be around four people, plus the model. What's the one thing you can't live without? Discover the collection now. We caught up with the photographer behind our SS21 shoot, Andrew Hobbs, to talk about his career highlights and inspirations.

    He owns his own business and studio, He’s main genres are Fashion and Portraiture. His fashion photography is in the top 50 Fashions photographers for His photographs have been published in esquire, i-D, sunday times and rolling stones magazine, They have also been on the cover of these magazines. Andrew has also worked with some of the biggest known music, film and sport people such as, Kylie Minogue, Missy Elliot, Monica Bellucci, Jenson Button and Frank Lampard.

    He has also shot with the duchess of york and her family. One of his biggest client Andrew has worked with in the fashion industry in Louis Vuitton.

 

  • The lighting style in this image is a light above and a little bit to the left hand side of the model. This lighting wills up the whole face and leaves no shadows on the left hand side of her face, but on the right hand side of her face down her check and chin around there is more a a shadow as the light isn’t hitting that part of the face .Having the model looking up makes the middle of her face more brighter then anywhere else, as this is where the light is hitting the most.

    Andrew g hobbs photographer biography template The model is more to the right hand side of the frame, as he has left more negative space on the left hand side of the frame. It created a shadow which I really did not want. What did you enjoy most about the French Connection SS21 shoot? This photoshoot involves lots of colours which are obtained in different ways.

  • The model is in the middle of the frame, as you cant see the full her or what she is wearing. There are yellow feathers to the left hand side of the image, not being able to see the rest of it, gives the audience more of an imagination to this image.

 

  • The lighting style in this image is on light to the right hand side of the model, this is why she has the shadows to the right hand side of her face of the feathers, and the left hand side of her face has no light.

  • The model is in the middle of the frame, but it is cropped so you can only see part of her hands, this also makes the audience have a little bit of an imagination to the image.

  • The lighting style in this image is one light to facing the model straight on, the reason for this is so you get the shadows under her chin and on the right hand side of the models shoulder.

    Andrew g hobbs photographer biography template pdf You can also see the shadows that are behind the spikes. Related Blog Posts. Then the next thing that catches your eye is the spikes that go from her hair to her face and them down her neck to the models shoulders. Editorial assignments for a variety of publications including i-D and Vogue then led to shooting for brands that put me in the position to start my own publishing company turned creative agency, Centrefold.

    There would also be one light straight on the hair of the model, as that part of her hair is brighter then the rest. You can also see the shadows that are behind the spikes.

  • The hair is very big and amazing, this is the main focus of the image as it stands out the most. Then the next thing that catches your eye is the spikes that go from her hair to her face and them down her neck to the models shoulders.

 

  • The lighting style in this image is one main light to the right hand side of the model, this light would be a long light as the light from her face, and her arms/body is the same brightness all the way down.

    Photographer biography sample I spent my early years trying to emulate my heroes, only to discover that was not my story to tell. You can also see the shadows that are behind the spikes. I think this is true even in the most commercial and technical commissions, there is always room for your voice. Pointing the lighting from above the model and from behind was definetely not a good idea.

    There is no light reaching the left hand side of the model’s body, this is why there is more shadow here.

  • The model is to the right hand side of the frame, and Andrew has left negative space on the left hand side of the frame, this is so he can put writing for a magazine on the left hand side of this image.

  • The lighting style for this image is one big long light, a little bit to the left hand side of the model. As on her right arm there is shadow where no light is getting to, there is even some shadows on her right hand check.
  • The model is more to the right hand side of the frame, as he has left more negative space on the left hand side of the frame.

    This is also so the photographer can have writing on this image.

 

 

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