What is it about composite work that you gravitate toward vs just producing more simple images of what is physically in front of your camera?
I want to create the worlds that I wish I lived in, and sometimes that requires some Photoshop magic.
If you were mentoring someone interested in moving their art in the composite direction, what is one of the key pieces of advice you would give?
Pre-visualization helps a lot. If you can see the image you want to make in your mind’s eye, that can help you break down all of the pieces that have to go into the final shot. The more I know about what I want the image to look like, the more I get right when I’m shooting.
In 2017, you became a “Sony Artisan of Imagery.” What brought you to using Sony as your gear of choice?
First and foremost, the weight. I have Fibromyalgia so I can’t always carry a lot with me. Second, the high dynamic range. I’m able to shoot about 10 minutes longer during magic hour than I could before, and those minutes are precious when you only have 30 minutes to begin with.
Can you tell us about the Sony Alpha Female program and what it means for up and coming photographers?
It’s brilliant, isn’t it! I’m really happy to be a part of a movement like that. It brings a more level playing field to female artists while empowering everyone through the process. It means a better support system and the knowledge that support is out there.
What are some of the biggest challenges you have encountered with your composite work?
I think probably all of the normal pitfalls, like mismatched backgrounds, light not working properly, etc. Compositing is like discovering holes in your favorite jacket after you thought you got it fixed. You can’t imagine how it got there, but you have to keep learning and adapting to your situation.