Cover: Jeep Trailhawk

When Jeep Digital South Africa give you a call to photograph their cover, you quietly get a little overexcited.

Jeep Digital Magazine Cover

Jeep Digital Magazine Cover

Obviously, this means I will be shooting a Jeep – and since I am such a fan I’m thinking, pick me! You have come to the right place. Jeep Trailhawk
The shoot involves the new Trailhawk. I am virtual-chandelier swinging while I compose myself. The brief: take the Trailhawk to an outdoor location, where there is a dam or close to a water body and set up a leisure activity such as fishing. ‘Sure, no problem,’ I say, with my mind racing to all corners of the nearby landscape.
The Trailhawk is in Johannesburg. I set-off to do some research and to find the best spot. There is a tight deadline, so it will have to be done at the weekend. Do I mind, not at all I will just have to turn it into a getaway adventure. There is pressure, of course, to find the right location and to meet the client’s expectations. After eliminating most of the Johannesburg outdoor natural dams and leisure spots I realize the best place will be the Vaal River.
I collect the Trailhawk – what a magnificent beast; pack camping chairs; fly-fishing gear; blow-up boat; oars and anything else that I think may work to set the scene. A model will be required, so ‘husband’ is also packed in with a myriad of wardrobe options. We book overnight accommodation at Stonehenge river-side lodge in Parys. With just an idea and an awesome challenge, we set off. Arriving after dark on the Friday night. We have to wait until the morning to scout. We get up at sunrise and explore. Miraculously, without our knowledge Stonehenge has the best access to the river. We can reach the water’s edge with the Trailhawk – fantastic. Lodge

Inflatable2

Location planning

Inflatable boat
The sun is rising fast, so we will have to wait until the late afternoon for ‘softer’ light. There is another little glitch, we need permission from the lodge management to shoot there. If allowed, we will have to drive past their pool on their perfectly manicured lawn. We are apprehensive, holding thumbs we approach the front desk. Excited and relieved at getting the nod we are even more convinced that this is the perfect spot. We will have to wait until the light shifts and the sun drops lower. We don’t stop there, we go on to explore the length of the river, just to make doubly sure there isn’t another appropriate place.
Convinced we landed the best location, we have the car cleaned and start prepping for the shoot. I set-up two possible angles, but because the light will change quickly as it nears sunset, I will have to work fast to ensure I get both options. We park the car, and move it this way and that, once I am satisfied it is the best angle, we mark the area so we can re-park the Jeep in exactly the same place when the time comes. We inflate the blow-up boat, sort out the props, decide on the ‘wardrobe’ and the positioning of the items for both options. We patiently wait until the sun starts setting. We start with the first set-up, including options with and without my ‘model’ in fly-fishing-action. I have to ensure that we don’t leave anything in the shot that shouldn’t be there, that the Trailhawk windows are closed, that there are not fingermarks anywhere, that we shoot with the vehicle lights on and off – I make sure I have all the options. As the light starts dimming we move the car to the second set-up. The sun is about to set behind the mountain, just beyond. I am running back and forth trying to perfect all the elements in the shot, instructing the ‘model’ and then, at the last minute I decide to bring the chair closer to the camera.

The insects are, now, out in full force. Before I know it, darkness engulfs us. We pack quickly. Headlights on, one last look around – the area is as it was when we arrived. Back in the Trailhawk we head off home, feeling rather satisfied. Fighting insectsWorking itAngie Lazaro

Thank you to:
Stonehenge in Africa, Parys
stonehengeafrica.co.za
+27 72 616 1263

Jeep Digital Magazine
Editor: Jazz Kuschke

Christelle Grobler
Narrative Media

Richard Sloman
Media Liaison Manager
Chrysler South Africa (Pty) Ltd

Johan Odendaal
Model & assistant

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Beauty with Bailey

My friend Nikkila and I had been speaking about doing a beauty shoot, to try new make-up techniques (Nikkila Mann, is a top South African Hair & Make-up artist). We have worked together so many times, during Top Billing fashion and cover shoots, corporate shoots, and our own creative inspirations. We totally love working with fabulously talented people and we just adore Bailey Schneider, so the idea was set. Bailey is not only an on-air personality and television presenter but she is extraordinarily beautiful and an amazing person.
She was so keen, when we suggested doing the shoot, that from that second we sent inspirational images back and forth the excitement started building. We decided on 4 looks for the day.
We started off with a dreamy look, mimicking daylight for the face but maintaining the interior mood and coziness. I borrowed a friend’s lampshade to give the scene a sense of luxury, I then covered the white wall behind with a dark blue card and blocked off the window. I bounced the light just in front of Bailey to get the soft fall off to highlight her features.
We then got working on the swirl-lollipop idea, I took out my sun hat, my earrings, flowers and wham Nikkila pulled that look together so spectacularly. Bailey was having so much fun, she looked quite like a care-free Marilyn Monroe.MarieComposite
Then came the pièce de résistance, our Marie-Antoinette epic hairstyle look. I wanted to add a bit of drama but also maintaining the softness and a slight vintage essence. What a dramatic image. We were on such a creative high.BaileyFacebook
Lastly, Nikkila worked on the make-up Splash & Drip look. Wow, that was tricky, but under the hands of a pro it worked out perfectly, she made a paper mask to limit the splash area. The initial paint was orange, but we both felt it would seriously pop if we changed it to yellow – well, my job as retoucher was set. Before digital imaging took hold in the 90s, there was very little retouching. As a photographer I am the retoucher too, possibly because I am such a perfectionist and know exactly how things should look. The key is to shoot it as perfectly as possible, do more on shoot to get it just right and do less repro afterwards.

This is Bailey’s blog entry of the shoot:
http://www.vanillablonde.co.za/2014/04/beauty-shoot.htmlNikkila Mann, Bailey Schneider, Angie LazaroFrom Left: Nikkila Mann, Bailey Schneider and me (Angie Lazaro).

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O Fashion Awards

Marie Clare wearing Callaghan for Oprah Magazine. Photography: Angie LazaroI absolutely adore fashion, it may possibly have something to do with my first career as a fashion designer. Shooting fashion combines two of my passions – what a treat.
This shoot was for South Africa’s Oprah Magazine, my ultimate favourite team. I was shooting their O Fashion Awards editorial – 10 pages of fashion favourites.
Part of the shoot was the opening cover for the spread, with none other than the gorgeous Marie Clare. A stunning presence and so much energy, it was infectious. I, obviously, over-shot this series. She made the flowing royal purple gown, a Nicole Miller at Callaghan Collezioni, come alive. O Magazine’s fashion editor, Leila Petersen Gallant, styled three looks: paired with gold accessories; a cream blazer; or colour-blocked it against red and blue.
The essence of luxury and passion from this royal hue went up on the glamour charts with an on-trend edge.

Model: Marie Clare Moda Models
Fashion Assistants: Raaziqa Majiet, Thoki Thafeni
Hair & Make-up: Jade Leggat

Photographer’s assistant: Ian Muller
Fashion:
Dress – Nicole Miller at Callaghan Collezioni; Cream melton Jacket – Hugo Boss; Blue blazer – Truworths; Earings and clutch – Accessorize; Strappy heels – Zara; Red heels – Aldo.

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My moments with Mandela (5 December 1999)

My Mandela Day

My Mandela Day

Fourteen years ago, equipped with my Masters degree in Journalism from Rhodes University. I moved with high expectations to Cape Town with only a volunteer job and an interview. My task as a volunteer was to run the daily Vukani (Awakening the Spirit) newspaper, which appeared as an insert in the Cape Times. It reported on the 1999 Parliament of the World’s Religions’ weeklong events. A few days into editing, writing and shooting for Vukani, I went to the unveiling of the Peace Pole on Robben Island. “The Sunrise Peace Pilgrimage” started early on the Sunday morning. I boarded the ferry and watched Table Mountain recede; the choppy seas finally took me to the surprisingly barren looking island. Before the peace pole was erected I visited Mandela’s prison cell, it was small, bleak and so empty – almost hollow. It was incomprehensible to even imagine what it may have been like to have spent 18 years within those prison walls. The Peace Pole with the words: “May Peace Prevail on Earth” in English, Zulu, Xhosa and Afrikaans was blessed and was witnessed by more than 300 dignitaries.
That evening I arrived early at the Good Hope Center Arena, along with an array of newspaper photographers. Nelson Rolihlahla Mandela would address the plenary and was due to receive two awards that night. We were told that only two photographers would be allowed backstage. The excitement was palpable. I was taken aside by the organizer and asked if I wanted to shoot backstage. The other photographers were not impressed as I was unknown in the newspaper world. Mr Mandela arrived backstage with his bodyguards, I asked the organizer if I could meet him. The bodyguards were relentless and would not let us near him. I spotted Ebrahim Rasool (ANC’s Western Cape leader at the time), I had had a good interview with him the previous day, so I decided to ask him to introduce me to Mr Mandela. He swiftly took my arm and ushered me past the staunch bodyguard. There I was in-front of ‘Madiba’, he shook my hand and we chatted. I had him all to myself for a few minutes; it felt as if time stood still. It was dark backstage but his presence filled the space. The rest of the evening was a blur, I photographed ‘our’ hero but my student-equipment felt inadequate. I was the only backstage photographer that day.

The morning of December 5, 1999 I visited Mandela’s Robben Island prison cell, by the evening I shook his hand and 14 years later to the day, I am saddened to say: “Good night, Tata”.

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Shift4Ward Magazine

Shift4Ward Career Magazine

Shift4Ward Career Magazine


4Ward! Is a vibrant free digital magazine for graduates and young professionals in the world of work.The article appeared in their 3rd issue of 4Ward Magazine.

4Ward! Article

4Ward! Article

http://shift4ward.co.za/emagazine/

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When the camera turns on you!

I was blasted into the past, almost to a different time – the time of the medium format trannie – with this image.

Angie Lazaro in Meditation

Angie Lazaro in Meditation


Those were my Farilady days. I was the Picture Editor/ Photographer at the time. The magazine was running an article on meditation. At that stage the magazine preferred to photograph their own images instead of plucking them from picture libraries. My best was to conceptualise and come up with ways of illustrating the various articles.

This shot, was taken by my assistant – I was the ‘model’.
The process: Set-up the shot then once into position, either get someone to trigger, or use a remote trigger.
On the day, the stylist, Danny Toua, and the picture researcher, Kelly Smith, with a large super-heavy picnic basket containing all the camera equipment necessary sneaked into the forest. It was a last minute picture request so we didn’t have the luxury to arrange a permit. Riddled with guilt we pretended to go for a girly afternoon picnic, we smiled and waved as we sauntered past the guard.
This was about 10 years ago, the days of film, when everything was as a little more cumbersome, more difficult to set-up and time consuming waiting for Polaroid’s to develop to check light etc.
The glare effect was added later during post-production.

After all this time, I still like this shot!

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Pretty, Dirty, Rich

There is something particularly exciting and challenging about shooting fashion with models on location. Usually the weather conditions are not the same as when you first scouted the location, so its important to readjust and switch into a different mode (not wish for what you don’t have, but work with what awaits you).

It was a perfect day at the poolside. The swimwear was stunning and the models were gorgeous and so much fun! I have had a fair amount of shoots with inexperienced models and that makes a shoot harder and frustrating. Directing the model and pre-empt every pose takes the photographer’s focus away from creating real magic. It’s great for me to see how the model moves, and then see what is unfolding and then capturing shape, form, light, shadow and expression in the right combination to create the mood.

Our male model is from Brazil, he definitely worked his Latin look. Our female model, is South African and had featured in Sports Illustrated, and knew just how to work her body. The shoot had a sultry yet a tangible filthy rich feel.

Alexis Chaffe (fashion editor), had selected some interesting costume jewellery to finish off the looks. We had Carl Isaacs on board doing the hair and make-up. It was fresh, with such great colour. The TV crew joined us for a day in the sun and shot behind the scenes footage. Not only did they do their interviews and filming but I gained a few more assistants, holding reflectors and adjusting this and that.

Shooting in midday sun in South Africa has it’s challenges. The harsh black shadows can either work against you or with you, depending what you do and how your decide to shoot the fashion story.

I shot in straight sunlight, some dappled light, some reflected light and against the sunlight. Even though I used the light differently it is important to make sure the editorial reads as one story and not just stand alone images.

Photography: Angie Lazaro
Photographer’s assistant & behind the scenes photographer: Tiro Sauls
Fashion: Alexis Chaffe
Hair and make-up: Carl Issacs
Models: Bruno and Shane, Full Circle Models
Top Billing TV Crew – Insert director: Lars Schwingers; Cameraman: Wimpie Ackermann; Sound engineer: David Minaar

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The student years – circa 1996

I discoverd an old disc with these images from one of my first websites I created as a student at Rhodes University in Grahamstown. All the black and white images were shot on film and printed in the darkroom. The level of excitement to see what you captured on a strip of negatives is something that is practically gone forever or, perhaps I just need to dust off my enlarger and hang out in the dark!

Student Fashion


Jackie was also a photojournalism student, and I roped her and her boyfriend, Steve, to a shoot on a Sunday morning. We had so much fun finding places to shoot. Oooh, I do remember that stinky toilet. I, at least, was outside the cubicle!
Then there was Graunt a fellow Journalism student keen to do some shots in the theatre, if I remember correctly I used one red head (tungsten) light, bare bulb. These lights always became very hot.

Nude exhibitions


Since my third year I exhibited every year during the Grahamstown festival. I focused on producing a nude exhibition each year. Bodily Impressions was the first, shot in the forest. The second was shot in water, I loved the distortions this work was called The Limnetic Zone and I exhibited with Tanya Poole’s underwater paintings. Skin & Scales featured, Monty the python photographed at the brick works. Body Dance was photographed on stage as the dancer moved and danced.

Architecture


Traveling has always inspired me to photograph the architecture in different ways. This is a collection of images shot in London and Koln.

First Physical Dance Theatre


Ever since I photographed a dance class, I was hooked… I loved the movement, the angles, the light, the physical grace of the dancers and the absolute challenge to capture the motion. I was in awe of what they could do, slide across the stage – always bruised but such magnificence. Shooting was a challenge with film you ‘knew’ if you had the shot – to be confirmed later in the darkroom, or not.
Gary Gordon was the mastermind behind First Physical Dance Theatre, the works he produced were always spectacular and pure perfection.

Gary Gordon

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Fashion Photography Images

A collection of some of my fashion photography work: Ah, my favourites for now!







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A day in the life of Angie Lazaro

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