'Fantastic Beasts', J.K. Rowling's latest movie venture opens today, and Entertainment Weekly have produced a special magazine edition to celebrate. I contributed some images that were shot a few years ago on the set of Harry Potter and the Deadly Hallows.
The sets were spectacular and the attention to detail was magnificent, right down to the hand written journal entries at Gringott's Bank. Below are some outtakes from that shoot that were not shown at the time.
The New Zealand based travel magazine 'Destinations' asked me to capture the spirit of Naples and what it means to live next to one of the world's most dangerous volcanoes. As well as capturing the photographs, I also wrote the story. It was a great experience to interact with the locals to get the sound bites, snippets of information and recommendations of the roads less travelled in the search for the soul of the region.
The story is on Destinations' website: The Layers of Napoli
Once we moved on to Capri, the weather deteriorated for a little bit. The lightning lit up the early morning sky over Marina Piccola.
Capri offered an opportunity to add to my ongoing series 'On Location', and we ventured out to see Casa Malaparte, used by Godard in his film 'Le Mépris'.
The Smithsonian Magazine asked me to photograph Stonehenge for a story about the site. Scientists had recently been using laser technology to explore the ground beneath the monument and the surrounding areas.
Stonehenge is a popular spot, with thousands of visitors every day. Fortunately, English Heritage had granted us access outside of opening hours. For a little while in the evening, we shared access with a group of RAF servicemen. Lot's of selfies were taken!
Very early in the morning, with the landscape covered in dense mist, we did some 360º panoramic images for the Smithsonian's iPad app. The example above is shot from within the stone circle.
Read the story on the Smithsonian Magazine's website.
John Toolan, Picture Editor at Field and Stream, asked me to illustrate a very personal story by Executive Editor Mike Toth.
We went to Mike's childhood home in New Jersey to photograph the mount of the great deer that his father had shot five decades earlier. In the interim years, Mike and his father had fallen out and only reconciled shortly before the father's death, just a few weeks before the shoot.
'Through it all, the mount was there. It was the first thing he carried inside the new house when my parents and I moved out of our apartment. Except for when the walls were being painted, it never moved from its spot on the right side of the fireplace. When I was a little kid I’d watch him carefully clean and polish the antlers before the holidays. He’d even use my mother’s hairspray on the hide. He had other mounts, but none with more mojo. I’d heard him tell the story about that buck so many times, often at my urging, that it became a memory of my own, something I play over in my head while sitting in the deer woods, waiting for shooting light.'
Above is the deer, carefully resting on the floor, ready for his closeup.
Below an outtake, a time-lapse video featuring dancing antlers