OMC speaks to Elio Nogueira in New York

OMC speaks to Elio Nogueira in New York:

Élio Nogueira is a fashion photographer from Oporto, Portugal.

After beginning his career as a photographer at 19 years old Élio has developed his skills and experience and today has shot for International magazines such as Harper’s Bazaar, Elle, L’Officiel, Glamour, Grazia, and Nylon. OMC caught up with Elio in New York to find out more about the man behind the lens.


Elio One Mega Collective


You have shot for some of the biggest International magazines but how did you first get started and who was your first cover for?
Well, first of all thank you so much for this interview and your interest in my work! My first “big” publication was in 2015, I was shooting for 2 years at that time, and I did a 10 page editorial for Harper’s Bazaar Hong Kong. My first cover was this year, for ELLE Croatia, it was also my first ELLE publication so I was super exited and also, it’s a very important cover for me, was shot in New York, when I went there the first time, with my amazing team and the super sweet model Barbara Fialho from The Lions NY.

What was the thing that first attracted you to photography and want to make it a career?
I was always attracted by fashion, by the feeling of expressing your creativity through collections, editorials, etc and the possibility to create stories and meet and learn with amazing people everyday. That was the feeling that attracted me.

Do you remember your first shoot? How was that experience?
YES! I was 18 years old at that time…and i was shooting a friend just for fun. It was horrible looking back now to that shoot! I don’t see it as a fashion shoot but was the first time I captured someone through my lens and did all the production.


Photographer Elio Nogueira one mega collective


Whose work do you admire now and who inspired you when you were starting out?
I always were inspired by Steven Klein, Tim Walker, Paolo Roversi, Steven Meisel and Mert&Marcus. These are the photographers I admire the most and Grace Coddington, whose creativity is beyond everything.

What was your first camera and what set up do you use now? What’s the one piece of equipment that makes your life as a photographer easier?
My first camera was a very cheap one, Canon 450D, I started practising with this camera, shooting nature, some portraits etc. Then I got my Canon 60D which I continue using now. I hope to upgrade my camera soon, but I always heard that is not the camera that makes the photographer. Well right now I can’t think of any equipment that makes my life easier as a photographer..we have to wait for the next interview! ahah

You have shot in some incredible locations all over the world but what are the main challenges and differences between this and shooting in a studio?
Shooting on location is always more interesting and fun for me. But it’s also a nightmare because I’m always freaking out about the perfect weather for the right moodboard! In studio it’s easier and comfortable of course, but it can also be challenging sometimes!

Where is your favourite location to shoot? 
Any location that inspires me at the first second!

What would you say has been your most enjoyable shoot so far?
I can’t give you an exact answer because every shoot I enjoyed a lot and I learn with all of them…but I would say all the shoots in New York.


elio nogueira one mega collective


Is there a particular model you would love to work with? If you could have worked with any model through the ages, who would that of been?
Ufff… the real question! Of course Kate Moss, she is one of my icons. Linda evangelista also..Naomi Campbell. And from this new generation I would say Cara Delevingne because her amazing carisma as a model and perfect face.

Do you prefer to work with your own team of hair and make up artists or are you happy to work with different creatives? How important is this relationship?
It’s always enjoyable to work with a team that I already know because we are a family, and its not work actually, its a creative fun process and I think it is very important to have that, but I always want to work with new people, learn with them, grow with them and this also is helpful to spread your name as a photographer, so in my opinion both ways are very important!

What are your feelings on retouching and the part it plays in modern photography? 
Retouching for me is very important. We can make a photo better, it can save some works, for example, when I shoot my elle cover, it was supposed to be sunny and colorful for the May issue, instead was rainy and super bad light, with retouch I could make it look more summery, otherwise it wont make sense in the final result. I do my own retouch, it’s a part of what I’ve visioned for the final result of the photo. Of course one day I will need a retoucher that I truly trust, if I have a big affluence of jobs (hopefully) but for now I will keep it my way, and learning by practice.

Photography equipment can be very expensive, what equipment would you recommend for beginners to photography? What would your advice be to aspiring photographers looking to get started? 
If a new photographer don’t have much money to spend I suggest to do the same I did, and buy a cheaper camera and a maybe a soft light and just get inspired! I started by using only natural light and when I shot in interior locations I used my bedroom lamp so, if you have creativity and passion you can make non professional equipment give you good results!

Give us an insiders top tip to getting the perfect shot?
For me it’s all about the angles and light. If you have to throw yourself onto the ground to have a perfect shot just do it. Go with your flow, explore and if your stuck in one photo just change location or light, don’t focus on the problems. Using a reflector is also a good help to balance the light.


one mega collective elio nogueira



Josh shoots world class advertising and editorial photography work for a variety of brands and magazines. His dedication to achieve the best possible result on every assignment and his consistency have made him a trusted name in the industry.




One Mega Collective - Josh Caudwell

josh caudwell still life photography

one mega collective josh caudwell interview

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Interview with Hair & Make-Up Artist Sara Clark

Interview with Hair & Make-Up Artist Sara Clark:

We met up with Hair & Make-Up artist Sara Clark on location of her latest shoot to get some tips from an industry insider…

How did you get started in hair/make up styling and how did you develop your skills?

Following my studies at both LIFS and UCLA Films School, I enjoyed a career in Film & TV Drama Production/Development.  However around 2005 there was a distinct lull in the industry due to the lack of tax breaks for filming in the UK and so a vast majority of productions were being shot in places such as Prague and Budapest etc or getting shut down altogether.  I have only ever worked in this crazy industry, one which I am very passionate about, so having always loved makeup I decided to re-train and I studied at Greasepaint in Makeup, Hair and SFX.  I began assisting a Hair & Makeup Artist called Alison Butler on music shoots – it was the time of Indie bands such as Boy Kill Boy, Milburn, Razorlight, Orson, Dirty Pretty Things, The Kooks etc.  My first ever shoot was with Boy Kill Boy on The Friday Night Project. Alison left as she had to do another Artist and so there I was; first job, new band, live show –  and one which they plied the guest bands with alcohol!  I definitely learnt how to ‘hit the ground running’.  Great memories and a fabulous experience.  From there onwards I continued to assist Alison and then I got my own jobs and my own clients, which expanded as my name got more known in the industry.

What celebrities make up/hair would you love to do and why?
The word ‘celebrity’ is so over-rated and the media constantly uses it to describe anyone in the industry as ‘a celebrity’,  from the most talented respected Talent to someone who has done a tabloid ‘kiss & tell’!  As a Makeup Artist/Hair Stylist & Mens Groomer I am in the wonderful position to work with such interesting lovely people, regardless of any ‘celeb status’ tag.

What’s a mistake people always make when doing their own make up?

It’s usually finding the right colour foundation. That, together with too much blusher (and fake tan disasters!).

I appreciate that MUA’s have lots of products, colours and brands to use, but skin often changes colour over the course of the year; winter skin, summer skin, holiday skin and somewhere inbetween so it’s best to have a lighter/darker shade to play around with and get that perfect blend throughout the year.  Also many women will hopefully want a foundation that isn’t as heavy in the summer months – don’t hide your freckles!

What advice would you give to new make up artists looking to make it in the industry?

  • Assist as many good MUA’s as you can.
  • Always be early for shoots – regardless of what this means to your personal alarm clock call.
  • Discretion and confidentiality is a must, particularly in this age of social media. Be savvy – don’t put sneaky photos on your Twitter/Instagram/Facebook etc if you have been asked not to!  Always be courteous and check to see if and when it is ok to do so.
  • Always have your phone switched on and respond as quickly as possible to enquiries, particularly as you may get last minute calls/emails about jobs.
  • Always be dressed appropriately for the job – I remember one new assistant turning up for a shoot with me in looking like she was about to go out clubbing! (or maybe she had been out the night before and forgot to get changed?).
  • Always be polite, friendly, enthusiastic and helpful – not just to whom you’re assisting, but to everyone on the shoot.  Sounds like common sense, but I recall one particular horror story on a film shoot a couple of years ago whereby one of my new assistants failed to respond to me asking if she had received the call sheet.  After many calls, texts, emails, she finally got back to me very late at night and without any apology merely asked if I could pick her up in the morning as the calltime was ‘rather early for her’ and she didn’t like public transport.  Once we got to the location she sat and did her own makeup whilst the rest of my team rushed around setting up and getting ready for a VERY busy day – I had to keep asking her to help and to do things, rather than her using some commonsense, stepping up and being pro-active.  She then totally disappeared – apparently she went to get breakfast for herself as she was hungry and tired after such an ‘early calltime’!!  After a quiet little ‘chat’ about her attitude and the way she had been conducting herself, I asked her to go down to set and do checks on the artists… however word came back to me that she was sitting round drinking tea and trying to chat up (and annoy) the celeb guest Talent.  I had enough and sent her home!  She had even pushed MY almost endless patience to the limits and that’s saying something!  It was a learning curve for me as well.  To my knowledge she no longer works as a makeup artist.

What was your favourite shoot and location to work on?

I have been so fortunate to do shoots and junkets etc in many wonderful and often unusual places.  I get to see behind the scenes of places that I wouldn’t otherwise have access to.  I have shot in the most beautiful expensive hotels, historic houses, mind-blowing homes, Premier football clubs, amazing music venues, F1 racetracks, beaches, cities, various government building and homes  (one special one in particular!), studios, theatres, a Spanish stone quarry, UK/Abroad… North, South, East & West…. I guess I’m torn between all of my jobs, they are all very special to me and each job has such brilliant memories.  I am very lucky and feel so blessed.

What is the one thing in your make up kit you couldn’t live without?

A tube of (red) Lucas PawPaw Ointment. Multi-versatile!

What products do you use and recommend to get that flawless or natural finish?

I’m a firm believer in prepping the skin properly so that the makeup sits well.  I have different products depending on the clients skin but my absolute faves are Dermalogica Pre-Cleanse/Microfoliant and  (if I have time), Bioderma Sensibio, Sisley Global Perfect Pore Minimiser, Sisley Youth, Dermalogica Active Moist & Skin Smoothing Cream, Dermalogica Total Eye Care and a good Primer.  Welleda Skin Food is also great for super dry areas.



What new product are you using at the moment that we might not know about yet?

I have been fortunate enough to have been given a couple of samples of a new Dermalogica Primer called Hydrablur which will be available in the UK in February next year.  With similar products, I have found that generally they can tend to make skin look a little dull, flat and lifeless, but Dermalogica Hydrablur hydrates and brightens the skin, as well as blurring fine lines and pores, leaving a wonderful base on which to apply foundation. I love it!

 If you could only take one brush on a shoot what would you take?

Gosh that is such a tough question!  Can I pick 2, as one technically isn’t a brush!  A Beauty Blender and MAC 187 Duo Fibre Brush.

Does the make up you apply differ for varying light set ups on shoots?

TV lights are a lot stronger than editorial, so you have to step up the makeup as the lighting can make it look washed out.  Hence the reason why ‘tv makeup’ can look so beautiful and flawless on screen but in ‘real life’ it will look strong and heavy.  But with HD cameras we have to be even more careful and make sure that the makeup still looks fresh and not cakey.

Which model would you like to work with, who was your favourite to work with so far?

I don’t usually do ‘fashion’ just beauty looks, but I guess my favourite Music clients are Ne-Yo and Plan B.




What’s next for you?  

I am always busy thankfully!  I am currently working on X Factor again as part of Julia Carta’s team, which is always very busy but so much fun and I absolutely love it!  I also have lots of editorials, events and junkets etc in the diary between now and Christmas.

What are your thoughts on being part of One Mega Collective?

It is such a unique idea.  It’s essentially a platform for creative freelancers to showcase our work and allow companies to book us directly. It’s not an Agency, it’s almost like a one-stop shop and the app is so user-friendly.


Interview with photographer Anders Brogaard

We caught up with our good friend Anders Brogaard on location in Spain and learned what it takes to shoot for some of the biggest fashion brands in the industry…

Anders Brogaard

You have worked with some of the biggest names in fashion but how did you first get started and how did you get to the level you’re at now?

In Denmark the photographer education takes 4.5 years and you are on an apprentice contract and then attending media college 2-5 weeks a year. It then ends up in a 8 week exam period and its a rather intensive education, but it makes you able to freelance to a high standard when you finish. I started at a big studio where it was 99% still life and that almost killed me, i was always heading for fashion and working with people. When i look back at what took me from being newly educated to starting my own studio with 2-5 photographers working for me, to being the sole photographer working in fashion, its without a doubt the relocation to London that made the biggest difference. Hard work and always aiming higher is a key factor. And management of your own talent and especially the people you rely on.

What was the hardest aspect of photography to master for you?

It was to turn my visions in to words, for the team to follow. The technical part came much easier, its hard to put visual feelings in to words.

Do you remember your first ever shoot? How was that experience?

My first ever Polaroid was a night shot of a church…magical moment to see the Polaroid. My first model shot was of a local model and all i did was pull the trigger and be extremely nervous. Unfortunately i don’t have the shots anymore.

What made you choose to work specifically in fashion?

For me its the commercial part of photography that is most artistic and its very much about team work. Thats what I really love. The vibe on set and the sweaty situations when everything goes wrong at once and you keep it cool on the outside, but you’re  a wreck inside.

What was your first camera and what set up do you use now? What’s the one piece of equipment that makes your life as a photographer easier?

I actually never really owned a proper camera till late in to my photography. I was very quick to go right to education and the pro end of it. So honestly..i can’t recall which one it was, but i did use my dad’s Kodak Retinette a lot and it has a beautiful lens. Now I use PhaseOne and Nikon, depending what i shoot. And the one piece of equipment would be the big production truck with built in living room and everything you can wish for. Other than that its my producer, assistants and retoucher that makes my life better.

How key is an understanding of lighting both in studio and on location?

It depends on your style I guess. But for me its very important. You can’t create without understanding your tools and light being the most essential one.

Anders Brogaard

What is your favourite location you have shot at? Where was the most challenging?

After so many many trips, i still absolutely love shooting in Ibiza. Its so easy to get around and the production there runs really well. I remember shooting on Times Square in New York and by Brooklyn bridge many years ago. That was one of the big WOW moments, where i found out how much fun it can be and how challenging it is to shoot on location. The most challenging is a returning scenario and it usually includes a load of people, a lot of gear and a big city. You might remember the shoot we did where One Mega Management produced and we shot on Westminister Bridge with a big crew and light set up..thats a challenge for sure.

What has been the best shoot you have worked on so far?

That is a hard question. I usually leave a shoot feeling either ecstatic or depressed. One that does stand out was in Peru shooting Vogue, as they flew my fiancé Camilla out with me to be my personal production assistant. Amazing trip and great shoot.

Who is your favourite model to shoot and who would you love to work with? If you could have worked with any model through the ages, who would that of been and why?

Olga Kurylenko was an amazing woman to work with, such energy and so easy to shoot as she completely understood the brief and looked amazing. Being Danish, I always had a soft spot for Helena Christensen, so i would still like to work with her. We did meet, but never with a camera. Natasha Poly is also one of my favorites..and Anja Rubik..Edita, Constance, Candice.. I shot Isabelli Fontana, Karolina Kurkova and Freja Beha, all amazing girls and with the energy that shows why they are on the level they’re on


Do you prefer to work with your own team of hair and make up artists or are you happy to work with different creatives? How important is this relationship?

Im really happy when i meet new people and I’m not afraid of trying new people, but not new as in inexperienced, I only shoot with established talent. It all depends on the job and what the client wants or how the brief/moodboard is. Sometimes its not good to take a chance and you play it safe.

What are your feelings on retouching and the part it plays in modern photography?

If you know how you want your images to look before the retouscher starts, great. If retouch is something that makes the image interesting and it can’t stand alone without it, i don’t really like it. I see a big difference in young photographers, compared to just 10 years ago. They know very little about light and composition and rely too much on post production to create an interesting image.

Photography equipment can be very expensive, what equipment would you recommend to beginners to fashion photography? What would your advice be to aspiring photographers looking to get started? 

Don’t over invest, you have to look at investments as any other business does, gear has to be able to earn you money and not just look good. If you have a 5D or a D800 dslr you are ok to shoot a lot of jobs and with 3-4 lamps and a few scrims/reflectors, you probably have more than enough to make your hair go grey for a year or two. I would start out with daylight both indoor and outdoor, shooting with reflectors and without, try experimenting with black and white cardboard as light sculpting equipment. I still shoot a lot of stuff very simple if I can.

Give us an insiders top tip to getting the perfect shot?

Throw away everything and use just one light on a perfect model.

Whose work do you admire and who inspired you when you were starting out?

I honestly didn’t know any big photographers when i started, Where i grew up from we didn’t hear about fashion photography at all. It was much later i started looking at the international guys. The only one i really always liked is Peter Lindbergh and he was actually sitting next to our location on my last shoot in Ibiza. Rather funny as he also shot for the same client previously.

What are your thoughts on being part of One Mega Collective?

To get access to such an wide variety of creatives is amazing and I’m more than happy to be one of them. I hope we can inspire the future generation and not to mention inspire clients to book us.

Photographer quick fire Questions:

Canon or Nikon?

Nikon..just because i wanted to try it. I prefer PhaseOne or Hasselblad.

Studio or location?

Location..and make it a sunny one or Scotland.

Colour or black and white?

black and take the color out and you step in to a world that is different to what we normally see.

Film or digital?

film..but 99% is shot on digital.

Kate moss or Cindy Crawford?

Kate..she is much more fashion.

Sunset or sunrise?

Sunrise ??? im not up that early.

Vogue or Tatler?

Vogue..never shot Tatler.

Lingerie or swimwear?

BOTH..!!! Beautiful bodies is so amazing to shoot.


High end retouching with Pratik Naik

High end retouching with Pratik Naik:

We talk to Pratik Naik who gives us an exclusive insight into the world of high end retouching…

pratik naik

What got you started in retouching, did you teach yourself or have any specialist training?

All through my life, I’ve always been fascinated in drawing and art in general. Through high school, I developed an interest of Photoshop. It felt like an evolution of drawing. Jumping into it, I learned the program and started doing photo manipulations and graphic design on the side. In college, I picked up a camera for the sake of shooting fashion and beauty. I stumbled upon this illusive ‘retouching’ industry that many didn’t know much about right after. Naturally, I felt bound to it and learned about it in as much detail as possible. The more I learned, the more I wanted to be a part of it with my Photoshop background behind me. I jumped right in and never left! I mostly taught myself the foundation of Photoshop, but after I got into retouching, I kept my eyes open to any techniques I found online or education about a retouching workflow and began incorporating it into my work.

How long have you been retouching and what would have been a great piece of advice for you when you were just starting out?

Now I’m just dating myself! I would say about 6 to 7 years on the retouching side, and 15 years on Photoshop as a whole. I wish I knew how the best marketing is basically word of mouth. It’s now how polished your website is necessarily, but how good your name is. If you don’t meet deadlines, respond promptly, and do good work, it becomes very difficult. The most successful colleagues all believe the same, that word of mouth is key to a sustainable business.

What are some of the highlights of your career so far? Favourite client?

Being with One Mega Management was definitely a highlight! It justified a lot of hard work that I had put into my career in knowing that such an entity was interested in representing me. It gave me a bigger sense of confidence to secure more work. I won’t list names, but my favorite clients are the type that trust in my ability to deliver what they’re after and give me the leverage to do so. They make me feel like an artist again.

What software would what you recommend to aspiring retouchers getting started?

There are a couple of programs every retoucher needs to know, Photoshop and Capture One. It’s an industry standard and one you will find yourself using if you are to be a professional retoucher!

What are you favourite types of image to work on?

Commercial fashion is the best. The rates are usually the highest and it feels like working on a fashion editorial. We get to have fun and get paid the most! It’s almost like winning at life when things are that fun.

What is the most complicated aspect to the retouching process?

Developing your eye is the most complicated aspect! Just because you know the techniques, does not mean you will be able to do well. It takes years to really refine your eye and practice the only way forward.

Who is your favourite photographer/model whose images you have worked on? Anyone you would like to work with?

I love all of the clients that I work with. I really enjoy working with guys like Jeremy Cowart, Felix Kunze, and Joey L because aside from their obviously good work, they are such wonderful people to work with. They’re efficient in their communication, direct in what they want, and really appreciate and understand what we go through. The work is important and beautiful so it’s satisfying to work on as well.

What is the best piece of advice you could give to new retouchers trying to develop their careers and portfolios?

Be a retoucher if you truly enjoy it. Like anything else, you must really enjoy what you to do to really stick through it. It’s always fun to do when it’s a hobby, but as a profession it gets much harder due to the business elements and other pressures that come through. Never feel like you have nothing more to learn. The tools and techniques change often, so keep up to date with educating yourself constantly as well. Keep an open mind, as this is an open minded profession.

What’s the most challenging picture you have worked on? Any strange requests from a client?

The strangest requests I get come from clients who are not familiar with how Photoshop and retouching works. No, you can’t open up eyes in post and you can’t just “move the hair aside” to see the other eye behind it. This is why I think education is important on both ends. Retouchers should know photography to see what they go through and photographers should know retouching to see what’s possible and how hard it is.

Have you seen an increase in the importance of retouching in photography over the years from a little known art to a key element of the finished Image we see?

No kidding! It has really skyrocketed due to the transparency of the industry. It’s opened up and people are starting to see in. Also, cameras are resolving so much detail and it becomes so important now to have images retouched more than ever. You can’t behind filters and shortcuts anymore.

What do you say to comments that over retouching of images gives people a false impression of what is natural and real?

I tell them to stop wearing makeup or taking selfies in better quality of light, because that gives a fake example of what they look like and what is real. The reality is we’re all retouching, the moment we make ourselves look better in any way, it’s cheating. People apply contouring all the time to change the visual shape of their face, and that is retouching as well.

What’s next for you?

I would like to shoot more frequently and spend time doing personal projects. We get so wound up in our work that we forget to use photography to express ourselves like we used to. On the business side, I still have a few hidden plans that I am working on!

Do you have an insiders top tip for how to be successful as a retoucher?

Networking is brilliant. Producing great work alone isn’t enough to boost you into getting people to see it. You have to get out there and show the world what you’ve made and network with industry colleagues.

What are your thoughts about being part of the One Mega Collective?

I’m excited for the initiative because of what it means for the industry and for everyone involved. It acts like a bridge between so many wonderful creatives who are just looking for each other. It’s a catalyst in creating work like never before and I am so proud to be a part of it!