These guys insisted on doing one of those multiple exposures, so I went along with it. The whole thing only took about half an hour, including the Photoshop work, thanks to a little pre-planning. The camera was on a tripod for the 4 separate shots. I made sure there was just enough overlap between the shots so that there was no obvious grouping that would ruin the illusion, but not so much that it would take too much time to complete the job. It's important to minimise the shadows and have relatively flat lighting with this sort of thing. It's really hard to paint in shadows, or eliminate them when they're not supposed to be there. I had somebody holding a Sunpak 383 Super triggered by an Elinchrom Skyport, standing directly in front of the guys for each shot, and just brushed her out later. Compositionally, the big area in the top right was intentionally left uncluttered for the typography.
Brendan O'Shea spent 20 years as a musician, spending most of his time in Canada, the USA and Japan working with some of the world's great musicians. When kids came along, it was suddenly time to grow up and get a "real" job. So it was off to Swinburne Uni followed by a career in design and photography. Music production still plays a major role in his professional and personal life. He also prefers to speak in the third person.