In April 2010 I wrote a blog article about the frustration caused by photographers who don’t do what I do getting their websites SEOd as if they did. Not only frustrating for me, but also for clients genuinely looking for a corporate, commercial or press photographer in the Bath, Bristol and Somerset areas (see what I did there?).
The majority of perps in the search-engine fraud were wedding photographers fishing for the extra calls, but if a client clicked to their site looking for examples of that type of work, they were often disappointed; galleries entitled Corporate Photography or Press Photography often containing nothing but… wedding images. Something of a waste of time, and I was frustrated by a lack of intelligence on Google’s part to seek out and demote these sites, making search results more relevant.
I’m happy to report that Google do appear to have been reading my blog, and now a search using the terms you would expect a potential client to use to find me sees my website listed top or at least on the first page. Especially pleasing when I’m competing against a glut of photographers in places like Bristol and ranking highly for Somerset.
A press picture for a corporate client, and definitely not a wedding photo
How have I achieved this? Well I stick to using simple, standard terms, and ensuring the images I upload for my clients are properly tagged, captioned, keyworded etc and plugging away at things like this blog.
In other words, my SEO efforts are honest. I don’t WANT to be found under wedding searches, or family portrait searches or plumbing and electrical searches. I want to be found for what I do, and it’s nice to be able to report that I’m getting new clients as a result. I’m not saying I do a perfect job, but I do my best and try to avoid keyword loading.
Hopefully those wedding photographers didn’t spend too much time or pay too much money to SEO ‘experts’ only to have their sites demoted by Google, and I do indeed hope they’re getting top listings for what they actually do.
Photography, like ventriloquism, has a slightly uneasy relationship with radio, but when I heard John Wilson was going to be interviewing Terry O’Neill (celebrity photographer), Don McCullin (war/conflict, now landscapes), Harry Benson (politics) and David Bailey (fashion) for Radio 4’s Front Row, I knew it was going to be a treat.
These four were chosen for their roles as a new wave of photographers who shot and helped shape the 1960s, although I found it slightly incongruous that they were being asked for their top tips on how more of us could get perfect “snaps.” And yet, this premise did illicit some interesting answers.
O’Neill, for example, apparently hates cameras, “I only have a little Leica and a Hasselblad,” he says. Is that ALL you have, Terry? I’ll dream on…
What was also interesting about O’Neill though is that he, like Don, never takes pictures at family events, and I have to sympathise there. Terry says it’s because when he takes a photo he wants the lighting and everything to be just right, and he’d hold everything up if he tried to take pictures at parties or on holiday.
Like Terry O’Neill, Don McCullin also rarely takes any kind of family photo. His wife complains that he never takes pictures of her. His reason (excuse?) is that since his cameras have been used to photograph conflict, his gear is somehow contaminated, and he just wants to shut it all away in its cupboard until he needs it again. Of course at 76 years of age Don isn’t shooting conflict any more, but look at his Somerset landscapes and you’ll see the work of a man who is clearly at conflict with himself. Of the four photographers interviewed, it would seem Don is the one most haunted by what he’s witnessed.
Harry Benson made his name, rather like Terry O’Neill, photographing the likes of The Beatles, but where Terry majored in celebrity portraiture, Harry developed his career in politics. Among his most famous photos being the assassination of Robert F. Kennedy in 1968, and he talks about the experience of getting the shots (if that’s not too cruel a juxtaposition) of the presidential candidate as he lay dying, or already dead, in the arms of his wife. Harry says, “I didn’t even bother going to the hospital. I knew it was over. Anyway I felt I’d done my work for the night.” That was an incredibly telling line.
If you were to ask people on the street to name a famous photographer, David Bailey’s name would probably crop up most often. Famous for his style of fashion photography, where he moved the whole genre away from the static studio to the street, his approach has always seemed less reverential, and in interviews where he compares his career to the likes of Don McCullin, you can sense the relief he didn’t go to conflict zones to make his name. Maybe this explains why in this interview he delves back into his school days to find conflict and discomfort. Doesn’t seem to have done him any harm…
In terms of ‘tricks from the professionals’, Bailey does impart useful knowledge. Something I’ve seen photographers fail to do, and I’ve failed to do once or twice myself, is engage with the person you’re photographing. Talk to them, find out what makes them tick. You’ll always get a better portrait that way.
From Terry O’Neill we learn to always fill the frame with what you want to say. That’s a lesson I learned from my first picture editor, who used to scream FILL THE F*****G FRAME! at me (only for my first two assignments, after which I learned).
I like Don’s advice, that if you’re likely to get killed taking a picture, you better make damn sure the exposure is correct. He would leap up, take an exposure reading, then set and frame the pictures before pressing the shutter button. All this under heavy fire.
Harry’s advice, to always stay at the centre of the story for as long as possible, is also good advice. Not to get distracted by peripheral things.
Finally, David Bailey’s advice, apart from remembering to talk to your subject, is to shoot against a plain backdrop and shoot black and white. As he says, “With colour you look at the colour before you look at the message. With black and white you go straight to the message.” Of course shooting black and white isn’t a luxury we have for every assignment, but that quote is a useful one for making the distinction between colour and monochrome photography.
Don McCullin in typically down-beat mood during a presentation at the National Museum of Photography, Film and Television, circa 1991
Hear the full interview here, I highly recommend it.