A Qualified Opinion

Final grades certificate in photo-journalism for Tim Gander. Issued by the National Council for the Training of Journalists.

Not bad grades, and I did pretty well on a local evening paper.

This is a blast from the past – my certificate in photo-journalism, awarded by the National Council for the Training of Journalists in 1992. It was amongst a stash of old school reports hoarded by my mum.

I don’t want to sound like an old man reminiscing, but this dates from an era when photographers were trained to take pictures for news. This no longer happens, and sadly reporters with iPhones are a poor substitute.

The course at Stradbroke College in Sheffield was, for a few decades, the only formal route into news photography in this country. You either took the one-year pre-entry course (as I did), or you could get a traineeship on a paper who would then send you on block release to cover the course over a period of a couple of years (I’m a bit sketchy on this as it was a long time ago!)

Having completed my full year, this certificate graded me on my progress at that stage. I then had to find a job with a paper (in my case, The Portsmouth News) and be indentured for two years before taking final exams, submitting a final project and qualifying as a senior photographer. Of course I passed with a Distinction, as you would expect.

But why is it a problem that this structure no longer exists? People consume news very differently today, so this training malarkey is old-hat and obsolete. Plus taking photos is so much easier; who needs training?

The issue arises because since newspapers have devalued their product to the point where most local papers consist of nothing more than a mixture of phone snaps, Google Streetview screen grabs or images lifted from Twitter, photographers no longer play the role they once did, that of first witnesses and documenters of breaking stories. We simply don’t have that anymore, at least not in the traditional titles.

We were also trained to cover events, even incidents, with professionalism and with a good grasp of press ethics and the law. In fact understanding the law as it related to our work was often useful in situations where those in authority (*ahem* the police) would try to obstruct our work. Today, many reporters and certainly members of the public don’t have the knowledge required to be effective image gatherers.

The cutting back of photo departments, which really got going in the early 2000s, also disposed of an incredibly valuable asset. While reporters were already being increasingly tied to their desks, writing stories almost entirely over the phone and without leaving the office, photographers were the main point of contact between the readers and their paper.

This wasn’t always an entirely comfortable role for photographers, but it had a value which is now lost for good.

It’s good to see the emergence of community newspapers now, such as The Bristol Cable, which work on a different business model to traditional newspapers, however they still haven’t fully embraced the power of photography, largely relying instead on their staff journalists or, at a stretch, casual freelancers. This is a shame because a publication will struggle to find its look and voice if there is no consistent style to its visuals. It also means there’s still no consistent contact between readers and editorial staff.

Of course I understand the issue of cost vs benefit, and most of these new news initiatives just don’t have the budget for properly-trained photographers, so they’re stuck with this new paradigm. They can’t cover stories consistently and in depth, so they fall short of the engagement they need to grow. For as long as they can’t grow readerships, they can’t invest in photography.

So while this certificate might be a flimsy document harking back to a time when the news industry was very different, it’s also a reminder that an entire industry, underpinned by structured training, has suffered a pretty mortal blow. I would love to see a new ‘traditional media’ emerge where photographers have regular patches and disciplines to cover (eg news, sports and features), and as platforms such a Twitter seem to be losing ground, maybe the time will come when people return to trusted, curated, edited and regulated sources for news.

There is hope yet! And then perhaps I can present my certificate and get a job on an evening newspaper.

Three In One

The majority of my work is based around photographing people; professional headshots, people in business, in their office environment or at corporate events. However, every so often I’ll be called upon to make purely architectural images too.

It’s a side to my practice which I enjoy, so it’s a particular pleasure to get to work with property development company Bellhammer through their design agency Blast Design Limited.

Those with a good memory will recall that my relationship with Bellhammer’s Bristol city centre project (Assembly Buildings A, B and C) started during a headshot session for another client, when I took an opportunistic photo of Building C under construction. Since then I’ve returned to the site a few times to capture various stages of the project.

I was there again in June, with a brief to capture various aspects of Buildings B and C, but also to get an angle which included all three buildings in a single shot. That’s not as easy as it might sound, requiring some consideration of how the light falls on the buildings at various times of day, as well as trying to exclude other buildings or scrappy bits of cityscape.

However, give me a challenge and I’ll rise to it (within the bounds of feasibility of course).

What I came up with was two options. One based on a reference photo supplied by the client, the other an angle I found by walking the site until I located a spot which would work.

The more ‘standard’ angle is the stronger of the two images, but the one looking up at the buildings also has its strengths and uses. Giving a client a choice allows them to adapt images to whatever design and format they need, even if they don’t yet know what they need it for.

Some of the images are included in the micro-sites for the buildings, including this (see below) from Building C taken during a previous trip.

Architectural photography, done properly, won’t generate anything like the quantity of images that something like a headshot session or event coverage might. More time and consideration is required; finding the best angles, setting up a tripod, making sure verticals and horizontals are correct (unless you’re after that leaning look, of course) and often having to wait until a person or lorry or whatever has cleared the scene.

The challenges of architecture are very different to pretty much any other genre of photography, but if you have a project which needs photography, I’d be delighted to hear from you!

Email me, or call 07703 124412 for that initial creative chat.

Going for G-old

Have you been watching the Paris Olympics? Like most big events that I’d like to see (Wimbledon being the annual classic), I usually miss the whole shebang.

This year though, I’ve managed to carve out a little time to catch a bit of the cycling and swimming – the two areas of sport I’m most interested in.

In particular with the swimming, I’ve been trying to pick up some clues for improving my personal performance in the pool. Well, let’s say that’s a work in progress. Most of the athletes have a 40-year advantage on me. Plus they swim every day (for several hours) and spend hours in the gym when they’re not in the pool. I mean really, it’s cheating!

Of course their performances are also enhanced by things like, I dunno, raw talent. They’re coached in techniques to the nth degree, drilled until they want to cry and many have been swimming since early childhood.

Contrast this with my “swimming career”; I left school with only a basic breast stroke, and no real drive to improve even that. As for front crawl (for the Americans reading this, that’s freestyle), until a few months ago, I couldn’t even get off the side of the pool. I was, in short, a drowning windmill.

However since rediscovering the joy of swimming while on holiday last year, I’ve signed up to regular sessions at my local pool, where my breast stroke has blossomed, and I’ve taken lessons in front crawl. I can now just about manage 50m without feeling sick, which is a huge step up from where I was around three months ago.

So why am I wanging on about the Olympics and my swimming now? Well of course it’s so I can shamelessly showcase the fact that 16 years ago, I had the honour of photographing double gold medal swimmer Rebecca Adlington (Becky) when she came to the University of Bath in 2008 to help launch the Youth Olympics.

There is a little more to this tale (not much tho) than just wanting to share an archive photo.

Bearing in mind Becky had only just achieved this huge success in the Beijing Olympics that same year, the attention she received would have been a whole new experience and perhaps slightly disconcerting.

As we settled into one of the university’s lecture theatres for a press call, I was just checking my focus and exposure on Becky when she leaned in to the person sitting next to her and said, “I suppose I’ll have to get used to this,” meaning “being photographed”.

As she sat straight again, she looked directly down my camera lens, and I took the shot you see here.

The comment didn’t strike me as anything more than a very matter-of-fact observation of how her life would change; there was nothing hostile in her tone, and she posed patiently and with good humour for more pictures after the sit-down press conference.

Becky’s career beyond the pool has flourished. Clearly, she got “used to this” a long while ago. I doubt she remembers that moment or her comment back in 2008, but for some reason it always stuck with me. Perhaps because I care how someone feels in front of my camera, even if I’m just doing my job.

On that day, we were both there to do a job. I’m still a photographer, Becky is still in the media spotlight and seeing her presenting from Paris 2024 alongside Clare Balding and Mark Foster reminded me of this one moment.

In the meantime, I’m going to continue with my own swimming career, though I’m not expecting to slip into professional swimming any time soon. That ship might have sailed unless there’s a VERY senior league out there?