Tim Gander’s photography blog.

Video Progress

Actually I made this film several weeks ago now, but I’ve had so much else on that I haven’t had a chance to talk about it until now.

Frome-based IT solutions company Netitude, in particular MD Adam Harling, were very generous in giving me time to come in and make a short film about their experience through (the first) lockdown.

The result (which you can see here) is a huge step up from where I was when I first tried the video function of my DSLR. I’m far more confident now that I can make and edit short interview films and I’ve done more video since which I hope to share in due course.

What I’m aiming to offer clients is affordable access to simple video production, but at a quality they cannot achieve by sticking an iPhone on a stand. I also believe my photographer’s experience and skills bring an added level of style and quality to the work.

For the time being I’m pegging my video rates to my stills rates, with post-production being the only additional cost. This makes professional video far more accessible to a much wider range of clients.

If you have a video project in mind, drop me a line and we can discuss it in more depth.

Are We On The Same Page?

I’m sure there is a thesis being written by somebody somewhere examining the changes in the use of (and attitudes to) photography since the launch of Web 2.0. Setting aside technological changes for a moment, the proliferation of photography and the way it is presented, received and perceived has changed beyond all recognition. But should that be so?

PICTURES ON A PAGE

What’s brought me to write this is reading Harold Evans’ bible of news photography “Pictures on a Page”, first published in 1978. For whatever reason, I had never read it before. I wish I had as it’s the undisputed last word on how editorial images are shot, presented, the ethics and so on.

Thankfully I learned most of its lessons through training, observing and doing, but this book cements what I know while adding some delicious new ideas I’d not considered so closely before. But though it’s a book from a very different era, does that make it irrelevant? I think not. In fact I believe its main tenets are more important than ever, and not only in the realm of editorial.

While Evans’ book talks about story, cropping, emphasis and so on, I would say that the vast majority of images taken today are not composed with such factors in mind. Even if we take pictures for a story, few photographers have any clue who will end up using their photos or the design into which they will be placed. Largely gone are the days when a photographer knew which publication they were shooting for, let alone which page or position.

Is it the web’s fault?

Back when I shot regularly for newspapers, I often knew how the pictures were to be used and could ensure I gave the images the emphasis needed to work on a left or right-hand page. I also knew when to give an image a direct, or neutral emphasis, but today’s photographer is effectively shooting blind when it comes to design; they have to make their images work in all contexts, which can be the enemy of good image design.

This isn’t true in absolutely every case, but it must account for the majority of work shot today and it’s leading to a morass of images lacking any emphasis at all. The effect is compounded by the need to shoot predominantly in landscape orientation to suit the restrictions of web page designs, leading to another level of homogenisation.

Even in the work I do now for my corporate clients, I occasionally wish there was a little more scope for using emphasis and picture design as a creative tool. Websites shackled to a template leave little room for intelligent design, especially given that responsiveness rules over all other considerations. Again, you can only shoot for that by keeping any daring design ideas to a minimum, which can render them lifeless.

Pictures are more than just content and colour.

Pictures on a Page includes wonderful insights into how we “read” images, but even that perception has changed with the proliferation of photographic images which pour over us like a monumental waterfall on a daily basis.

If the book is taken solely as a series of essays on how news pictures are taken, edited and presented in newspapers, and their effect on our perception of the world, perhaps it could be seen as old-fashioned now, but I think that would be missing the point.

The best pictures, regardless of where they are published, will still have an impact beyond just colour and content. They will take us on a visual journey within their own frame and guide us to a point either within, or more interestingly perhaps, outside the image area itself. We risk losing that in a flat web world, so perhaps books such as Pictures on a Page will become more important than ever. Perhaps that theoretical thesis will reach the same conclusion.

A Hand Up for Startups

Necessity is the mother of invention, so they say, and a lot of people are going to be doing a lot of inventing in the coming months and years.

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Brainstorming a new venture?

People who have been made redundant and those who have just had enough of the daily office grind will be setting up new ventures, which in the teeth of the fiercest of recessions is a brave thing indeed.

Which is why I’ve launched a new service to help anyone considering such a move. Called Startup Exclusive, this is a photography package designed to give new ventures the vital images they need for their websites, marketing materials and social media channels.

From headshots to product shots, or pictures illustrating the services they offer, new business startups will have the basic images they need to get going and at a price that shouldn’t sink them at launch.

At the very least I’ve always prided myself on publishing a fee structure which allows clients to get an idea of what to expect before they’ve even called me, and with Startup Exclusive added to my fees guide, they’ll be able to work the cost of bespoke photography into their business plan long before they’ve committed to booking me.

So if you, or anyone you know, is considering a new venture, point them to my website so they can at least get a sense of what’s available and what the likely fees will be. You never know, I could end up documenting the birth of something really big.

On Reflection

Glasses. Don’t you love ’em? They’re never where you need them. You spend ages hunting for them only to discover they’re already on top of your head. Yet even though contact lens technology has leapt forward, they don’t work for everyone and so we still need our specs a lot of the time.

I didn’t need to wear glasses at all until I hit 45, then BAM! my near vision went. I couldn’t work out why I was struggling to see the images on the back of my camera. I thought I needed a longer neck strap, then longer arms. Then I realised, I needed an eye test.

Now I can work fine with glasses. Ok, it’s a bit of a pain, but on the whole I’ve got used to them. The bigger issue tends to be when a portrait sitter wears glasses; how do we avoid reflections from the lenses? Well here are some helpful tips if you’re a glasses wearer.

To wear, or not to wear? Is it even a question?

The first question (so yes, it is a question) is whether you should wear glasses at all when having your portrait taken. My answer is always, if you’re known for wearing glasses, if you wear them the majority of the time, then wear them for the shoot.

Someone who habitually wears glasses can look uncomfortable without them. I’m always happy to do with-and-without, but vanity shouldn’t be the deciding factor (that’s for you to decide) and neither should the risk of reflections (a technical issue for me to work through).

What can be done to avoid reflections?

Mainly it’s a lighting issue. Uncontrolled daylight can make it impossible to avoid some reflection in the glasses, but for portraits I almost always use portable studio flash as my sole lighting source. This gives me more control over the final look, as well as over reflections.

Then I choose lighting modifiers which minimise the risk of reflections. The position of my lights is also a major factor, but there are also things you, as the glasses-wearing sitter, can do to help.

Probably the most important factor is the quality of your glasses. Spectacles with good quality coated lenses are best. You may remember gasping at the cost when your optician quoted for non-reflective coatings, but they are designed to transmit as much light as possible to your eyes which means you can see things more clearly. Happily they also mean less light bounces off the surface of the lenses and *hey presto* less reflection back to the camera.

Now the most expensive coatings in the world are useless if your lenses are double-coated in fingerprints, chip grease and cat hair, so make sure they’re scrupulously clean right to the edges. Once cleaned, you’ll probably see a lot better too! Use a good quality cloth and cleaner fluid if they’re really manky, but go gently – you don’t want to damage them. Your optician should be able to advise on the best cleaning methods.

Anything else?

Yes, head position will also be a factor in the same way the position of the lights will help exclude reflections. This is something I guide people on once they’re in front of me, so there isn’t any general advice I can offer beyond “listen to the photographer and do as they ask”. I’m happy to boss you about (gently of course) if it means a great end result.

The only other thing which can be an issue for glasses wearers is when the frame cuts across the eyes. This is normally avoided by ensuring your spectacles are properly seated on your nose, not slipping forward. This is less a reflection issue, but it can help with the positioning of your face in relation to the lights, so it’s also important.

But that’s it really; the right lighting, decent quality lenses, keeping them clean and head/face position. It’s a bit of a team effort, but on reflection, I think it’s worth it.

The Beat Goes On

While the news seems unrelentingly gloomy at the moment, I’m pleased to say I’ve had some positives to focus on.

I’ve had bits of work in the last couple of weeks and enquiries have also increased. People are looking to promote their businesses once again!

This doesn’t mean a flood of work is about to engulf me, but it’s encouraging to know I still have clients. I also have some great supporters helping me via my ko-fi account*. They’re keeping me funded for the non-client projects I’m engaged in. *HINT: You can do the same from as little as £3.00 one-off payment!

What is especially encouraging is that in an atmosphere of debate about what counts as a viable job, my job – the job I love, which has been put under this particular spotlight for many years now, continues to be considered viable; invaluable, even.

There are many out there who believe professional photography is dead and that every photo ever needed has been taken already. And if it doesn’t already exist, well there’s always that professional photographer in your pocket. They are, of course, quite wrong.

We know automation and technology cannot replace certain needs. Technology still can’t make a decent loaf of bread, so we can’t expect it to make pictures with the right tone and impact. This only comes about through human interaction.

Try to imagine a world without human interaction, how much fun would that be? How creative? We’re experiencing a taste of it now, so we know the answer already.

So while there will be some very difficult times ahead, I’m going to stay focussed and positive. No one is telling me I’m not viable.

A Paradigm Shift in Portraits

At the risk of stating the obvious, the C word is creating difficulties for all kinds of businesses, but what’s been making the news agenda this week is the problems caused by the new home-working paradigm.

For all the benefits to office workers who no longer have a daily commute, the businesses relying on the office economy, from landlords to sandwich vendors, are in trouble.

Even with some hope of an end to the mass contagion of a couple of months ago, it’s not as if there are many signs that businesses and their staff are clamouring to return to the old ways of working.

So if you’ll indulge me to be somewhat selfish for a moment, this has a knock-on effect for my trade too.

When deciding to update a website with fresh office photography, most of my clients will choose a date when the majority of their staff are in. Not only does this mean I can get shots of a busy office, but I’ll also get fresh head shots of as many people as possible in a single visit.

That is no longer (necessarily) possible. If businesses are only inviting small teams in at any given time, there might never be an opportunity to photograph enough people to make a session viable, unless some new thinking is employed. That’s what I’d like to set out here.

Consider The New Normal.

Low-key portrait of a young female architectural assistant wearing glasses, looking directly into camera, not smile.

Simplicity is powerful.

Things have to change, at least for the foreseeable future, possibly forever. This means I have to work smarter and differently, and clients have to understand the new constraints in the round.

Traditionally, if a client required a series of headshots against white (grey, or black, but usually white), I would hoof several bags of kit plus an unwieldy backdrop into the office. This might involve multiple trips to/from the car, or a client would help carry my kit in.

This isn’t ideal when you have multiple doors, lifts and other obstacles to tackle and heightens the risk of cross-contamination.

So perhaps a change of approach is needed: I can work more nimbly if all I need is basic kit and no backdrop. Perhaps the age of the headshot against white is over. It will enforce a wider change in look and feel to the portraits too, but is that necessarily a bad thing?

If done with skill and care, a new style can look just as professional.

A New Honesty About Costs.

Ouch, but wait: A photographer can make multiple trips to an office in order to capture all the colleagues in smaller sessions, but inevitably this increases cost. Well perhaps this just requires an adjustment in perception. Photography has been cheap as chips for many years now, so perhaps it’s time to re-evaluate budgets and accept it may never be as cheap again.

Alternatively, to keep costs down, be more selective about who ends up on the About Us page. Ask the question, “Who needs to be visible?” Occasionally I’ve felt as if I’m photographing people just so they don’t feel left out or under-valued. Sometimes I’ve felt this was more a concern of the client than it was of the person standing in front of me who I’m working to relax out of an expression of “I hate having my picture taken, so why am I included in this?” Think about who really needs to appear in corporate communications.

Combining the new normal with an acceptance of higher cost (or being more selective), it’s worth considering that if people are going to work from home more, perhaps that’s where their portraits need to be taken.

Does your corporate imagery have to pretend people are working in an office building when they’re not? It’s also possible, through either photographic or post-production techniques, to diminish the domestic influence in the photograph and create a consistent look across all the portraits even where multiple locations are involved.

I can even bring a backdrop into the home if needed. It’s often easier than getting it into an office building.

Again this has cost implications, but are they insurmountable? By being selective and canny, I think costs can be kept reasonable.

The Bottom Line

The “bottom line” isn’t the bottom line. It’s worth remembering that powerful, engaging photography for your business isn’t about Value for Money, it’s about quality and aesthetics. As un-measurable as that might seem, that is what will help sell your services.

All of this starts with creative conversations, so talk to me. Let me know what you’re trying to achieve and I’ll help you achieve it in the best way possible.

Bits ‘n’ pieces.

Yes it’s still quiet on the whole, but business is definitely happening.

My Salisbury Plain project has been keeping me busy, and now with film stock secured for the next several months thanks to the generosity of those who support my work, I’ll be able to carry that on for quite some time to come.

In the meantime, I’ve continued updating and tweaking my website with new Testimonials and portraits being the main focus.

On top of all this, work has been coming in. Not thick and fast just yet, but there are promising signs of new clients contacting me as well as old ones getting back in touch.

I’m actually really looking forward to encouraging clients to be more adventurous in the style of business shots I take for them. I have the kit, the skills and the imagination. Now all I need is the right client and the right opportunity.

So if you’re a business looking to get your marketing back up to speed, drop me a line and let’s get the ball rolling.

Print Competition Update!

Okay, so I know I don’t normally spam you with posts, but things just got a little lively.

You might remember I turned my ko-fi fundraising goal into a competition to win an A4 fine art print. Well doing that really put a rocket up the fundraising exercise!

My aim had been to raise a modest £100.00 towards film for my Salisbury Plain project, but the campaign has now reached £225.00! I’ve taken the decision to keep the campaign going until midnight BST on August 7th as originally planned, but to add an extra print prize to the draw for each additional £100.00 raised.

This, I think, keeps it fair on those who originally donated at the start, and offers fresh incentive to anyone still thinking of making a donation.

Remember, you can enter the draw for as little as £3.00 and I only want people to donate if they can afford it. If you want to support my work, but can’t afford to help with a donation, you can share the ko-fi/takeagander link and help that way too. I’m deeply grateful for the moral as well as the financial support.

The winners will be able to pick any image they like on takeagander.co.uk with the exception of Guest Artist gallery.

So, once more, here’s the link if you’d like to donate and be in with a chance to win a print: ko-fi/takeagander

Thank you so very much!

Tim

Not legally a competition, but still a chance to win!

Happy Friday! And a really quick post this week.

Following on from my previous post, I’ve decided to make donating a little more interesting.

If I can hit (or exceed!) the £100.00 goal on my ko-fi account by midnight on August 7th, I will select a random donor to receive a FREE A4 fine art print of their choice from any of my personal projects.

So head over to ko-fi/takeagander, drop a donation, however small, and on August 8th, see if you’re the lucky winner. I’ll be in touch to liaise on which image you would like.

Remember, the cheapest A4 fine art print available is £60.00, with many priced at £90.00, so donate what you like and you could bag an absolute bargain! You can see all the projects at takeagander.co.uk.

That’s all folks, now go and enjoy your weekend.

Tim

Get me a coffee!

Last week I spoke about the tentative shoots of recovery as I was starting to receive enquiries and bookings again, but I did temper this with a word of caution that times would be tricky for a while yet.

What this means for many, including myself, is a constant process of working out what’s next and how we can keep going. For my part I’ve already made quite a few adjustments and will have to continue to find new ways of working and earning until the economy recovers, whenever that might be.

Lowering Costs

One fortuitous decision I took at the tail end of last year was to quit the office I’d been renting for the previous 8 years and convert an outhouse at home into a workspace, nicknamed The Bunker. Perhaps I had some incredible foresight into future events because it’s been one of the most beneficial decisions I’ve taken in a long time. Now I’m working rent-free, claiming additional work-from-home tax allowances and I have an editing space designed to my needs.

During lockdown it’s also meant I had an office which opens onto my garden, which has helped save my soul.

Diversifying

I’ve also finally ventured into video. Adding a new skill will make me more valuable to my existing and future clients. It’s also really interesting and creative in a way I hadn’t expected, and allows me to play with sound, which has always been a fascination of mine. I’ve already had enquiries about that, so I’m hopeful it will prove beneficial to my clients.

Rattling the Tin

On the flip side of my client work are my personal projects, which are so vital to my practice. These have obviously suffered through lockdown, but I’m starting them up again as best I can.

There is a challenge here though; personal projects have always been partially funded through client work, which is, as I say, tentative.

Tentative also describes the level of print sales through takeagander.co.uk. These were always a longer-term goal as it’s tough to build them up, so currently they’re not supporting the personal work either.

So I’ve set up a ko-fi account (ko-fi.com/takeagander) where people can support me with small donations if they’re not ready to buy a print. The takeagander website is peppered with “Buy me a coffee” buttons which take you to the donation page. Even the smallest amount will help, so do please spread the word by sharing the link far and wide. And of course you can make a donation here too if you’d like to support my work.

Currently I have a modest £100.00 goal to raise money for film which is already 30% funded. Since it’s only been up a short while, that’s astounding! This will be used for my current project, an un-sentimental journey across Salisbury Plain.

More to Come

Other plans are afoot, but too early to reveal yet. So to get early notice of developments, keep watching this space, or sign up to my newsletter at takeagander.co.uk. You can also see projects unfolding at takeagander on Instagram.

Also, feel free to drop me a line, comment here, or send a carrier pigeon. Moral support really is just as welcome as the financial assistance.

It’s going to be a bumpy ride for all of us, so I’ll keep saying this; if there is some way I can help you and your business, drop me a line and let’s see if we can’t make the road ahead a little smoother.