Fool On The Hill

In July this year I undertook a review of a tripod and part of the exercise required me to take photos of myself using it. I decided the best location for this would be Cley Hill near Frome (very close to Longleat) which would allow me to get dramatic skies in the background.

As anyone local knows, Cley Hill isn’t a huge mountain; it’s not even a huge hill, but it’s big enough and a very steep climb. Which is fine on an ordinary walk, but to get photos of myself using the tripod I had to take two cameras and an extra tripod so I could have a camera on the test tripod and one mounted and aimed at myself to get the self-portraits.

The plan was then to trigger the remote camera using my radio triggers. Which I forgot to take with me. This meant resorting to the self-timer function of the camera, which only gave me 10 seconds to get from the “taking” camera to the one on the test tripod. That’s not easy when you’re trying to line up a shot at the top of a very steep hill, the wind is blowing, and cows are starting to take a close interest in what you’re doing.

I wanted to use evening light to get the best drama from the sky, but what with having to get to the top of the hill and set up, time was ticking by and things weren’t helped by the fact that I had to keep changing my location due to one factor or another.

Once I’d finally found the spot that would work best I was able to get cracking, but 10 seconds isn’t that long when you have to dash up a last steep section to get to the location before the shutter clicked and as you can see from the photos below, I slightly mis-judged the timer…

Cley Hill cows on a path

Originally I’d wanted to use this hill crest, but the curious cows wouldn’t shift

View of Tim Gander's back as he fails to get into position before the camera fires

I didn’t quite get myself in place in time for this one

Photographer Tim Gander sits with his camera on a tripod on the side of a hill

Just made it, but if I look like I’m panting for breath, that’s because I am

Back view of Time Gander scrabbling into position for a photo on Cley Hill

The light worked better on this set up, but I missed the timer again!

silhouette of photographer Tim Gander atop Cley Hill in Somerset with his camera on a tripod.

Finally! I look like a heroic, adventurous travel photographer. Truth is, I can almost see my house from here

Image Security for Free

I’m kicking myself a little because I saw an interesting article a while ago about camera security, what measures can be taken to help prevent theft, some of the security options available to buy and all that kind of thing, but of course I neglected to bookmark the article and now it’s lost in the sea of pages trying to sell security kit or CCTV.

That said, I didn’t find the article all that useful for myself. Ultimately if a thief wants your kit they’ll have it off you. If you’re walking through an unfamiliar backstreet of Palermo and get mugged, having your camera attached to your neck with a non-cuttable strap isn’t going to prevent you from being forced to release the gear. It might deter the grab-and-run thief, but only if they know your strap can’t be cut.  Personally I’d fear having someone grab my camera and start to run off with me permanently attached to it. I’d rather let it go than end up being throttled by my own strap.

Other options for security might involve tags, either overt ones which attach to camera cases, or covert trackable stickers which attach to cameras. These might help in certain situations, though tags on bags are a bit pointless unless your kit stays with the bags once it’s stolen. I’m not sure how likely that is.

Besides the obvious holes in the logic of some of these solutions, I don’t spend much time walking around places where mugging is a high probability. I’m not saying it’s impossible, but the larger risk for me is theft from the boot of my car while I’m having lunch at a motorway service station, so my own security measures are targeted at preventing that.

Firstly, I keep all my kit locked out of sight in the boot with no clues in the rest of the car about what I might be carrying. This fulfils my responsibility under my camera insurance policy, though of course a theft would still leave me without essential kit until I could purchase replacements. But ultimately kit is replaceable. Perhaps the biggest problem for me if someone lifted my cameras from my car would be if I suffered the theft just after I’d just shot a job. The thief would unknowingly be lifting all the day’s work as well as the tools.

So my routine if I need a comfort break on the way back from a job is to ensure I’ve removed all memory cards before I set off and put them in a pocket. Ideally I do this before leaving the site of the job so that I’m not opening the boot of my car in a service area car park, risking some nefarious character a view of the contents. This way if I am burgled, I might suffer the trauma and inconvenience of lost equipment while my client doesn’t have to suffer the inconvenience of lost images too.

A stack of 3 Compact Flash cards, another one is in a card reader.

Keeping cards safe until I can transfer images is critical

I would say the most valuable asset any photographer has is the images he or she takes. Equipment can be replaced, if it isn’t rare (none of my gear is rare), but the photos normally can’t be. I take good precautions over my cameras and lenses while I’m out and about, but a simple security measure which costs nothing helps protect the images a client is paying for.

Flash of Inspiration

It’s not often you’ll see me writing about kit because the main intention of this blog is to give an inside peek at my work, air issues surrounding the photographic industry and waffle on a bit about things which interest me. One thing this blog isn’t obsessed with is kit because I’m not obsessed with it.

If I invest in equipment it has to be for a particular, business-related reason. I choose kit carefully and with a sensible head because there is so much lovely gear out there I could squander my cash on with no real benefit either to my clients or myself.

Once in a while though I review what I have, and kit does eventually wear out naturally so I need to see what might need replacing or updating. I have no problem with using old kit provided it works and isn’t letting me down on assignments. Sometimes investment is required for a particular project and that’s another time I look to see if buying the kit will have benefits beyond the single project, or whether I can rent the kit I need without committing to buy.

A few months ago I was commissioned to shoot a couple of hundred portraits at various locations, and while I have portable studio lighting it is quite heavy and unwieldy to transport. At the same time I knew my Canon flashes were coming to the end of their natural lives, being several years old and a few models older than the current ones. I took the plunge and decided it was time to invest in new flashguns and, due to changes in the technology, adjust the way I worked.

What I hadn’t appreciated is just how much the investment would help when dealing with often very awkward situations. Such as having to shoot business portraits in a tiny hotel lounge, crowded with furniture and with limited scope for backdrops. Or helping me create more interesting light when covering a business studies workshop event where I was moving about a lot, in poor ambient light and didn’t want to use direct flash.

One reacent situation in which the new flash kit impressed a great deal was where I was in a very dark lecture theatre at a business seminar with not a lot of space to set up any kind of lighting and had to shoot both the lectern speakers and the audience. I had a single flash on a stand at the back of the auditorium to light the speakers, but it was also enough to bounce light off the projector screen and illuminate the audience (albeit with higher ISO). Taking photos of the audience at a talk where the house lights are turned right down generally results in images which are either grainy, weird colour balance or are downright unusable. I’ve included one here so you can see what my new setup got, and this is just one of several images I was pleased with.

 

Business people laughing in a lecture theatre setting

The flash is behind the audience, but the projector screen made a great reflector to light the faces.

business students working on a project

Catching unposed images can be difficult, and straight-on flash kills the atmosphere. I liked the “random light” look of this with the flash off to the side.

Portrait of a business man.

Adding softboxes to a flashgun setup allows me to work in much tighter spaces than before.

 

 

Did you miss me?

I’m sorry if I’ve been a bit quiet of late, the truth is the last few weeks have been unbelievably busy. For one project I’ve driven 1,300 miles, visiting Bristol, Reading, London, Ipswich, Manchester and Edinburgh with my mobile studio kit to shoot corporate portraits for a new client. Over 160 people photographed within a week and a half and more than 6,800 images shot. These then had to be edited down and processed before delivery to the client within a couple of days. An absolutely mammoth tusk task, on top of which I already had work booked in for other clients upon my return.

Granted this project had some gruelling aspects to it, for example getting stuck on the M25 coming back from Ipswich on a Friday afternoon, in sweltering heat and the air conditioning in my car being kaput. I should probably get that fixed (which will guarantee we don’t have another warm day this year). Or the long drive from Edinburgh to home – broken by a brief visit to my brother in Co Durham, but all the same a long old haul.

Thumbnail portraits displayed in Lightroom's working window

Dealing with several thousand images is no small task

On the other hand, highlights include meeting and photographing about 160 really friendly people. Staying two nights in London in an amazing room at a photographer’s studio with lovely hosts and having some lovely meals when I got time to stop long enough to eat something other than fast food, in particular Hector’s in Stockbridge, Edinburgh where the food and the service were just brilliant. These factors become even more important to the lone traveler.

For a while, at least until the next big project comes along, I should be able to return to something more like my regular routine of corporate communications work, press release photography and business portraits. And you’ll have to get used to me being around again. Thank you for your patience!

A day in her life, a lifetime for me

Image

My first published photo (click to enlarge)

As far as I recall, this is the first photo I ever had published in a newspaper. Perhaps a little weird that I still have the cutting, but I have a few books of cuttings dating back… well, to this first one.

This particular shot was taken for a competition and book, though I don’t believe it made the final cut, which was obviously a shame. I do recall that I’d heard about the competition and didn’t have anything to enter, but I was obviously on the lookout for something.

Although the date is missing from the cutting, it would have been around 1987. At that time I was working at London Camera Exchange in Bath, right next to the abbey.

I was probably cleaning cameras and shelving when I spotted this girl going to the fountain for a drink and I must have reacted incredibly quickly because I know I pulled a camera from the display, loaded a film and a telephoto lens and took the photo through the shop window knowing that if I went outside to take it the moment would have passed.

Perhaps the failure to be included in the book scarred me for life because I’ve not entered many, if any, photographic competitions since, but seeing my photo in print gave me a thrill which set me on the path to becoming a professional photographer. I may not have won the competition, but I wonder now if I would have become a photographer if this frame hadn’t been printed. That being the case, I’m going to say I did win. I just didn’t know it at the time.

Chocolate zombies and shaving penguins’ bums

It’s always good to get a new client, but when that client happens to make chocolates you know life just got a little sweeter.

James Chocolates approached me a few weeks a go because being based in Somerset they wanted to find a more local photographer than their previous one (based in Essex) with whom they could build a relationship. I had a conversation with their marketing man Matt and took delivery of the first batch of these quirky chocolates to shoot.

Product photography isn’t my bread and butter, but having discussed my client’s requirements I knew I could help. I was pleased with the results from the first batch and more importantly, Matt and his designer were pleased too. Aware of what the designer needed to do with the photos once I’d delivered them I made sure I got feedback from the client and the designer to ensure I was presenting them with what they deeded and making the designer’s life as easy as possible.

With a few minor tweaks to the set-up I was presented with a larger second batch to tackle which included chocolate lollies for Halloween and Christmas treats. The results of the Halloween shoot are already in sales literature, and the Christmas one is underway.

Halloween chocolate lollies

Spooky Halloween chocolate lollies! Woooo!

One particularly tricky product to shoot was a selection bag which included a couple of large chocolate lollies. I wanted these to stand on their stick ends, against the bag and with a little bit of an angle. Chocolate may be sticky, but it’s obviously difficult to attach chocolate objects to other things, especially when trying to attach a top-heavy lolly to a paper bag. I ended up using duct tape on the back of one, and Velcro to hold the other in place against the bag. Hopefully you’ll see the result another time.

The Christmas shoot included mini crackers with chocolate penguins in, but I wanted to make some of the penguin figures stand up as if they were marching out of the crackers, which is where shaving their bums (ok, their feet, but bums is a funnier word!) came in. It occurred to me, while shaving their “bases” with a craft knife, what a curious job I have sometimes and how the obsession to make something look just right can leave me doing strange things.

Plane Portrait (ouch!)

One of the things I love about my work is meeting interesting people and finding myself in interesting places. A fine example of this was an unexpected assignment for Centreline Air Charter, based at Bristol Airport, where I was asked to take a portrait of Centreline’s CEO Phil Brockwell for European Business Air News, who were to run a front page story on the company. Centreline didn’t have a suitable image and called me up to help them.

EBAN might very well not be a publication you’re familiar with unless you happen to own an aircraft operation in Europe, Russia, the Middle East or Africa. You don’t? Fair enough. To be fair, I’d not heard of it until the call came, but I strongly believe that all publications, even trade ones, deserve decent photography.

Phil is one of the friendliest CEOs I’ve ever met and it’s not every day I’m asked “where would you like the jet?” I suggested the South of France, but Phil meant where on the runway apron. Maybe next time, eh?

One of the difficulties I had with this particular portrait was that the sun was especially harsh, in the wrong spot (it almost always is, ask any photographer), and we needed one of Centreline’s shiny white aircraft in the background too.

My choice was either to have Phil squinting into the sun, or silhouetted against the bright backdrop. I had one other trick up my sleeve; bright backdrop but with tricksy fill-in flash on Phil (or Phil-in flash if you will… ouch) so that both background and subject would look good.

Having had the jet moved to where the shot would work best, I set up Phil where he needed to be and set my flash and camera to mitigate the sun, took a few test shots, made adjustments, took some more test shots until I could see we were getting close, made further slight adjustments, then got on with the real deal.

I knew I couldn’t spend a ton of Phil’s time getting things right, but it was nice to be given enough time to set things up properly and also get a variety of shots so that Centreline’s public relations handler would have a choice of images to put over to the magazine.

Apart from having to come off the runway for a coffee break while another jet came into land, the whole shoot was done in under an hour. More than 10 minutes is a real luxury when shooting CEO portraits and I was grateful for the time, but I also think the results were worth it.

The same day I delivered the images to Centreline’s PR, captioned and ready for publication. Their (and my) preferred shot made it to the cover of EBAN as planned and you can see the result below and read more of Centreline’s story here. A good result I’d say and a very satisfying assignment. I certainly didn’t wing it (ouch, again).

European Business Air News front page featuring Phil Brockwell, CEO of Bristol Flying Centre

European Business Air News front page featuring Phil Brockwell, CEO of Centreline Air Charter

Growing Groups

Five years ago I covered an event for University of Bath which celebrated the granting of sponsored scholarships to students. Certificates were given and a group photo consisting of around 50 students was organised.

Group of University of Bath scholarship students in 2009

From 50…

Last month I covered the same event which has grown hugely since its inception. This time the group photo was of almost 150 students.

150 University of Bath scholars in 2013

…to 150 in five years (don’t count them, some hadn’t arrived by the time the photo was taken)

It’s sometimes interesting to look back on assignments which have repeated down the years and see how they’ve developed. This scheme grew very quickly, and I won’t bore you with every group shot I’ve taken, but the contrast between 2009 and 2013 is certainly pretty stark.

The first photo was taken using a stepladder, the latest using a mezzanine floor overlooking the foyer of the building where the presentations took place.

I don’t know if the event will grow even more, but maybe in a few years’ time I’ll need a crane lift and a fisheye lens if I want to get the entire scholarship contingent in the frame!

Portraits with Personality

One thing I’ve managed not to bang on about for a while is the importance of good quality portrait photos in business, by which I mean genuine photos, well-executed of the people within an organisation, at the very least the key people who need to be the face of the business.

I’m happy to say that fewer businesses and organisations are now using stock imagery as a way to project themselves. Of course it’s still a popular source of images for websites and brochures, but people understand more than ever the importance of including their own personalities in their marketing, but having taken the decision to commission some “real” photography, what other decisions follow from that?

The key decision is what style to go for. A portrait can be formal, informal, serious, light, it can be taken indoors, outdoors, subject looking to camera, subject looking off-camera. There are infinite angles and permutations and most clients want a selection of styles and moods so they have a library of images to call upon for different requirements.

The limiting factor to all this might be how many people need to be photographed within the time available, and how much time each sitter has before they must get back to their desk or their next meeting.

I often find myself allocated a room in which to set up my lights and perhaps a backdrop, but even this basic setup can allow for quite a variety. Outdoors shoots often take longer because the environment is less easily controlled and the location is usually some distance from the office.

It’s important to have a think about the mood and the style of the shots required and the context into which they’ll be published. I’m happy to discuss all this with clients looking for guidance, and of course I’ll talk to their designers too.

Perhaps the most important thing about having portraits done is to remember that these aren’t for the mantlepiece or the family album, they’re for communicating personality and values to clients, which is something stock images cannot do.

I’ve plucked a few random portraits from my archive to give some ideas of what’s possible. There are many more possibilities than I can ever show you.

Portrait of a University of Bath student

Using available light and a white wall

Business portrait taken in Bath

Outdoors, looking off-camera, using the available architecture

business photo taken in Bristol

Standard business portrait in colour taken using lights and a backdrop

Black and white business portrait of Jamie Borwick

Black and white, looking off-camera. This was staged to look un-staged

Homeless Portrait

The other week I was taking public relations pictures for a hotel in Bath. Their staff were volunteering to help at a local soup kitchen for the homeless, and they wanted shots of the volunteers and organisers preparing to hand out the food. I was told by a volunteer from the local church that was involved, I should avoid taking pictures of any homeless people as it might upset them. I’ll be honest, I felt a little patronized as I think by now I know what to do in delicate situations, but I got on with arranging the shots I needed. It was so dark, it would have been impossible to take pictures without flash so I was only ever going to take pre-arranged photos. The PR photos went well, and I used a small portable lighting system to try to make things look brighter and more inviting, and as I finished I turned around to find a man going by the name Squirrel sitting behind me. He was hoping to have his photo taken too, so I included him in some shots. Then his girlfriend, Hayley, came over. All she wanted was a nice photo of her and Squirrel together, and it was a pleasure to oblige. I did ask if they would mind me blogging the photo and they were fine about it, so here it is. Squirrel and Hayley, eating out together.

“Squirrel” and Hayley, Bath soup kitchen.