A Couple of Pointers

Many of my photographic jobs involve covering conferences, seminars and general get-togethers of science and industry leaders. The brief will usually involve fly-on-the-wall photography of delegates networking and exchanging ideas during the registration and coffee reception, followed by shots of the key speakers presenting their thoughts.

The spaces I’m working in can range from big lecture theatres with a capacity of 300+ to rooms barely large enough to hold 20 people, which can be a challenge when I’m trying to be discrete.

Lighting will also be mixed – it’s almost always terrible! I rarely get sufficient soft daylight to make the shots easy to edit, so I work with whatever is there. Then I go into battle at the edit stage to ensure skin tones don’t, at the very least, leave people looking ill. Sometimes I’ll use flash, but this can open a whole new can of worms and is often best avoided.

Regardless of the nature of the event, the size of the room or the lighting I’m working with, this work always boils down to ensuring I capture the speakers in a flattering and/or engaging way. One of the keys to this is the gestures people use as they speak.

My preference is to spend a minute observing the speaker to work out which area of the room they tend to address (there’s no point me taking a position to the speaker’s right when they only ever look left). I’ll try to work out if there is a pattern to when they look up and with their eyes open. And I’ll be watching to see if they make interesting hand gestures; again, I’ll look to position myself to capture this the best way possible.

Some people aren’t so easy to capture: They might only read from notes with their head down, or they might only look up with their eyes shut. If they move around a lot in a space that is dimly lit, keeping focus on them can be a challenge.

When it all comes together though, the speaker shots can work really well. They might never qualify as art, but since they’ve been taken to support on-going amplification of the event, they really should be as interesting and engaging as possible. Reaching and grabbing audience attention after the event is one of the hardest tasks for the communications manager, but it’s made all the more dispiriting if the photos are poor.

One other thing I try to ensure is that across the set there will be a variety of shots with emphasis to left and right of the frame, as well as some with design space should the client wish to drop text or a graphic into the image. It’s also important to have a mixture of upright and landscape formats for different publications and platforms.

So while this isn’t the most glamorous genre of photography, it’s interesting for me precisely because good results rely on some quick thinking and problem-solving. Sometimes an image will have an additional spark, which is usually down to the speaker’s gesticulation in the split second that I captured the image. That’s when I know all my calculations have paid off.

 

 

YouTubes and Rabbit Holes

A question often asked of professional photographers, myself included, is “what camera can you recommend?”

Spoiler alert, I don’t know every model of camera available (there are MANY) and I don’t know what your end use will be, but in the spirit of the YouTube generation I suggest you stick around to the end of this article and I’ll attempt to offer some pointers.

Going Down The Tube

Speaking of Youtube, it’s become apparent that if you watch video content about all the latest cameras and lenses, the gear (to many people) has become more important than photography itself.

How do I know this? Well because in my quest to update my work cameras, I fell down multiple rabbit holes and watched a lot of waffle about the specifications of this camera verses that camera and a lot of “STOP BEFORE YOU EVEN THINK TO BUY THE LATEST *insert camera make and model here*” -style nonsense.

Luckily for me I only needed to check a few models because I’m now a pretty committed user of Panasonic cameras. For anyone starting from scratch, the choice is bewildering.

Finding genuinely useful information isn’t as easy as you would hope it to be. Often the specifications of various models are reeled off at breakneck speed like they’re comparing the abilities of a range of F1 racing cars. Everything comes down to specs and speed, while very little ‘air time’ is given to the real-world performance or picture quality of any given make or model.

Useful info for me is to know how the image quality holds up under a variety of conditions, but if you do find sample photos taken with a specific camera, they’re usually pretty random and uninformative. There will be a flower, a rusty car, a sunset, a neon sign, some graffiti. There’s certainly never a properly-lit, well-composed portrait, for example, so comparing skin tones or fine hair detail is pretty tricky.

Of course I don’t expect a YouTuber to go out and photograph a set of corporate images for a client website just so I can see how the camera performs in the situations I’m normally covering. That would be unrealistic, but it’d be helpful to see more in the way of portraits and interiors. It would help to know how the autofocus performs in sub-optimal conditions (ie a portrait taken against a bright background). The problem is, YouTube photographers are only photographers on YouTube. Very few take pictures for a living and they have to cater for the single largest group, hobby photographers. And hobby photographers are usually more interested in speed and specifications than photography itself.

Achievement Unlocked

Regardless of these niggles, I have come through the ordeal and updated both of my camera bodies. To be honest, I could have eked out a few more years’ use from my existing gear, but it’s not a bad idea to sell it while it has some residual value and the new versions definitely added one or two really useful benefits for the work I do.

The primary benefit has been the upgrade in autofocus performance. My existing cameras weren’t as bad as YouTube reviewers would have you believe, but I always had to be aware of situations in which it might struggle. The new kit is certainly more reliable and accurate in that regard.

Another feature which I’m going to find very useful is rather niche; I can now back up images directly from my cameras onto a portable hard drive. This negates lugging a laptop around if I just want to keep files secure while I’m on the go. If there is one thing I’m a bit paranoid about it’s that camera cards can become corrupt, or physically broken, lost or stolen.

I’ve gone with two versions of the same model; one is high-resolution for when that’s useful (pictures to be used for large displays) and the other is standard resolution and a bit more nimble in terms of moving files around.

“What’s Your Recommendation, Tim?!”

Ok, those aren’t necessarily features you’ll be looking for when choosing a camera, so what should you be looking for? Like anything, that depends on many factors. Mainly that will be budget and usage.

My main advice would be to check out the used market. Secondhand camera prices are incredibly reasonable for what you can get. The same goes for lenses, and I often hunt out used options where possible. As long as a lens has been looked after, there’s no need to shell out for a new one.

Most cameras manufactured in the past 10 or more years will do everything you need and more, so think about size and weight as much as about budget. A camera that is too heavy to cary long distances will end up left at home.

Think Format First

In this regard, think about the camera format – full-frame cameras are larger and heavier than those of a smaller format such as APSC or Micro 4/3rds (sometimes labelled M4/3 or MFT). In fact I have a Panasonic MFT format camera which is great for traveling with and lots of MFT cameras and lenses are available new and used. Look for Panasonic and Olympus for this format.

For general purpose, family snaps or travel, maybe an APSC camera will suit you; Canon and Fuji tend to lead in this field. The cameras will be marginally larger than with MFT format gear, but pixel-level quality will be a small step up too.

If sports action or wildlife are your thing, be prepared to carry a beast of a kit bag around because you’ll need longer telephoto lenses and a camera body that can keep up with the pace. You might also need a camera that has a level of weather-sealing. Canon, Nikon and Sony all have excellent models to choose from, and some of the discontinued professional bodies are incredible bargains now.

Say Hello To Woundwort For Me

The bad news is that having homed in on a lens/camera combo that you think might suit you, you’re bound to end up researching it on YouTube, and only rabbit holes and despair live there. Just don’t forget to click Like and subscribe!

 

25 Years of Digital (almost)

A few days ago I ventured into our attic where I came across the storage cases for my early digital work; 340 CDs and DVDs dating from November 2000.

It didn’t immediately register that this means I’ve been shooting digitally for almost 25 years! I reckon I only shot film for about the first 10 years of my career, which is another sobering thought on multiple levels.

The Time Had Finally Come

But seeing those cases of CDs for the umpteenth *damn* time, I finally decided to bring them down and start transferring them to a hard drive. The discs won’t last forever, especially being alternately boiled and frozen in the attic. Eventually the hard drive too will die and my archive will be landfill.

Brief side-note; apart from properly (expensively) stored negatives, transparencies or prints, no photographic format is immune from decay over time. I’m convinced that no amount of care can preserve digital images indefinitely, and analogue formats will always be more robust. But that’s a separate discussion.

Old Tech to the Rescue

Anyway, back to the plot. I’ve rigged up an older MacBook Pro with the DVD reader/writer I used to use, and connected a spare external hard drive. It’ll be my archiving station until the project is done.

Your job now is to rejoice as I share some of those early digital images. Don’t worry, you won’t have to suffer this until the 50th anniversary, when I’ll be in my early 80s. I doubt my nurse will let me near a computer by then.

Enjoy!

Notes on the photos:

Millennium Dome press conference 30th December 2000 – P-Y Gerbeau was credited with rescuing the flailing Millennium Dome project and appeared for a press conference on the roof of the structure alongside Deputy PM John Prescott, who couldn’t have been more miserable if he’d tried.

Zoe and Fat Boy Slim 29th December 2000 – I’d been sent to assist a News of the World reporter tasked with finding celebrities and asking them general knowledge questions to see how bright they were. While the reporter got his s**t together having had a bit too much fun in his hotel room the night before, I toddled off and got a fun spread of pictures of Zoe Ball and Norman Cook (aka Fatboy Slim) walking on Brighton Pier. When the reporter finally turned up and asked Zoe and Mr Slim to answer some questions, he was told to eff off and that was that. My images made a double page spread in NotW and Heat Magazine.

Princess Margaret leaving King George VII Hospital 20th January 2001 – I was sent along by News of the World to catch a photo of Princess Margaret leaving hospital. I knew two other NotW staffers were already there, but I also knew they were using film cameras. By shooting digital, I was able to file from the scene and my shots made the paper just because they arrived at the desk first.

Martine McCutcheon book signing at Harrods 25th November 2000 – My first digital SLR, a Canon D30, was pretty dreadful in low-light conditions. The autofocus just couldn’t keep up, so my shots from this press call are soft to say the least. I include this image to air my shame.

Photo|Frome is Looming

After a fallow year in 2024, Photo|Frome is set to return with a bang in 2025. In fact, it’s nearly upon us and installation has started!

I should start by saying that due to a combination of personal and professional commitments, I have much less involvement in this year’s festival than in 2022 and 2023. For the planning of Outdoor Exhibitions in 2025, I’ve taken on a more limited advisory role to assist de-facto new head of outdoor Mark Somerville, who’s done a grand job from a standing start.

And so on Monday of this week I was back on a scissor lift, helping a great team of volunteers to install massive vinyl prints on the outside of Frome Library. In 2023 this consisted of a collaboration between myself and the photographers of T House, an Italian collective.

This year’s star of this most visible of locations shows a small selection of images from Joanne Coates’ project “The Lie of the Land” which looks at rural life through working class and low-income communities, encompassing issues of gender and heritage and human impact on the landscape.

I haven’t necessarily summed it up very well, so do explore Joanne’s work more thoroughly here.

The wider festival, which runs from 5th – 27 April, promises to be exciting as exciting as ever, with a breadth and depth of exhibitions which will have something for everyone (always an aim of Photo|Frome).

Just returning to the library show for a moment, it’s also worth mentioning that the vinyl posters from 2023’s show have been recycled into bespoke, each-one-unique, handmade tote bags which will be available for sale at this year’s festival. Or if you’re interested in owning one, drop me a line via tim@timgander.co.uk. They are very limited edition (I believe just over 60 were made before we ran out of material), so don’t hang about!

Finally, just to say that if you are planning on visiting Photo|Frome, drop me a line so we can meet up if time allows. Either way, enjoy your visit!

Thank you to Photo|Frome’s sponsors:

MPB is Photo|Frome’s Official Sponsor, the largest global platform to buy, sell and trade used photo and video gear.

Arts Council England Photo|Frome is supported using public funding by the National lottery through Arts Council England.

Frome Town Council is Photo|Frome’s Local partner.

A Long but Fascinating Day of Acronyms

If it seems like I’ve gone a bit quiet lately, it’ll be because I’ve been anything but quiet lately.

A prime example is last Wednesday, when the UK Government’s Chief Scientific Adviser (CSA) Professor Dame Angela McLean visited University of Bath to see how their research is achieving real-world impact across a range of sectors.

Beyond a handful of set-up group photos, my role was largely as a fly-on-the-wall (FOTW) photographer recording Professor McLean’s visit through the day – and boy, was it a long day!

It started at the Institute for Advanced Automotive Propulsion Systems (IAAPS) at Emersons Green, Bristol. In short, IAAPS is where engineers and designers can examine new forms of propulsion, or improve traditional ones (for example, improving fuel efficiency in internal combustion engines). There’s a lot of exciting work into hydrogen propulsion going on there, and Professor McLean got a good look behind the scenes at the state-of-the-art facility.

In fact, it resulted in one of my favourite images from the day, with Dame Angela clearly having a hoot on the driving simulator.

After a couple of hours at IAAPS, the visiting party moved to the University of Bath’s Claverton Down campus for a whistle-stop tour of a variety of laboratories and research demonstrations. Again, one of these resulted in another favourite image of the day, that of Dr Hannah Leese, a Reader in the Department of Chemical Engineering whose research covers nanostructured membranes and nanofluidic transport (you asked!).

As she shows Professor McLean a dish of microneedles, you can see the excitement and pride in her work.

There were further tours of incredibly impactful research, including that into the augmented human where Professor McLean was shown (amongst other things) the huge advancements in prosthetic limbs, such as hands which respond to users’ commands.

Also part of Dame Angela’s itinerary was a tour of the labs at the Institute for Digital Security and Behaviour (IDSB) and a round-table discussion on Climate Resilience and Adaptation. But as if that wasn’t enough, she went on to officially launch IDSB that evening at Bath’s Guildhall.

In IDSB’s own words, “The primary objective of the Institute for Digital Security and Behaviour at the University of Bath is to respond to the evolving security risks to – and from – digital technologies from a socio-technical perspective.”

For this segment I needed to get usable pictures of the various speakers, some group photos, plus the general flavour of the evening.

On reflection it was a pretty long day, but fascinating, and I could see that in spite of having travelled from London that morning (and the prospect of having to travel back that evening), Professor McLean had thoroughly enjoyed the experience.

My work didn’t quite end at The Guildhall as I needed to turn images around for various communications teams at IAAPS and the university so they could get their social media feeds updated first thing the following day. So the evening stretched on a bit, but it was good to get the image files securely backed-up anyway. The following day I completed the full edit and delivered the rest of the images for on-going corporate communications purposes.

So a long day for all involved, but while I could have passed the evening segment to another photographer, I wanted to see the job through from start to finish and bring continuity to the coverage. It also meant one less complication for the organisers!

So long 2024

It’s that time of year again when I kick of a blog post with the line “It’s that time of year again.” Maybe I should find a new intro! Maybe next year…

So here’s a bit of a whistle-stop photographic round-up of my last 12 months. These aren’t all Pulitzer winners, but there’s an image from each month about which I have something I can say. This’ll work best if you expand the first image, then use the ‘Next’ button to navigate through. Enjoy!

And finally of course, just to say a massive thank you to all my clients, collaborators and blog subscribers. I really appreciate your continued custom and support, and I wish you all the very best Christmas and New Year break. See you in 2025!

Tim

Tool or Toy?

As September draws to its conclusion, I’ve been surprised to realise it’s only been a couple of weeks since I got back from an all-too-brief holiday in Brittany.

Now I could bore you with my holiday snaps, but I’m only going to bore you with two. And they’re not even typical holiday snaps.

The real purpose of this post is to share some thoughts on a new addition to my kit bag, a Lumix GX9 camera (and two lenses). This isn’t so much a camera review, more a ‘why did I do that?’ sort of musing thing.

For My Pocket

For a long time (I’m talking years!) I’ve been in the market for a properly pocketable digital camera. Something I could chuck in my coat pocket, but with more versatility and better image quality than my iPhone – a Holy Grail for many photographers.

I looked at all kinds of options, from the eye-wateringly expensive Leica Q2/Q3, to the Ricoh GRIII, but nothing quite hit the spot. Then I started to notice the Panasonic Lumix GX-series of cameras. Again, not perfect, but as close to the right balance of versatility, quality and price as I was ever going to get.

Since I wanted a camera that could potentially find a use in client work as well as be a personal carry-around snapshot option (my Brittany holiday was starting to focus my decision-making too), Panasonic’s Lumix GX9 has the added benefit that it takes interchangeable lenses. I didn’t want the built-in zoom that many cameras in the pocket-friendly category have because I wanted the best quality I could get.

The only potential downside is that the GX9 is discontinued, and the GX-line seems to have reached the end of the… um… line. So a used camera was my only option. Even some of the lenses seem to be discontinued, such as the Panasonic 20mm f/1.7*, which is mounted on my camera in the photo.

That 20mm is, on this camera, equivalent to a 40mm lens on a regular SLR (I won’t explain the technicals here, just believe me). That’s my favourite focal length, so I was pleased to be able to pick up a genuine Ebay bargain.

For a second lens option, I bought a Lumix/Leica 15mm (30mm equivalent, see above) for wide angle shots. For this I bought new as the used prices weren’t all that attractive, and it is still available through retailers.

For Work

So how does this slot in with my work gear?

As a rule, I favour fixed lenses for my work – I just prefer the quality. However, even with two main camera bodies, this can leave me changing lenses rather more often than I’d like. So the GX9 with the wide lens on it gives me the option to do the general views at events without having to switch out the standard or long lenses mounted on my other two camera bodies.

There is compromise here though. The GX9 isn’t exactly a wizard of low-light photography, so I don’t use it where I need to crank up the ISO (sensor sensitivity) beyond 800. Things get awful noisy from 800 onwards, though the end-use of the pictures can mean low-light noise isn’t always a problem. The camera can also take an external flash, which can get me out of a fix in certain low-light situations.

The viewfinder is pretty dire too, but I knew that going in and actually I’ve got used to it. In most other respects, it’s a highly usable, capable camera – you just need to know how and when to use it.

For Fun

Beside the personal/holiday/family snap use, and to make the camera even more versatile, I also bought a lens adaptor which allows me to use some of my lovely Nikon lenses on this camera. Ok, so I lose a lot of the automation of the purpose-built lenses, but it’s another chance to play and experiment with other looks and styles. For example, I haven’t (yet) bought a longer lens for portraits for the GX9, but I have a Nikon-fit Voigtländer 40mm lens which becomes an 80mm lens on the GX9 – perfect for portraits! The adaptor adds value to the camera, as well as allowing me to use those lovely older lenses more often too.

For the Future?

I suppose my biggest fear is that one day this camera will die and I won’t be able to replace it easily. Modern digital cameras don’t always have the robustness of some film cameras. For last year’s trip to Brittany I took a very pocketable 35mm film camera. It was manufactured some time in the 1990s and yet it still functions. However, I can’t use that for work since no client wants to wait for film to be processed and scanned.

In an ideal world, Panasonic would bring out an updated version of this camera. Sensor technology keeps improving and this camera’s format (known as M43 or MFT, and pronounced ‘micro four thirds’) has a lot of advantages in terms of portability. If they’re thinking of doing this, they’re taking their sweet time about it.

For the time being this toy/tool will get use while it lives. If/when it dies, I’ll see if there’s a decent used replacement available, and keep going until I finally have to ditch the lenses. Maybe by then some perfect alternative will have emerged.

So keep an eye out for future posts featuring this dinky camera, in the meantime, here it is in all its cuteness alongside two of my favourite ‘holiday’ photos.

*Wherever the lens is listed new, it’s shown as Awaiting Stock. I suspect Panasonic ceased production some time ago.

Culture Crush

Since the dawn of mass-market photography, camera manufacturers have held out the promise that if you just buy their latest and greatest camera gear, you will be able to take the same pictures as a professional.

This narrative got ramped up with the birth of digital, which allowed you to see, review and (if necessary) retake a photo without having to wait for your film to be developed.

Camera adverts now routinely proclaim the ability to take your photography to “the next level” or capture incredible detail with greater ease than ever before; it turns out that the previous camera they launched with exactly the same claim was a pile of junk – get rid of it and buy this new one instead! 18 months later, they’ll have superseded the camera you never quite got to grips with, with something they claim takes your photography to the next level. And so it goes on.

Perhaps what is most disappointing is when camera manufacturers try to claim that if only you owned their latest model, you could do the work of a professional. It sends out the message that it’s the gear, not the human behind it, that creates work with purpose or impact. Which is odd, because I have cameras which I only use once every few months, yet all the time they sit on the shelf, they never produce a damn thing. I’ve checked and it hasn’t happened yet.

This sales tactic feeds a nascent belief that professional photographers are not really needed, which in turn makes us look over-priced. Clients then decide that perhaps they’ll have a go themselves (usually with risible results), or they try to hammer their budgets down to almost nothing, because why pay someone if it’s the camera that’s doing all the work?

Until now, these manufacturers have been relatively subtle in this messaging, but hats off to Apple and Adobe for taking this narrative to an entirely new level. In their adverts and promotional posts, they’re basically telling us that creative professionals are an obstacle to creativity.

Apple’s “crush the creative” ad for the iPad was eye-popping on multiple levels, but it’s earned a well-deserved backlash from the creative community. What Apple wants us (you) to believe is that all creative arts and creativity and humanity can be crushed into a 5.1mm thick slab of aluminium. Just think what YOU could do with this – no pesky creative individuals with their annoying invoices necessary.

Adobe, meanwhile, is exhorting people to “skip the photoshoot” as they (Adobe) push their generative AI image making tool to a wider market. So the photographers (designers, illustrators too) who have doggedly supported Adobe for the past 25 years or more are now thrown under the bus of so-called progress.

Perhaps what is even more galling here is that Adobe’s image-generation tool has been trained on the work of photographers who have paid to use Adobe’s products. This isn’t payback for a service we’ve used for free all these years, this is a kick in the nuts.

Ai is obviously not going away, but corporations need to be careful which direction they push it in. There’s a genuine risk that creatives will simply start creating less. The bottom line of the bottom line is that if creatives can find no reward for their work, they’ll stop creating the work. That’s when culture starts to whither at everyones’ expense, though mostly at the expense of those not rich enough to insulate themselves from this onslaught.

It’s easy (actually it’s lazy) to say “that’s progress, get with it or be left behind” except it isn’t progress. It is simply large corporations not having a clue how real creativity works, what it needs to thrive and above all, why real, tangible, physical, sometimes messy culture is so important to the wellbeing of individuals and society and yes, the economy.

By all means embrace the crushing and sidelining of creative endeavour, but don’t complain when life ends up feeling a bit shitter as a result.

How Much Should Photography Cost?

One question which ties up too much time, energy and headspace for most businesses is, “How much should we be paying for photography?”

In the modern business landscape, we have to extend that to videography too, of course. While this article focuses mainly on stills, read to the end for my thoughts on video as well.

The shortest answer I can give is that the corporate communications photography you commission shouldn’t cost you anything. “What?! Free photography?! Where can I get some of that!!” I hear you wail, but of course that notion is ridiculous. Free stuff, as we all know, is often worth exactly what we’ve paid for it.

What I mean is, the photography and videography you commission for your business should, either fairly immediately, or over time, generate more income for your business than it cost to get done. If your photography/videography isn’t winning new clients or gaining fresh business, then you need to look at why it’s not working before deciding you’re paying too much. It could be how you’re deploying the work, it could also be that you’re not paying enough to get the quality you need.

A useful exercise is to start from the other end of the process. Ask what it is you want to achieve with your images, then work backwards to find the solution. That is to say, the photographer you choose is more important than what they charge. Ask yourself if the photographer’s style fits your brand and whether their quality adds a perception of high value to that brand. What they charge should reflect the outcome you’re aiming for. It needs to reflect the quality of their work, the uses to which that work will be put (the Licence to Use) as well as the standard of service they offer.

Just to explain the Licence to Use a little more deeply, a set of photos destined for a one-off press release for a small business won’t command the same fees as a high-production single image used in a national advertising campaign for a global brand.

There are many scenarios between these usage examples, but if you’re open with the photographer about who and what they’re shooting for, they can give far better guidance on the likely fees. And when it comes to the shoot itself, they can plan their own approach and deploy their resources far more effectively for a more successful outcome.

Oh and on that last point, be VERY wary of any photographer who doesn’t ask how the images are to be used. This should be an alarm-bell-moment. If they don’t care what you do with their work, it means they don’t care about your goals. This will be reflected in the results and that’s when photography becomes really expensive, regardless of how cheap it was to acquire.

Much the same approach applies to commissioning video, albeit the costs associated with that tend to focus more on post-production time than on aspects such as licensing. However, if you’re going to commission video, you still need to think carefully about your goals.

Identifying who you’re trying to reach, what their expectations are and how you’re going to win their business should be considered long before commissioning a videographer (ie me!) to press the record button.

If I’m shooting video for a client, of course I want to understand my client’s aims, but I also want to know who they’re trying to win over. If they’re aiming at people who might do business with them, the content, message and production values all need to be of a high quality. There’s no point spending money on a video which is aimless and poor quality. That’s just a waste of money and a drag on valuable resources. It might grab audience attention for a brief moment, but will soon be forgotten in the constant stream of online content marketing. Poor quality production will also harm your brand and cost you sales.

The main message of this post is to think quality first, then work out your budget based on the value you’re likely to gain from the results. Setting out with an unrealistic budget plucked from thin air isn’t going to get you where you need to be, which is why I’m happy to spend time working through these questions with clients before they commit to working with me.

I would be delighted to discuss your stills and video needs, so drop me a line and let’s get your photography and videography making money, not costing it.

Co-working Spaces For Corporate Photography

Tips for hiring a co-working hub when you have no office, or your office isn’t suitable.

While co-working spaces have been a growing trend for more than a decade, the Covid 19 pandemic definitely accelerated the move away from fixed, permanent offices for many businesses.

More generally, the co-working or shared office trend also reflects the post-pandemic rise in entrepreneurial ventures as people move away from wanting to work within large organisations, and more towards fulfilling their own dreams and ambitions.

Even large organisations have migrated teams out of big central hubs in favour of smaller, regional centres. It’s a trend which is currently growing, with little sign of abating.

Whatever the size of your business, there could be many reasons you don’t want a shoot in whatever space you have – perhaps it’s too small, or maybe it’s an uninspiring red brick cube with cramped desk-filled cubbies and a boardroom that serves its function, but isn’t aesthetically pleasing.

The Hiring Option

So if hiring a suitable space in a co-working environment is an option for your next corporate photography session, what are the advantages and disadvantages? And how can you get the most out of it?

This article will guide you through some of the challenges of finding the right spot for your office-less office shots and corporate portraits.

The Advantages

There are genuine advantages to having a photo session in a co-working hub:

• The look to suit you – from ultra-modern to supercool, you can find a space which reflects your attitude, personality and business values. Even better, all that interior design work has been done for you; it’s a photo set ready and waiting for you.

• Flexibility – depending on the requirements of the photo session, you can negotiate anything from a couple of hours to an entire day. Likewise you can scale the size of space you need depending on whether it’s a few simple headshots, images to reflect a meeting, a huddle or colleague collaboration across desks.

• All the kitchen and toilet facilities are there, and in the best hubs the staff will be only too willing and helpful when it comes to accommodating you and your team.

• Accessibility – if people are coming from various locations, co-working hubs are normally easily accessible by public transport or have parking nearby. Most co-working buildings, though sadly not all, are easily accessible by wheelchair too. That’s certainly worth checking in advance.

• A chance to get away from the desk – taking the time away from your usual surroundings to concentrate on your business image is no bad thing. It’s often a good time to have those “blue sky” thoughts while your brain is distracted by having to pose for the camera.

What To Look Out For

Of course you need to be aware of some of the pitfalls of this way of working.

• You’re away from the office! Although, I’d still argue the benefits outweigh the disadvantages of this.

• Finding the right space – with so much choice, it can be hard to find the space that fits your ethos precisely. I’m happy to help with this by offering ideas for locations I’ve used, or ones I’ve spotted and thought would be good. Here’s a search based on Bristol, my main city for work. Likewise for Bath, Chippenham and Swindon.

• Cost – It is an additional cost on top of the actual photography, but by leaving you (the client) to liaise directly with your chosen space, I don’t end up charging VAT on top of VAT, so it might not cost as much as you think.

• Finding enough space – Getting the right look can require a surprising amount of empty floor space, but I can usually advise on the best room to hire based on its size and flexibility.

• Fixtures and fittings – It’s surprising how many great looking spaces become difficult to work in because whichever way you turn, there’s a black monitor screen on a wall, an exposed conduit, light switches, thermostats, fire extinguishers, radiators, shelving, white boards… I could go on. The (often essential, sometimes arbitrary) wall clutter and objet d’art can ruin an otherwise promising space because it all gets into the background of a photo. It’s worth asking the host to send additional current photos of the space to include what’s on the walls from floor to ceiling height. Some things might be easily moved, others will be fixed, but hopefully some will be useful features in the photos.

• Lighting – I bring my mobile studio lighting kit to shape the light how I want it, but it’s still helpful to know in advance what windows or skylights are there and also what the light fittings look like. A chandelier might be groovy in real life, but it can look very odd in a business meeting shot. Again, a handful of current photos from the host can be useful here.

• It’s a shared space – While it might be easy to shut off a meeting room for a photo session, often the shared open spaces are full of photographic possibilities. This requires some diplomacy then if people are already set up and working in these areas, but I usually find a quick conversation about what we’re doing and how long we need is enough to minimise potential irritation.

• Things might change – From one photo session to the next, a co-working space might be refurbished, or they might close down. Ok, it’s a risk, but then few offices stay the same forever and there’s often a time at which it’s good to get everyone’s headshots re-done from scratch. That’s when a fresh space might be worth considering anyway.

Planning Planning Planning

The key to a successful photo session in a shared co-working facility is in planning the timing, location and access. Everything else is just the same as in working in your own space, such as choice of clothing and how you wish to present yourself to the camera.

With a little forward planning, your out-of-office photo session will not only be more successful, it’ll also be a more enjoyable experience.

If you would like more help on this, or any other aspect of planning your next corporate photo or video session, do drop me a line.

With thanks to Paul Albone and Stefanie Blundell of Pohco Consulting and their new venture Pasamelo for posing so brilliantly, and for their BTS shots of me, and to Futureleap Clifton for hosting us so brilliantly. I also recently used Origin in Berkeley Square, Bristol, who have some fantastic spaces and an incredibly friendly and helpful team.