by Tim Gander

AI AI, What’s All This Then?

Unless you’re living under a rock, you’ll be aware of a great deal of chatter about AI (Artificial Intelligence) and its increasing influence on all our lives. I suspect some of that chatter is AI-generated, but how would we know?

Of course in this article I’ll be contemplating AI’s impact on the future of photography. I think it’s going to be interesting.

The AI Roadmap

I say interesting because you can see that AI is at the foothills of its potential (good or bad). Give it a few years and you’ll see it progress beyond what we can imagine right now.

Also bear in mind that different areas of photography will be affected in different ways and at a different pace.

Right now, AI images of people are creepy, weird and downright unnerving (see examples below generated using DeepAI.org).

A triptych of AI-generated business portraits
Generated using deepai.org's image generator, these are not great examples

Inanimate objects are generally better, but are they convincing? I’d say this is where progress will advance most rapidly. For now, many product shots are rendered using computer graphics anyway, so AI will probably simply change how those renders are generated. Product photographers will still find themselves in demand for the more bespoke shoots.

Some areas could see no impact at all. Do you want AI-generated family photos? How about a wedding? What would be the point?

We’ve Been Here Before

Thinking about images for business, I see AI as having parallels with micro-payment stock photography of a decade or so ago; businesses embraced it as an easy way to fill the gaps between words on their websites, but many have reverted to commissioned work as it’s more convincing.

There is currently a cost barrier to AI. It’s more expensive and time-consuming to get usable visual AI content for marketing purposes than it is to commission original work. However, even if the cost and quality of AI become non-issues, there’s the question of the human factor.

Microstock flourished while it was novel and before businesses realised they needed to connect with clients and consumers on a human level. They discovered their audiences weren’t engaging with the over-polished models and unrealistic scenarios of the stock world. Where we are now is that stock images supplement pictures of ‘real’ people, but they can’t replace them. The same will stand for AI.

In fact commissioned work (in my personal experience) has grown over the past decade. It will continue to grow as businesses use more video, which stock (and AI) imagery won’t be able to compete with for a very long time (if ever).

What stock could never replace, AI won’t be able to either. If anything, AI will replace stock imagery and we’re starting to see that happen.

Stocks and ShAIrs (ouch)

Shutterstock, the bete noir of photography and the murderer of the viable stock image industry, have seen the future. And the future is bleak.

They now have their own AI image-generating portal, which I suspect not only undercuts their contributing photographers, but might also be using the existing library of 400 million+ images (supplied by those same contributors) to feed the neural engine which generates the AI images. It’ll be interesting to see how Shutterstock plans on ‘rewarding’ contributing photographers when their images are reduced to AI fodder. An AI-generated image will contain data from hundreds (maybe thousands) of images from the library, so who gets paid for that data. Will photographers know which pixel was theirs?

Am AI Safe From All This?

Notwithstanding my tortured AI-themed puns, I can see how AI might impact certain areas of my work, but since I mostly concentrate on photographing real people, and since this is what businesses need, it’s hard to see how AI can impact that.

And AI currently works best when used to generate static content. Video would require an unimaginably high level of computing power (read ‘cost’) which doesn’t yet exist. I say yet, but processors based on quantum physics are emerging in laboratories and could be in our devices soon enough.

Ultimately I don’t think it matters what AI does, because one thing it can never replicate is reality. It will have its uses, but for my typical client there is nothing that can beat the human touch. I am going to confidently say, there never will be.

One More Thought

This is perhaps the most troubling thought too. AI has already been used to generate ‘deepfake’ news images and video. We can’t stop this, but news outlets will need new tools and rules to spot and stop this. That is where the real danger of AI lies. The last two words of that sentence are the perfect note to end on.

in Industry Comment / Personal Opinion 0 comments
 by Tim Gander

Bye Bye 2022

What. A. Year!

It’s fair to say 2022 has been a bastard. I don’t even want to list the reasons here because it’s too depressing, we all know what I mean.

So perhaps it’s unsurprising if I feel a little guilty that I’m sitting here in a (relatively) warm home, with food in the cupboards while I look back on what has been an unexpectedly successful year for me. But feeling guilty isn’t constructive, so I need to do more in 2023 to give and give back where it can help others. I did some of this in 2022 and hope to do more 2023.

2022’s Achievements (and disappointments)

Before writing this, I checked what goals I’d set for 2022 to see if I’d achieved any of them. It turns out, I didn’t set much in the way of targets, but there was a vague hint in that post about something big.

That ‘something big’ was getting my book What Happened Here designed and launched in time for Photo|Frome in June, which I just about managed. Sadly, for the official launch I caught covid and had to bail out, which didn’t help initial sales of the book. However, it’s been going steadily ever since and even my local bookshop were keen to stock it! So now people can buy online from me, or walk into Winstone’s Hunting Raven in Frome and purchase a softcover copy in-person.

Photo|Frome 2023

Photo|Frome 2022 was a huge success, and while I did what I could to help with setting up, not long after launch I was under quarantine so missed most of the festival. We’re already working hard to make Photo|Frome 2023 happen, but finding cash for an event in the teeth of a recession will be no small task. If you’re able to help, do drop me a line!

What Else in 2023

My hope is that having diversified into video during lockdown, this recession might not hit me as hard as previous ones have. Businesses actively wanting to ride out the storm will need a combination of stills and video for their marketing. Being able to offer both is a huge advantage. Of course I can’t predict how much it’ll help, but I’m glad I have the additional skill now.

And Finally…

I’m going to leave you with a smattering of 2022 images, all from personal projects and trips made this year. They illustrate my key photographic interests when not on commission.

It just remains for me to wish you all a super Christmas and all the very best for the coming year. Let’s hope that in 2023 Putin is deposed, the Iranian government is replaced by people who understand civility and China stops acting like a petulant toddler.

Oh and thank you, in what ever way you’ve supported me over the past 12 months. It doesn’t go unnoticed!

Black and white portrait of musician Ralph Stelzenmüller looking to camera with organ pipes in the background.
February - A short break to see friends in Switzerland, including the highly talented musician Ralph Stelzenmüller
Installation of screens bolted together and facing a gallery wall reflecting back the different colours within each unit.
August - A trip to Compton Verney in Warwickshire to see work by David Batchelor
Outdoor photographer self portrait of Tim Gander holding his book What Happened Here
September - I put myself in front of the camera to promote my book
Square black and white minimalist landscape photograph taken near Chitterne, Wiltshire, with dark clouds above an undulating grass landscape
November - I manage a rare trip to Salisbury Plain to create a new landscape image
in My News / Personal Opinion / Personal Work 0 comments
 by Tim Gander

It’s A Steel!

It’s awards season! And not to be left out, I found myself at the Digital Impact Awards Europe gala dinner at Park Plaza Riverbank in London last week. Swanky, eh?!

Now I should clarify that I wasn’t personally up for an award, but was there as a guest of my client, Shaw & Co, and their brilliant branding agency, Design By Structure, who were shortlisted in two categories, ‘Best Digital Rebrand’ and ‘Best Use of Digital – Professional Services’.

I was invited to take a guest seat at the table because in my client’s words, “Your images and video are a central thread through our branding. You have to be there.” So I went, and I’m glad I did.

The Dream Warm-Up

The evening started brilliantly with a warm-up act by one of my comedy heroes, Mark Steel, who did his ‘grumpy about how rubbish everything is’ style of comedy aimed squarely at the difficulties of dealing with life in a digital world; passwords we can never remember and which are a PITA to recover was one superb stream-of-consciousness rant from the master of rants.

Mark co-hosted the evening, reading out the shortlisted entries to an increasingly loud (read drunk) audience, and occasionally threatening to have the next award handed to a member of the waiting staff if no one was going to listen to the announcements.

The Competition

My client and their agency were up against some really big brands (with even bigger budgets), so we didn’t expect anything much beyond the nice dinner and some free bubbly, so when they scored Highly Commended in both their nominated categories, they were absolutely delighted.

Bear in mind, this is a brand working with a fraction of the marketing budget of the likes of Canon Europe, DHL and Diageo who all scooped top awards, so to even have a nomination was a great result. Two nominations, even better, and to score Highly Commended in both, just astonishing.

Cornering the Comedian

To top my evening off I managed to corner Mark Steel to shake his hand and trouble him for the inevitable selfie, at which point he asked if I fancied having a beer with him! So we talked about his Radio 4 show, Mark Steel’s In Town, life as a comedian (how you can tell if someone’s going to make it in standup), then on to football, tennis and the joys of learning a foreign language (Mark is fluent in French so go find his Paris show on that previous link).

I have to admit, I came back on the train the next morning with something of a fuzzy head, but it was more the lack of sleep than an excess of alcohol. But as tired as I was, the thrill of seeing how my work played a part in a client’s success was heightened further by the experience of meeting someone else whose work I admire. Thanks for being a proper, down-to-earth gent, Mark, it was a pleasure to share a beer with you.*

Tim Gander (left) and comedian Mark Steel in a selfie
Mark Steel kindly poses for the inevitable selfie moment
glass awards trophies from the Digital Impact Awards gala dinner in London
Double Success!

*To be clear, we didn’t share the same bottle as that would have been weird and gross.

in Uncategorized 0 comments
 by Tim Gander

The Pop-Up Job

One of the toughest tasks for a photographer can be to shoot a photo which works well in an extreme shape. Ultra-wide and extreme deep crops from a standard image ratio can create challenges. Shooting a full-bleed image for a pop-up stand is a perfect example of this.

A good illustration of what I’m talking about is the recent shoot I undertook for University of Bath’s Faculty of Humanities and Social Sciences. They needed a new image for their Sports Performance course pop-up banner which was needed for the university open day on September 10th. It wasn’t a massively tight deadline, but things had to move apace to get the image to the designer in good time.

The concept was to have a student in sports kit with a library scene behind. I’d shot something similar back in 2013, but where on that occasion I photographed the student against a plain backdrop so they could be cut out and placed against a library shot (literally a library shot of the library), on this occasion we decided to get the whole image done in-camera.

Twin netball players Jasmine and Jemma Nightingale very kindly volunteered to model and we set the shoot up on the 4th floor of the university library. It had the benefit of being relatively quiet, so I wouldn’t disturb too many students, and it just happened to have the right aisle configuration to work. It’s amazing how many aisles just weren’t right. Too narrow, a pillar, a window on the back wall, not “library-ish” enough; I eventually found one aisle I could work with.

I set up portable studio lighting to get full-length, even light on the sitter (I shot mostly individuals of Jemma and Jasmine). Even this was quite awkward because there wasn’t much floor space for lighting stands, and I also had to set up lights behind the sitter to lift the background so it didn’t look gloomy.

There were overhead strip LED lights in the ceiling which also needed to be on, but they were motion-sensor controlled. Every now and then I’d have to jog down the aisle to make the lights come back on. I certainly got my steps in that day!

Of course I forgot to do the BTS shot (I’ll remember one day!), so I can only show you the end result.

Pop-up stand final artwork
The final artwork which went to print
Sports Performance pop-up banner at University of Bath Open Day
The pop-up banner in use
single portrait of netball player Jemma Nightingale in a university library
Jemma Nightingale also posed, but the shot of Jasmine with a slightly different pose just worked better
twin female netball players photographed standing in a library aisle
Jemma (left) and Jasmine Nightingale in a double portrait
Portrait of a smiling female netball player looking to camera
Portrait of Jasmine Nightingale, a useful shot for other materials
two young female netball players walking away from a modern building
A useful stock image with plenty of design space around the subjects

But the location worked well. I made pictures with each student individually and a few of them together. The latter didn’t work so well for the tight upright format, but did make good alternative shots the university can use in other ways.

Once I was happy we had what we needed, I packed down the kit and we headed outside for a few alternative shots, again mainly for other uses.

Among my favourite shots from that session is the one of Jasmine and Jemma walking through the scene – their confident smiles and purposeful strides set against a modern University of Bath building (it happens to be the School of Management) make this a multi-purpose image that will sit well in either a web or print design.

One other technical aspect I brought into play was Lightroom’s new Enhance feature. Using AI, Lightroom can double the resolution of the camera’s native image. In the case of the pop-up stand image, that meant I could supply a file which was now 12,000 pixels on the longest side rather than 6,000, giving the designer a greater quality print out on the finished display.

Thanks to Sophia who sent me the photo of the stand in-situ on the open day, and I have to say I’m really pleased with how well the image works in the design, how it really ‘pops’ and catches the eye.

This kind of project is a creative and technical challenge, but with pre-shoot planning, adaptability on the day and careful treatment of the image files afterwards, it all comes together for a really satisfying result.

If you’re looking to have images taken for potential use in exhibition materials, bear in mind that they may need to be taken specifically for the format you’re working in. Stock images probably won’t be high-enough resolution (and will be too generic anyway), so feel free to drop me a line to discuss your needs and ideas to ensure you’re getting the best for your project.

in Case Studies / Uncategorized 0 comments
 by Tim Gander

Why Media Studies Are More Important Than Ever

Where are we now?

Media Studies is a subject which is often viewed with disdain, sometimes suspicion. Certainly at GCSE level it’s often seen as a less academic subject, a bit of an easy one. And to my discredit I’m pretty sure I’ve held that view too. To be honest, I hadn’t given it much thought for many years, but either way I’ve certainly changed my mind now.

I would go even further and say that the subject very much needs to be brought to the fore, studied at all ages and all levels. No longer a Cinderella subject, it must be taught at a high-quality and given the same standing as any ‘mainstream’ subject.

Why this shift in opinion? And why am I bringing this up now? I can give the same answer to both questions – because we’re all now so immersed in media, we barely even recognise it, and when we do, we often misunderstand it.

So What’s the Problem?

Traditionally we think of ‘the media’ as being newspapers, magazines, television, radio, with the internet now a part of how those traditional media operate. But of course social media is also a large part of the media we consume (possibly the largest part).

The information we gain from sites such as Twitter, Facebook and similar are an un-edited deluge of personal opinion (often fed by exposure to other, un-edited social media opinion). It’s trite to say information can be disseminated at break-neck speed via these channels, what is less trivial is the effect it can have.

In particular when the information is untrue, contradicts the truth or even distracts us from core issues, the harm this un-edited information can cause has a real affect on our understanding of events and issues concerning us.

How Can Media Studies Help?

One of my pet peeves is the derogatory use of the term ‘mainstream media’. The term itself is useful to describe the main channels. However those who use it with disdain usually neither understand what they mean by it, or have any real understanding of the media organisations they’re trying to deride. It could even be argued that social media is now mainstream.

I’m not suggesting media studies should be used to simply to fill this knowledge gap. I happen to believe everyone would benefit from it. We can all have a better understanding of all the media we interact with if we start with a broad knowledge of how it works.

We need to become more analytical and critical of the messages we see, regardless of their source. The strained relationship with the truth that we’ve witnessed from Vladimir Putin and, sadly, from our own government is easier to analyse if we have the tools to dissect the message.

Former Question Time presenter David Dimbleby points to take a question from an audience member during a recording of the programme at University of Bath
YOU NEED MEDIA STUDIES

Who Should Be Studying Media?

Now I’ve said that media studies needs to be taught at all levels, and by this I mean at least from same age as sex education. We need to start from a young age. With children exposed to 100s, even 1000s of media messages a day it’s vital they have the knowledge to understand what they’re consuming. Their lives are a world away from the 3 channels of TV I grew up with.

Conclusion

Our understanding of the world around us, from local to national, climate change to conflict, is shaped not only by the information we receive, but also by our understanding of the channels by which it comes to us. If we don’t understand the mechanics behind the message, we cannot analyse the message itself. And if we can’t analyse it, we often take it at face value.

In that instance, information becomes weaponised and dangerous. Having the knowledge to counter this would be truly liberating.

in Industry Comment / Personal Opinion 0 comments
 by Tim Gander

A Perfect Storm

Sometimes an email arrives which catches me by surprise, and this week’s post is about one which started with surprise and concluded with a delightful outcome.

The email came from Maisy, now a resident of Brighton, but the story goes back to 2019 when she was living in Glastonbury.

What Maisy sent was, in essence, “Hi Tim, I’m just wondering if you took any pictures of the storm from 2019, July 23/24. I know it was a while ago but I’m looking to buy a photo for my partner, we used to live in Glastonbury and both watched the storm and were astounded, it was the most amazing display of lightening – I saw a picture online from that night which took me to your website and I wondered if I could buy a photo off you. Many thanks in advance Maisy”

Well it was such a spectacular storm that I remembered the night and I knew I had the pictures in my archive, so searched them out and sent Maisy a low-res, watermarked version of the one I’d posted to establish that it was the photo she’d seen.

Having confirmed that it was, I worked out a price (the image isn’t listed on my Takeagander site) and I arranged for printing on beautiful Hahnemühle Photo Rag fine art paper and shipping to Maisy in time for her partner’s birthday.

Lightning at night silhouettes a large conifer tree and low factory roofs against a cloudy, purple sky.
The photo Maisy saw online which lead her to contact me.
A print framed in white of a dark, purple night sky illuminated by lightning with a large confer tree and low factory roofs silhouetted.
Photo kindly sent by Maisy, published with permission.

But I was intrigued about the story behind why she wanted this particular picture. Here is her reply, re-formatted and published with Maisy’s consent:

“Re the image, yes so the story behind it is a little odd! But it was before my partner and I were together; I was in quite a tricky place in an unhappy and unhealthy relationship and he was also in a difficult place taking care of an unwell family member.

At the time of the storm we both went outside (although we viewed it separately, about 5 minutes away from each other) and we were both with other people. Everyone left and we both decided to stay alone and watched it for just over 30 minutes, just watching the lightning.

Although neither of us are very spiritual, we both individually felt this massive pull towards the storm and couldn’t stop looking at it. We both felt like it was the most amazing thing we had ever seen and for some reason we both felt like it was a really special moment and that we weren’t really alone.

Fast forward to a couple months ago, we have been together about a year and a half and I mentioned this amazing experience that I had with the storm years ago and Jai (my partner) knew exactly which storm I was talking about and we realised we shared the same story with lots of strange coincidences. And we both took lots of comfort knowing that even though we were alone watching it, we were both actually experiencing the same thing together.

So it’s a special moment that we share, even though we didn’t share it, if that makes sense!”

Well I don’t know about you, but it makes perfect sense to me and I’m so pleased that a photo I took is now on Maisy and Jai’s wall as a permanent reminder of the incredible experience they shared before they even met. I’ll let Maisy have the final word:

“(Jai) absolutely loved the photo, as soon as he saw it he knew what it was from! He wanted to pass on thanks for such a lovely picture. The storm was a really special moment so I’m glad we can remember it through that photo.”

in Uncategorized 0 comments
 by Tim Gander

A Busy Quiet Day

Some days look quiet on the diary, but in practice are anything but restful.

Take yesterday as an example; I had no commissioned work on, so I decided to make a trip to Salisbury Plain to work on my much-postponed project.

That required a 5am alarm call (I had forgotten what a punch in the face that feels like!) This was my first trip to the Plain in many weeks, and the plan was to retry a shot I’d done before, but wasn’t entirely satisfied with.

Unfortunately, after such an early start and a three-mile walk (no, it’s not a great hike, but with medium format camera, lenses and tripod it feels a bit longer), the weather decided to be too dull to make the picture I was after.

The view of an image of Stonehange as seen on the focusing screen of a medium format camera.
The view through my camera - a very scratched focusing screen!

Ok, so the six-mile round walk wasn’t a killer, but the early start was giving me a bit of a kicking. Time to head home.

On the way back I swung by my local picture framer to pick up a couple of pieces of non-reflecting glass. This is part of my master plan to keep improving how I digitise my negatives, squeezing every last drop of quality I can from the process. I didn’t stay long, he was busy with framing work for London galleries.

Back home, I tried a bit of admin, but by now my brain was aching for a little sleep, so I took a power nap (ok, 90 mins) to recover before lunch.

Then it was back on the admin, handling client enquiries, a bit of social media work and planning next week.

I did manage a bit of R&R in the evening, but then the lure of photography drew me back again. I’d recently updated some flash equipment, so had a bit of an experimental session with that. Focusing on areas around the home, I looked at how I could use the new gear to create different effects. Call it play, call it fooling around if you will, but a photographer who only works with their new gear once they’re commissioned to use it is a fool.

By the time I’d quit trying things out, it was 10:30pm and I was finally ready to stop, but not until I’d transferred my test flash images to my computer and had a look through the results. So ok, it was nearer 11pm when I finally shut the laptop.

I sometimes beat myself up that I’m not dedicated enough to what I do, but then when I sit back and look at it properly, I don’t think I’m any kind of slouch; I just need to remind myself that even a day which doesn’t produce solid results isn’t a day wasted, it’s a day invested in something yet to happen.

in My News / Personal Opinion / Personal Work / Uncategorized 0 comments
 by Tim Gander

Do You Love Photography?

Loving Photography

The recent acquisition of Unsplash by Getty has prompted me to think about what the love of photography actually means.

I won’t go into the ins and outs of the sale here, you know how to use Google. But I do want to examine what people mean when they say they love photography. Many of these people are contributors to sites such as Unsplash, yet I have to question the nature of their love of photography.

Of course I can’t tell people what to do with their photos, but equally we should be aware that something is happening (has already happened) to photography which leaves us all much more vulnerable than we might think. It has harmed society incrementally such that we’ve barely registered the change. More on that later.

When I talk about my love of photography, I use the phrase in a global sense; I love coming up with ideas, shooting them and presenting them. Some make money, some don’t, but they’re never available for exploitation without suitable remuneration.

And loving photography doesn’t just mean loving the act of taking pictures. In that global sense, loving photography also means nurturing the industry of which you claim to be a part. In short, it means acting like a professional. At the very least, it means not causing harm.

For others it seems to mean a love of having people and brands exploit their work. Some see this as beating professionals at their own game, which is just downright weird. That is not a healthy love.

Filthy Lucre

I can’t criticise the work people upload, much of which is of a very high standard (albeit it’s often very sterile), but they should be paid fairly for its use.

Some will argue that you can’t truly love photography if you want to make money from it. Hogwash. Utter c**p. In fact I would say the opposite; anyone hooked on views and downloads is more in love with their own ego than anything.

And what if, instead, brands had to pay for what they took from Unsplash? Would they download and use it then? What does it say to a photographer if no one is willing to pay actual money to use their work?

So why does this even matter? It’s just some pictures, right? Wrong.

A Diminished Industry Hurts Us All

The devaluation of the photographic industry over the past 20 years has left us with fewer sources of high quality photo-journalism. Our once thriving press has become less diverse, even where it tries to be polarised in opinion. Think the PR machine at No 10 dishing out the same sanitised pictures to all outlets. Those outlets, having no budget (or claiming not to at least) will use free over paid every time. So the visual voice becomes homogenised across titles and channels. Diversity suffers as a result.

This degradation has affected the national voice in other ways beyond photography. While there’s a clamour for greater diversity in our media, we see fewer articles written by people from less privileged backgrounds because only those with independent means can afford to work on the poor (or non-existent) rates on offer.

I certainly can’t afford to work for the fees our national newspapers pay – I’m a grown up, not a school child. But I’m a white guy so boohoo me. What about women? Or people from poorer backgrounds? Or those whose ethnicity makes it more likely they won’t have independent means? The talent is undoubtedly there, but the access isn’t because it’s flooded by people who can afford to “donate” their work. This is what’s happened in photography too.

You might not see the connections between newsroom budgets and free stock image sites, but all areas of the photographic economy affect all other areas. That’s why all photographers need to look after their own areas of interest in an holistic way and take responsibility for their actions.

Pups For Sale

And so back to the happy punters who give their work for free to Unsplash. They’ve been sold a pup; a dream that their altruism is the engine of a creative industry of which they are a part. That perhaps one day they’ll be spotted amongst the millions of lemmings and picked out for plum commissions.

Except it’s not, they’re not, and they wont. It’s just shutting down creativity for the truly creative. It’s shutting out those voices which haven’t the spare income to be heard. It favours the motivations of individual egos over the cause of the wider industry, and it’ll now be feeding that cuddly little independent, Getty Images.

Anyone who says they love photography should ask themselves what they’ve done for it lately. If they’ve become hooked on giving their work away, they need to question their devotion to it.

Perhaps if they’re amongst those who’ve fed Unsplash with free material, Getty’s acquisition of all their images might help peel the scales from their eyes. It might be time to redefine their relationship with photography and understand what a true love of photography looks like.

in Industry Comment / Personal Opinion 0 comments
 by Tim Gander

Blog Off?

A female hand is pointing towards the twitter app icon on an iPad.
An ever-expanding universe of social media platforms.

Do people still blog? I’ve been writing this one since October 2009, but does it still serve a purpose?

Over the years I’ve tried my best to inform and entertain my readers (still plural, I think), admittedly with mixed success, but of course it’s also been a way to keep Google happy.

On that score I have to admit it’s been useful for my Search Engine Optimisation. I’m just less convinced it still has the impact it once did. People are using different routes to finding photographers, but it has become a much more fragmented landscape, so which options might work?

LinkedIn

Facebook for businesses (aka LinkedIn) has been a good way for me to keep in touch with existing clients. I can keep up with what they’re doing and I can update them on my latest news. I sometimes use it to message clients directly, though I still prefer email for keeping all correspondence in one place.

That said, LinkedIn is practically useless for finding new clients. People looking for a specific photographer for their needs will find LinkedIn a poor source of reliable information. More often than not a prospective client will canvass their network for recommendations, at which point there ensues a scrambled deluge of suggestions, most of which ignore geography or skill set – a photographer’s a photographer, right? End result, a mis-match and a lost opportunity.

Facebook

Facebook is useful for keeping in touch with a wider friendship network and group interests and I use it to promote my personal project work, but corporate work doesn’t really work on Facebook. I’m careful where I use client work, and Facebook just isn’t the right place to post my commissioned images.

Twitter

Just… no. Like Facebook, Twitter isn’t the best option for business use. It needs personality, which tends to exclude much in the way of a corporate focus. Again, it’s more useful to my personal project work and I like to promote other photographers there, at least those practicing fine art or documentary work.

Other Options

Should I start a podcast? *collective cry of NOOOOO! echoes back at me* Or a YouTube channel? *ditto, see previous*

Except YouTube is perhaps the more interesting option; less for my corporate work, but perhaps more useful to my personal project photography. I have no desire to be a “YouTuber”, but I can see how video might help create wider interest in that work. Which still leaves me wondering what’s best for the corporate work.

In (sort of) conclusion

It seems that while change has been a constant in the exciting world of SEO, that change is accelerating. Couple this with the fact that new platforms are constantly springing up, the risk is that social media is becoming too fragmented.

My gut reaction to all this is that continuing the blog posts is wise. Keeping my website fresh and compliant continues to be the best use of limited time. I also need to investigate new ideas; maybe even some old ones. Books and zines interest me, so they’ll be something I’m focusing on for the personal projects, but what of the corporate side? Perhaps print has a role worth exploring too. Many years ago I made Blurb books of my portfolio and they went down quite well.

So after 557 words, I ‘think’ I’ve concluded that I’ll carry on with the blog. Ideally I’ll use it to showcase my corporate work, but lockdown and on-going restrictions will make that a challenge. Things will pick up though, and when they do I want to be visible to new clients as well as existing ones.

One last thing…

On a bit of a side-note relating more to my personal projects, if you sign up to my takeagander newsletter here before the end of January 2021, you’ll be in with a chance to win a beautiful A4 print from any of my collections!

So cheer yourself up for free, sign up and have a browse to see if there’s a print you’d like on your wall.

in Industry Comment / Personal Opinion / Personal Work 0 comments