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.

Blog Off?

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.

The Local Proposition

Are you buying anything from Amazon this Christmas? The campaign to shop local seems to have gained ground, even if the orange behemoth with the A to Z smile is still gaining sales.

The pandemic will have put many in a quandary; desperate to get their Christmas shopping done, but still unable to leave home, it can seem as if there is only one choice, when even online there are many great independent traders now.

However, the shop local/support independents movement is definitely finding new followers. Buying on the high street is beneficial to local economies and communities, while buying online from local, independent businesses is certainly helpful too.

Buy Local for Your Business

So this week I’d like to extend this notion: If buying local for personal reasons is beneficial to the local economy and jobs, please also consider buying ethically-sourced professional services for your business too.

Not just photography, but other creative industries have struggled against the big players for many years now, yet none of the disruptive sites offering creative services has benefitted the wider economy. They might seem to be the cool, new and exciting way to do business, but they dis-benefit independent creatives disproportionately.

Of course as a business owner you probably want to find the best value for money for all the goods and services you need, but have you ever thought about how this might impact the economy in which you’re trying to function?

It might help you in the short term if you can populate your website with images and graphics bought in at below cost of production, but when this process replicates across an entire business economy, who is left with any money to buy your services?

Value vs Cost

Likewise, if you’re unwilling to pay fair rates for the goods and services supplied by others, why should anyone pay your rates for the goods and services you supply? And let’s set aside the impact of using suppliers who pay little (if any) tax back into the society in which you operate.

So undertake a pledge, make it company policy if you like, that from January 2021 you will start the process of making your business more sustainable by helping to sustain others. It might make you very slightly less profitable in the short term, but it will make your business more sustainable in the longer term.

You’ll almost certainly have a more robust business come the next economic upset.

Until 2021…

I’m taking a break from writing blog posts here until January 2021, so I’ll just take this opportunity to thank you for all your kind support through this monumentally challenging year.

If in the meantime you would like to keep up with all my goings on, you can follow me on Instagram (@takeagander) or sign up to my newsletter for very occasional updates on my personal projects and new fine art print offerings.

Thank you, have a happy Christmas and a new, improved 2021.

Tim

The Beat Goes On

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

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

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

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

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

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

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

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

A Paradigm Shift in Portraits

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

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

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

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

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

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

Consider The New Normal.

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

Simplicity is powerful.

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

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

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

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

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

A New Honesty About Costs.

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

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

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

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

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

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

The Bottom Line

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

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

Get me a coffee!

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

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

Lowering Costs

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

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

Diversifying

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

Rattling the Tin

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

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

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

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

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

More to Come

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

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

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

Looking back, Looking Forward

One aspect of blogging regularly is that, as with a diary, you have a record of your past preoccupations.

In these turbulent times that could be a comfort, perhaps, but it can also be weird.

For example, as I was working out what to write today I found myself looking back at pre-pandemic posts and thinking, “Wow! I really had no idea what was coming.”

Which lead me to darker thoughts about whether we’ll get to look back on this time from some sunny uplands, or whether even this will start to look like some halcyon dream.

Of course I hope for the former, but listening to Norman Lamont on the radio yesterday, talking about how we’ll have to pay down the debt we’re currently running up, I couldn’t help wondering if we’ll be able to do that before the next pandemic. Or maybe China will blow up, or Kanye West will become President of the USA and World markets will decide to crash just for the sake of it.

Good grief! This post got awful dark, awful quick.

Ok, here’s the future – everything is going to be fantastic. Business will pick up again, green technology will mean the planet is saved, and all that debt? Well if every country in the world is up to its neck in debt, we just have to find the person we owe the money to and ask them to play nice or else.

Now I’ve either predicted the future, or jinxed it completely. Don’t blame me though, start with the guy we owe all that money to.

Incredible Legacy

A while back I pledged to support the publication of John Downing’s book, LEGACY, through a Kickstarter campaign run by Bluecoat Press.

I’d previously supported Jim Mortram’s hard-hitting social documentary book Small Town Inertia in the same way and since John’s book required a ‘mere’ £8,000.00 to come to fruition, I thought it would be a great opportunity to see the photojournalism of a man who spent 50 years covering everything from Royalty to tragedy, the everyday to the extraordinary in a single book.

In the event the campaign smashed the target, raising a staggering £31,836.00, raised by 495 backers, which is testament to the level of respect and interest in his work.

My copy arrived today, and I was thrilled to realise I’d forgotten that my pledge level included a signed print of The Beatles taken at the press launch of Sgt Pepper in 1967. I think there will be a special place in my office for that print once it’s framed.

It’s almost pointless me saying much about John’s work; I’m genuinely not worthy to comment. You have to see the book to realise what a towering talent he has. His photos, regardless of what they show, always demonstrate an absolute command over his skills.

Whether the photos are of breathtaking, tragic or everyday subjects, there’s always an extra ingredient in his handling of the subject before him which just leaves you breathless. The sheer range of stories he has covered is astonishing enough, and far too many to list here.

My best advice is to buy a copy. Even if you have no interest in photography or photojournalism, buy it. You will learn something about history, about the human condition and you never know, you might learn something about yourself too.

Nothing to do with photography. An Essay.

This article is apropos of absolutely nothing to do with photography, but it’s an idea I’ve been thinking of committing to words for some time now.

If you’re a driver, or interested in technology, or the environment, you might find this an interesting read. You’ll be the judge. I warn you though, it’s not a short piece, so get the coffee and biscuits ready. Maybe a sleeping bag too.

Unless you’ve been living under a rock or in a cave for the last few decades you’ll know that the environment is under pressure as never before, and that if we do nothing to address this we will all end up living under rocks or in caves.

We know our driving habits are just one aspect of modern life which needs to change. While the bogeyman du jour is diesel, petrol cars are at least as bad for the environment and simply replacing our diesel/petrol cars with electric isn’t going to solve the issue of energy consumption. It might push pollution out of our towns and cities, but it’ll still be a major factor in climate change.

What the environment needs is a massive shift in how we own and use cars and how we travel.

Most people seem to be of the view that the future lies in simply switching from one form of propulsion to another, that whatever car they have now, they will one day switch to an electric version of it and this will solve everything, but this simply isn’t radical enough. It doesn’t look far enough ahead and as I’ve already said, it doesn’t address the fundamental issues affecting the environment or climate change.

I won’t go into too much detail about why this simple switch isn’t enough, we already know the problems caused by battery production, electricity generation, life-span maintenance and eventual disposal. Instead I want to focus on how radically our private transport solutions will change in order to make an effective impact on the health of our planet.

Ok, so we know we need to make fewer journeys by car, and we need to make those journeys more effective, so how about if we start from scratch? I mean literally from a point where nobody owns a car?

That’s not such a radical idea. Figures for 2016 show 86% of new cars were bought under personal contract purchase (PCP) agreements. In other words, only 14% of drivers owned the (new) cars they paid for. The rest had them on plans under which the car was effectively owned by the dealership.

That’s the first step towards a new way of motoring. How about taking it a step further, and instead of motorists paying hundreds of £s a month for a car they don’t own, they pay for a contract plan which allows them to use the car they need, when they need it, without ever keeping the same car from one journey to the next?

That’s a taxi isn’t it? Well no it isn’t, at least not in the way I’m thinking.

Here’s the next piece of the jigsaw puzzle: We all know about driverless vehicles (DVs), but at the moment they seem like space-age technology and we’ll never live long enough to see them in common use. You know, like computers were never going to be widely owned. Or “radio telephones”. Believe me, just like those old technologies which we assumed would never hit the mass market, DVs will be everywhere before we know it.

What you probably currently think though is that one day you might own an electrically-powered DV. Actually, I don’t believe you will. Ok, some of you will own one because you don’t have the imagination to see a life where you don’t keep a car you chose personally in front of your house, but you’ll probably be a minority with money to waste on things you don’t need.

So how does this utopian dream work?

Let’s say you need a car to get to work. This might be a regular commute, or (like me) an irregular commute at irregular times and almost always to a different location. It actually doesn’t matter because the electric DV (let’s call them EDVs) will pick you up according to your schedule requirements and take you wherever you need to go. It’s still sounding like a driverless taxi, but stay with me.

Unlike a taxi, there will be a few fundamental differences; as I say, there won’t be a driver, but also the car will be exactly the right size for your requirements and if your requirements change, a more suitable vehicle will be along in a just a minute to take you to your next destination.

Let me elaborate: You book the car you need using an app. If it’s just you commuting, you book a 1-seater car. If a few people need a car on the same route at the same time, the app will offer to send a larger share car for a discount. You take your pick.

Let’s say you get to your initial destination and decide you need a larger vehicle – maybe you need one which carries more people, or one which ‘could’ carry more people, but you need to flatten the seats to take a long load, well just get on the app and within minutes of booking, a replacement EDV will come along. The first EDV you booked will go off to the next person who needs it.

One of the problems with owning a car is that it’s often the wrong shape or size for what you need. Most of us drive around with 4 or 5 empty seats in our cars, but with the scheme I’ve outlined above, we could save car space, energy and road space by only driving a car of the size we need for any specific journey.

Indeed the shapes of cars in a driverless, fully-electric world could be very radically different. How about just one rear-facing seat? Or a circular cabin for 4 or 6 people? For long journeys, what about a car you can bed down and sleep in?

In a properly driverless world, cars which can’t crash can be designed in a much wider variety of shapes. They can be made from much lighter materials because they won’t need crumple zones or side impact protection bars. The full range of possibilities is beyond imagination right now.

Also in this wonderful future you are freed from loan plans, fuel costs, servicing, MoTs, insurance, or having to spend weekends washing a car which is rapidly depreciating outside your house.

And that’s another thing; as a percentage of the time you own a car, how much of that time does it spend idle outside your house, your place of work, or even at the shops? I can’t calculate an accurate figure, but for most of us it’s got to be around 75% or more unless you’re sharing your car with someone else who drives it at night when you’re asleep.

That’s a ridiculous amount of time to have something you’re paying several hundred £s a month for just to be sitting around doing nothing. I hear business people and politicians banging on about efficiency, well where’s the efficiency in that?

So an EDV you don’t own will be more efficient, because the minute you no longer need it, it can go and be useful to someone else. Even at night.

Now imagine if most of us switched to “communal” EDVs and got rid of our cars. Suddenly the number of vehicles cluttering up our kerbsides, drives and car parks would reduce massively. There would be the occasional EDV, but we’d see our streets again. We could re-shape them, plant them up, re-plan one-way streets to make the most of what we have.

Our streets would be safer for pedestrians and cyclists too. In fact, more people would choose to walk and cycle precisely because it would be safer to do so, and because the air would be sweeter to breathe.

Returning to the question of the environment, ask yourself which would be better: Millions of electric cars being built to replace the cars we own as individuals, or EDVs only being manufactured in numbers sufficient to meet real need? If not everyone is driving all the time (and no one is), we only need sufficient vehicles to service the journeys actually made, not to have them sitting doing nothing.

The savings in steel, alloys, plastics, glass, batteries and so on would be enormous, as would the savings in energy because EDVs would only be charged when they needed it. I bet a lot of electric vehicle owners find themselves having to top-up charge simply because the car has been sitting idle for long periods between journeys.

Of course all this will require a great deal of re-adjustment in individual thinking. We’d all have to give up the desire to own our cars. Some of us would already do this gladly, if given the opportunity, but I suspect there are many who still believe that the environment is someone else’s problem and they will cling to car ownership for as long as legislation allows them to. For the rest of us I imagine a very sudden switch from ownership to contract plan fuelled by the biggest scrappage scheme ever undertaken.

There will always be classic cars which people will want to keep (those Maestros and Cavaliers with their nostalgic tug back to the 1980s…) and I get that, but they’ll be such a minority that their environmental impact will become minimal. And eventually, once fuel becomes too scarce or expensive, they’ll eventually be permanently garaged; preserved in aspic or gently rotting away.

Likewise there will be every specialist vehicle from ambulances to ice cream vans for which a shared EDV equivalent won’t exist. Again, these are a minority on our roads, so losing everything except them will still mean a great environmental gain.

There would of course be great societal upheavals too. Taxi drivers would be a thing of the past. Traditional car mechanics will have a dwindling trade. We won’t need as many car parks. There will be economic impacts I can’t even begin to imagine, but as ever, this won’t stop progress.

My hope is that this might be one form of progress which, rather than crushing all that went before with no tangible benefit to mainstream society, will bring benefits to far more people as well as the environment itself.

One thing is for sure though; just replacing what we do now with a slightly shinier version which runs on a battery isn’t going to solve the issues we face. We’re going to have to think far more radically than that, and we’re going to have to be quick about it too. The question is, do we have the imagination and the will, and can we do it before it’s too late?

Backup! Backup!

Have you ever lost precious photographs? Some treasured family photos which you accidentally erased, or can only find on an unreadable hard drive? It’s a fear I share, except for me it’s not the photos of personal memories I worry about so much as the corporate website or brochure photos I’ve taken.

Perhaps worry is too strong a word, but it’s true that the minute I’ve finished taking photos for a client, I start taking precautions to ensure the safety of the photos.

Much of my work could be re-shot in the event of a disaster, but think of the inconvenience for my clients to have to re-organise colleagues for a head shot session. It will have been difficult enough to coordinate diaries the first time around; it might prove even trickier the second time. Other events are impossible to re-stage, which means image security is even more critical.

For starters, let’s take the journey back to the office. If I need to stop at a service station (or anywhere) on the way home, I’ll make sure I remove the memory cards from the cameras and take them with me. The same goes for any occasion on which I need to leave my car unattended. In the event of a break-in, all my kit is covered, but I don’t want my client’s photos stolen too.

Once I get back to base I’ll transfer the images from the memory cards and onto my laptop. I duplicate them onto an external hard drive too, so if the laptop suddenly dies I’ve already got one backup copy of the work.

I’ll do my captions and edits on the laptop version, but once that’s done I re-write the work to the external drive again. I then back up the external drive to a duplicate drive before erasing the job from my laptop. In the meantime, I’ll upload the edited high-resolution jpeg files to Photoshelter, which is where my clients access the files from.

At this point I’ll format the camera memory cards ready for the next job, but as you can see, by this stage the image files always exist in at least two places, with the high-res jpegs providing a third backup should both my external drives fail/go up in smoke.

For additional security the primary external hard drive stays at the office and the backup version comes home with me, so in the event of flood, fire, burglary, act of God, I should (SHOULD) be safe in the knowledge that one copy will always survive whatever disaster befalls the other.

All of this means that not only have I minimised the risk of not being able to deliver client images in the first instance, but that should the client subsequently lose the work, I should be able to re-supply it promptly.

Of course if a massive Solar flare strikes Earth, all my hard drives will get wiped. But then so will most of the internet and our energy supplies, water and transport… in fact modern life as we know it will come to a sudden halt and the army will be on the streets fighting pitched battles in a zombie apocalypse.

Some things you just can’t guard against.