A Goodall Moment

A few weeks ago we learned of the passing of pioneering primatologist Dame Jane Goodall.

It was additionally sad because Jane was to be the keynote speaker at this year’s IUCN World Conservation Congress in Abu Dhabi, which as I said in my previous post, I covered alongside a team of photographers from the UK. Jane would have been addressing hundreds of climate leaders from around the world, but passed away just a few days before the event.

It would have been a huge honour to have been there to photograph her, but at the grand age of 91, we can be thankful she had such a long and impactful life.

On a more personal note, I shall now always share my birthday with the anniversary of her death.

But on the subject of tenuous connections between myself and Dame Jane, here’s another for you; I once had what I call a “Jane Goodall moment”.

In 2004 (April 21st to be precise) I was engaged to take photos at Howletts Wild Animal Park for their marketing. At one point during the day I was asked to go to the medical unit where a female gorilla was undergoing a hysterectomy. She’d had a baby, but she had a condition which meant that another pregnancy could kill her. I was asked to do a few photos to document her aftercare, but I was probably in there for no more than five or ten minutes.

After I came back outside I saw that the father of the baby, a large silverback, was in a nearby enclosure so he could be close to where the mother was having her operation. We looked at each other and he came over to the wire fence, turned side-on to me and with a definite look of pride, indicated for me to see what was clinging to his back; his young son.

Between us were two layers of fence and one language barrier, but I could tell he wanted me to look. I spoke softly in appreciation and at the same time, had to think quickly.

One of my tasks that day was to find a cover image for the Howletts souvenir booklet, and here was the perfect moment. I managed to find an angle to make a portrait of his baby. You can just see a strip of green haze down the right-hand side of the frame where I couldn’t quite avoid the wire.

It was a magical moment and one not many people will have experienced except primatologists such as Dame Jane Goodall, and she wouldn’t have been fenced off from the experience. To be fair, I hadn’t spent years building up the trust of this gorilla, proud dad or not, so that fence was a welcome safety feature.

The photo did indeed make the book cover and of course I was pleased with that, but the longer-lasting memory for me was that moment of connection between myself, a proud dad and his baby.

A fleeting moment of course, and incomparable to the deep connections and impact Jane Goodall had throughout her career, but I like to think of it as my Jane Goodall Moment.

I very much hope her work will continue to influence our approach to, and understanding of, the impact of humans on the natural world. We still have a long way to go just implement what we already know.

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.

Keeping Organised

Any freelance will tell you that there is a great deal of admin involved in keeping things running smoothly. As a photographer one of the more critical elements of my admin, apart from making sure I keep my accounting up to date, is to ensure my photo archive is accessible.

By this I mean that if I need to look up an assignment I shot a decade ago, this shouldn’t be an exercise in rummaging through a suitcase full of random CDs, DVDs and hard drives hoping to find the one I need (and keeping fingers crossed that it hasn’t become damaged and un-readable).

Since I went digital in 2000 I’ve kept a catalogue of every assignment I’ve ever undertaken. It’s a simple piece of software which I use to record each job. It pulls keywords from the captions I’ve written to the image files, so when I go to search I just need a place or person’s name or something relevant to the assignment and the catalogue will return thumbnails of any pictures with matching keywords.

When I click on a thumbnail the software tells me which disk or drive that image (and therefore the rest of the job) is stored on. Since all my storage is kept in strict order it’s easy to find any job pretty fast.

The software, called Media Pro, has changed little over the years; I can’t remember who developed it because it has been owned by various companies including Microsoft. It’s now owned by a company called Phase One and I have to say it’s been brilliant.

The beauty of its simplicity is that even when Phase One took it over I didn’t have to start all over again, re-importing every job from the last 15 years. I just had to buy a new licence to use Media Pro, and the software automatically recognised my catalogue file.

Now you might be wondering why I’d bother to bore you with all this back-story, but the simple fact is that clients occasionally need me to relocate a job from a few years ago (and they’re often on a deadline when they ask me to do this) and my ability to reach back, find older work and resupply the images as needed is a valuable part of my service.

Of course this facility requires admin time, reliable storage and very occasionally a little extra cost in paying for a new licence, but I take these factors into consideration when setting my fees.

When you’re looking to hire a photographer it’s well worth checking what their storage and archive policies are; how long do they store images for? Do they have a system for retrieving long-forgotten jobs at short notice? Is their archive duplicated and held in different locations to protect against loss through flood, fire or theft?

No one can 100% guarantee to keep everything for ever, but I’ve kept my system safe and accessible for over 15 years now. I wonder how many other photographers can say that?

A day in her life, a lifetime for me

Image

My first published photo (click to enlarge)

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

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

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

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

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

Tear Sheet Tastic

This week I’m simply announcing the launch of a major new gallery on my website, this time featuring photographs as they can be seen within the context of their publication in magazines, books and websites.

Over the last 14 years since I went freelance I’ve had the privilege of working with some top-flight clients on really interesting projects and I thought it was time I used some of my cuttings to give my web visitors and potential clients more of an insight into how my work is used.

The images appear in no particular order, but are generally grouped by client or project so you should get a feel for the different styles of shoot as you go through and of course I’ll be updating it as new work becomes available.

I hope you like what you see, and as ever your comments are welcome.

Preview of the Tear Sheets gallery

Click the preview to be taken directly to the gallery