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.

 

You Can Photoshop That (truth in pictures)

When does photo manipulation matter?

I’m not going to dwell on recent events regarding the Royal Family and photo manipulation, but I’ve been meaning to write this post for a while. This post is not a judgement or criticism of the Princess of Wales, I’m merely using this as a springboard to a wider topic.

Very often I’ll be taking pictures for a client and the phrase “you can fix that in Photoshop” will rear its ugly head. Sure, many things can be fixed in Photoshop (other image editing software is available), but let’s run through the basic considerations before leaping on the cut-n-paste tool.

Editing time

Moving things around in Photoshop during the editing process usually takes a lot longer than physically moving (or removing) them at the time of creating the photo. Any decent photographer will strive to get everything right in-camera, ie at the moment the photo is taken.

On the whole, I build my editing time into my fees so clients know from the get-go what they’ll be paying for a project. If I then need to extend the editing time to correct for something I wasn’t given time to fix on-site and in-camera, I then have to go back to the client with a revised bill. That’s not always popular.

Deadline

Following on from the previous point, if editing takes longer than planned, this can impact my ability to meet a deadline, so why not save the grief by making sure everything is as it should be at the time the photo is taken?

My Sanity

One thing I try to do when shooting corporate portraits, is ensure the sitter’s hair is tidy, that there aren’t strands across their face and that their clothes aren’t covered in bit of fluff, flakes of skin etc. If it’s a post-lunch shoot, I’ll check there’s no food in their teeth before I start.

Sitting at a computer for hours, endlessly retouching stray hairs, spotting out bits of fluff or removing food bits from between teeth (YUCK!) makes me die a little inside. Far better to spot these things in advance and deal with them in real life.

Ethics

Ok, so this ‘could’ get complicated, but I’ll try to keep it clear and simple.

A retouched or manipulated photo can be used in a business website, leaflet, brochure or corporate social media post (provided the post isn’t put out as a news piece).

Manipulated photos are often used in advertising, which explains why McDonalds’ burgers look edible in the roadside billboards, but taste like damp cardboard whenever you come to eating a real one.

A retouched or manipulated photo CANNOT be used in a press release or as a news image, regardless of destination (web, print, social media, projection onto the Moon). The only retouching allowed would be, for example, the removal of dust spots caused by muck on the image sensor. Minor colour, lightness and sharpening adjustments are fine, but the image has to be an accurate reflection of the captured scene.

Does this make advertorial* a grey area? I don’t think so. Provided the article is labelled as advertorial, image manipulation is acceptable because anyone seeing the article will know it’s not a news piece.

There is a real danger in the area of corporate communication via social media, as Amnesty International discovered when they used a series of AI-generated images to highlight their reports into police violence and sexual harassment in Columbia in 2021. In Amnesty International’s case, they did label their images as AI-generated, but their ethical stance was damaged by the use of fake imagery and they subsequently pulled the posts.

Now AI is a whole new kettle of weird fish, but the principle is the same; images put out by organisations as news or current affairs need to be true. The humble, local press release photo is not exempt just because its’ not going to be picked up by the BBC or Reuters.

And it’s easy to think that a small change doesn’t matter; inserting/removing/tweaking the colour of a company logo, moving or removing an element, addressing some sticking-up hair, putting a hard hat on someone who wasn’t wearing one on a building site – all these are no-nos when the images are destined for any kind of news use, which includes press release material. It doesn’t matter if it’s the local mayor presenting a giant cheque to the local hospice, or a national news event; if it’s offered as a news item it has to meet the criteria of a news image.

For more detailed guidelines on what can/cannot be adjusted in a news image, the Getty guidelines are a very good start.

Staged pictures

This set of pictures from 2023 is a great example of when PR coverage involves a mix of ‘live’ and staged images. The captions for each image explain more of this concept:

In the example above, we have three typical types of PR photo from a single event: the fly-on-the-wall shot, the staged-to-look-not-staged shot and the obviously-staged shot. The middle one is perhaps the least honest, but it’s fair to say that nothing has been added or taken away from the scene as it was captured. In the final photo, I seem to recall going round picking up litter to tidy things up, but again it’s an honest photo of the existing scene. The viewer isn’t fooled that the artist was directed to pose, and this is a common kind of PR photo, but nothing was manipulated in editing software.

What about…?

It’s debatable whether some historical news images would be allowed today. The Independent newspaper’s in-house style of very heavy vignetting in the 1980s and 90s would potentially fall foul of today’s code of ethics. At the very least, a caption note would have to be added to say that the sky had been ‘burned in’.

Other historical pictures were stitched together to recreate a scene from multiple images, but each individual image was not a manipulation; they’ve merely been sequenced into a panorama or extra-wide view of something which existed in front of the camera. Such a photo would require a special note to editors today, but could still likely pass the truth test.

The bottom line

Most importantly, we live in an age where it’s too easy to manipulate images. This degrades the public’s trust in what they see, so it’s more important than ever to ensure that what goes into our news media is true and honest. An insignificant tweak here, a slightly heavy-handed adjustment there and before you know it, a photo is no longer an honest record of a scene or event.

In the course of liaising with a client on their brief, I endeavour to make sure I know the end-purpose of the work. If I’m satisfied they’re purely for corporate communications, I’ll allow for more adjustments than if they’re for editorial. I can adjust images to enhance certain aspects of an image. I might extend a plain backdrop, I’ll tidy up stray hairs and flecks on clothing and more besides.

However, I still prefer to get all these aspects tidied up in real life. It saves my time and my sanity!

*Advertorial is when a client pays to have an editorial-style piece placed in a newspaper or magazine. It’s basically an advert, but usually has the look of an editorial article. Advertorials must always be labelled as such.

Future Power

Happy New Year! Let me kick off by wishing all my clients, past, present, and future a wonderful 2024 full of pleasant surprises.

Now we’ve had our fun and a bit too much chocolate, I’m kicking off the first blog post of 2024 by looking at some specific work I carried out between 2022 and 2023. Not for nostalgic reasons, but because it illustrates several aspects of my approach to various photographic tasks and challenges.

There’s a fair bit of ground to cover, so I’m dividing this into two posts. Make sure you’ve signed up to my blog if you don’t want to miss the second instalment!

This particular work was undertaken for the advanced propulsion R&I centre IAAPS (IAAPS for short) at Bristol and Bath Science Park near Bristol. I came to working with IAAPS through another client, University of Bath, which owns and part-funded the £70 million research facility.

Chances are you won’t have heard of IAAPS but in essence, it’s where vehicle propulsion research meets real-world implementation. Advances made here will find their way into internal combustion, hybrid, electric and hydrogen engines of the future. This could include propulsion fuels and methods not yet discovered!

What makes this a great case study for me is that my work for IAAPS has covered portraits, industrial, and event photography. The images have been used on the website, in press releases, and in printed promotional literature, because while IAAPS’ main function is automotive propulsion research, like any business it has to attract clients and investors to maintain its status in the top three research facilities of its kind in the world.

This requires marketing, which requires marketing materials. That’s where the photography comes in.

Let’s get into the photography then.

Portraits.

I won’t dwell on this aspect too much as I only had to do a handful of images of the Engineering Director and the Principal Engineer at a time when some creative editorial images were required for trade press and the website.

This was in 2022 when the facility, though substantially built, was still a building site. We were also still under COVID rules, so in I went, fully compliant with Health and Safety and COVID regulations.

Operating a camera while wearing a hard hat, goggles, gloves and a mask had its own challenges. The peak of the hard hat interfered with the flash trigger on top of my camera, while the mask caused my goggles to constantly steam up. Gloves don’t make operating the controls of a camera easy, but being fog-blind while trying to look through a viewfinder that isn’t up to your eye is “a bit awkward”.

Still, the session was short and these were hardly the biggest problems faced by humankind, so I was happy to fulfil the brief.

There was enough infrastructure already in place for me to use a backdrop which added some context, I just had to avoid including any dangling wires or ducts which hadn’t been finished and tidied away. In the event, a single softened flash on the subject and a second flash to clean up the backdrop gave me the results I needed.

Industrial.

More interesting in photographic technical terms was the industrial photography. In 2023, I was booked in to take pictures of completed test cells where the research and testing take place.

For much of this work, I was able to use a tripod which opened up new photographic possibilities.

With the camera “locked off” I could use the High Resolution (HR) mode of my cameras. While the pictures would be used mainly on the website, where super-high resolution is less important, I was thinking ahead to when the client might want to use the images on large printed displays such as pop-up banners.

In this mode, the camera takes 8 pictures of the same scene, shifting the image sensor in each of eight directions as it goes. This captures details which would otherwise fall between pixel sites on the sensor. The camera combines the eight images into a single high-resolution RAW file which is four times larger than the native image resolution of the camera. In short, I’m capturing a 96MB file instead of the standard 24MB one.

So if my client ever needs to blow the image up to fill an exhibition display, the resolution will hold up far better than if they’re trying to print from a regular file. To my knowledge, HR mode outstrips the resolution of any comparable camera on the market. It could be bettered by a medium-format camera, but then the cost of the shoot becomes somewhat prohibitive, and almost certainly overkill for the needs of my client.

This technique works best where both the camera and the scene are completely still. Since the camera is on a tripod, and nothing is moving in the test cells, it’s the perfect scenario for using HR.

Alongside the general views of the cells, I was also tasked with capturing details of the rigs, vehicles, sensors and other equipment. Often this involved hand-holding the camera, so HR mode wasn’t going to work because of the risk of movement between each of the eight frames being captured. Also, you can’t use flash in HR mode, and some of the equipment required additional illumination using my portable studio flashes to lift shadows or to add a touch of additional colour using gels.

The gallery above shows a selection of the original images alongside screengrabs from the IAAPS site to show them in context.

These images are less likely to be blown up to create a full-bleed banner display, but high quality was still an obvious consideration when I took them, so of course I made sure I had one of my favourite lenses in my bag for this purpose.

One of the joys of the latest cameras (you may have heard the term “mirrorless”, which I won’t explain here) is that you can adapt older lenses to fit them. The Nikkor 55mm f/2.8 macro lens, launched in 1979, is designed for close-up photography. Indeed it’s considered by many as the benchmark by which all other close-up lenses are measured. I have no idea when mine was made, but they were in production for decades.

It’s also an excellent all-round lens for non-close-up work, being sharp and with no discernible distortion. It was perfect for the detail shots in the test cells where I was working at standard distances one minute, and extreme close-ups the next.

I decided to use this lens because I knew it covered everything I needed. I have more modern lenses with close-focusing abilities, but the Nikkor has the edge on overall quality. While it’s possible my client might not have detected the difference between images taken on one lens or another, I do believe in capturing the best-quality images I can.

What the old lens lacks is autofocus (or auto anything!) but manual focus just requires a little more care and concentration. It can slow you down, but that’s no bad thing as it also encourages more thought about composition.

Industrial photography can feel slow. You have to be hyper-aware of the details such as finger marks or dust on equipment as well as the usual considerations of lighting, composition and exposure, but I also enjoy the discipline this imposes.

There is no point rushing industrial pictures. It can take a considerable amount of preparation before even thinking about taking a picture, but my IAAPS client is happy to trust me to do what’s needed to get the best possible results. They’re dealing with high-end clients in an industry which is all about precision; being sloppy in the photography isn’t worth the risk.

While I know there will be additional trips to IAAPS for me in the coming year, I’ll welcome enquiries from anyone considering commissioning industrial photography for their promotional needs. Hopefully, this article gives a useful insight to my process.

My portfolio is always evolving, so check it out here if you’d like to see more of my work.

Grape Expectations

I am so sorry for that headline. Be assured, that’s the worst pun in this post!

One of the joys of my work is in meeting and photographing creative people who are passionate about their particular field of business.

When this work comes through recommendation, that makes it even more rewarding.

And so it was with Neil Tully MW (that’s Master of Wine to the uninitiated).

Neil, founder and creative director of Amphora Design in Bath, came to me through recommendation, even though he couldn’t remember who’d recommended me.

But that’s less important than the fact that Neil’s requirements were a perfect fit for what I do.

Neil needed fresh images for his professional social media and industry profile listings, but also for less predictable uses. He’s occasionally asked to supply pictures for editorials too, so I bore that in mind for our shot list.

Getting the right variety

A brief like this can seem woolly and vague, but I knew his photo session should cover the following:

  • Plain headshot against white/plain background
  • Headshots with some background interest
  • Feature-style images showing more of Neil in his surroundings

 

Vintage Chateau

The next question was where to do the session.

Amphora Design is the international wine industry’s specialist design and branding consultancy, but that doesn’t lend itself to an easy backdrop for pictures. One office of computers looks much like any other.

After a little more discussion, Neil and I decided that since his business location wouldn’t give us any specific advantages in terms of backgrounds, his home would be the better choice.

It turns out that Neil’s home in rural Somerset had the perfect combination of light, space and architectural interest to give us options for everything we needed.

A handsome, period building with room to set up a backdrop and lights, we also had a choice of feature backgrounds. Tall windows meant I could use natural light too, even though the day was quite grey.

A wonderful finish

We got the headshots done first because they’re the ‘safety shots’. If nothing else quite works, at least you’ve got the basic portraits in the bag. Headshots can often end up being rather routine, but on this occasion I had time to add a mix of closer and landscape oriented options which also worked well. They’ll give Neil more design scope too.

Then we moved on to the more editorial-style pictures. Using window light and an interesting, but uncluttered background created a more relaxed, less formal set of pictures. Perfect for PR and editorial use.

And before we knew it, we were done. A tidy set of images, taken over a couple of hours of conversation and laughs, it barely felt like work at all.

But that’s the joy of meeting and photographing creative people who are passionate about their particular field of business.

If you’re passionate about yours, but your images don’t show this, drop me a line and let’s get started.

Cheers!

Tim

 

 

Summer Light In Summary

With the weather we’ve been having this August you may not be feeling especially Summery, and it’s true to say I’ve had a challenging few weeks dodging downpours, thunder storms and gales, but it’s often assumed that Summer sunshine is perfect for photography.

Well it can be of course, but as a rule, when I’m taking pictures of people for their business website or press release, if we’re having to work outdoors and the sun is screaming down, it’s not always a great help. The subjects will either be squinting into the light, their eyes streaming, or if I put the sun behind them I’ll end up with silhouetted people unless I balance the daylight with flash – not always a simple task.

Of course there are things I can do to minimise the problem, but sometimes the chosen location and time of day for the photo session mean it becomes a purely technical exercise in overcoming the sun.

In the two photos featured here you’ll see how placing the subjects in the shade has meant they’re not not made to squint into the sun or get hot and bothered, while I’m able to fill in their features with controlled use of flash.

The client, the award-winning The Bristol Pest Controller, needed some images for their website, including a hero image, and they knew the location they wanted. My job was to make it all work for them and their website.

The session happened back in March of this year, but I don’t know if you remember, it was quite sunny back in the Spring! Sunshine in Spring is just as tricksy to work with as sun at any time of year, but finding the right location helps a lot to mitigate the issues.

And of course if it’s sunshine like we’ve had this August, ie not a lot, that can actually be quite helpful as it’s easier to balance overcast daylight and flash. The only problem this Summer seems to be how to avoid getting drenched or struck by lightning during your photo session.

 

Anyone for Tea?

In February this year I received an enquiry from a completely new venture. So new, in fact, that it hadn’t actually launched yet, which is always interesting because it often means I have even more opportunity than usual to add some of my creative input into the project.

The client, Tea for Three marketing and communications, consists of three directors, Helen Rimmer, Debbie Clifford and Michelle Gordon-Coles, and together they make a very dynamic team with backgrounds in journalism, public relations, charities, corporate communications and education.

It also has to be said, I’ve rarely worked with a team so completely on the same wavelength as each other. It’s obvious their personalities just mesh perfectly and I think this will feed their undoubted future success.

I gleaned all this from the pre-shoot planning meeting I had with Helen and the few hours I spent taking photos with the trio.

We started in a beautiful stone-walled meeting room at Glove Factory Studios where, having arranged Debbie, Helen and Michelle around a table in such a way as to keep the composition tight, I just left them to chat, smile, laugh and drink tea while I captured a series of moments from different angles until there was a good selection of images to draw on.

They had also arranged a trip up the road to Merkin’s Farm cafe for more tea (clearly their fuel of choice) so I could take more individual shots as well as a couple of more posed groups with a less “officey” look, aka outside with some nice countryside in the background.

During both sessions I was keen to not only fulfil the brief, but also to look out for angles and details that would give them those extra shots which are so necessary on a website; you know, those photos nobody knows they need until it comes to actually building it and realising they don’t have quite enough!

The end result is a set of photos which really show the coherence of this vibrant team as well as their very relaxed, friendly (while still utterly professional) approach to marketing. And judging from the testimonial Helen sent through (shamelessly requested by myself), I think Tea for Three were either very happy with the results or had got slightly tipsy on Darjeeling.

We had a very specific brief for Tim to follow, we didn’t want to come across as too corporate or stuffy and wanted our photos for our website to show us as friendly and down to earth. We were a little bit nervous but Tim soon put us at ease. He was great fun to work with and very patient when we laughed too much!

“Tim has a great eye for detail and came up with lots of ideas we hadn’t thought of. We were really pleased with the end results and would definitely recommend Tim.”

Helen Rimmer, Tea for Three Ltd.

A Cask Task

 

Unless you’re thinking of setting up a new pub or selling beer at festivals, you might not think this post is particularly interesting or pertinent to your business or photography, but this is a good case study for demonstrating how the photography can help shape the style of your website.

When I was approached to undertake the product photography for bar and cellar suppliers A-Cask, their website, brochure and even branding design was all up in the air and in need of a refresh. So they came to Leon Thompson of Creative Direction in Frome (who happens to work from the same building as me), who in turn came to me to talk about pictures for the site.

At this stage I knew Matt Wellsted was going to be working on the logo design and graphics for the site, which filled me with confidence this was going to be a good project to be on, but there wasn’t really anything in the way of visuals to guide my approach.

The obvious solution, since we had to get the photography under way, was to shoot as much as I could against white so that we’d have options down the line to do cutouts and change background styles and colours if needed. But everyone involved was so pleased with the results I turned in, it was decided the pictures should be used with their original backgrounds intact wherever possible and that this would influence the choice of background colour for the website and brochure pages. The final result is a clean grey against which all the photos, graphics and logos work really well.

So although I don’t always recommend starting with the photography when venturing to a new website or brochure design, if your site is going to be strong on images it can be a good idea to work this way and let the image style influence the overall style of the site.

Here’s a a flavour of the site and brochure below. Feel free to let me know what you think.

Case Study: Local NHS photography project

Sometimes I get a brief which sets a tone and style, but still leaves me plenty of room for creativity. This is always very rewarding work, but carries with it that extra frisson of responsibility – what if my pictures aren’t what the client envisaged? What if I stray off-piste? And in today’s example, working with NHS Bath And North East Somerset Clinical Commissioning Group (NHS BANES CCG for short) I knew I had to get each shoot right first time as public money has to be spent very wisely.

NHS BANES CCG needed fresh images for their annual review and new website. In the past they’d used stock imagery quite heavily, but there was a recognition that people engage better with pictures which are clearly not posed by stock models. Also, as useful as stock images can be for some applications, they can’t reflect all the subtle uniqueness of a local health service, and so I was approached with a view to getting the ball rolling on a new image library which their designers and PR managers could draw on as required.

I was sent to cover various events and illustrate different services within the CCG, but apart from an expressed wish to see light, engaging images with backgrounds knocked out of focus to emphasise the people, I was pretty much left to cover these sessions using a combination of set-up poses and fly-on-the-wall techniques.

Probably my favourite of all the photo sessions was the morning I spent with the Singing for the Brain group, who meet weekly and give those with dementia and their carers a chance to socialise and stimulate their memories through singing and fun activities. Capturing the pleasure on the faces of people as they met for tea and cake, and then when they got into the singing session, was really up-lifting.

The team I worked with were very pleased with what I turned in and I’ll be gradually adding to their library in the year ahead, so I’m looking forward to finding out even more about what the CCG does, meeting the people who run the services, the people who benefit from them and creating pictures which encapsulate the whole story.

Pink Elephants at Open Farm Sunday

The cliché of all clichés states that you should never work with children and animals, but I disagree. They can make excellent subjects and on Sunday 7th June I got to work with both as it was Open Farm Sunday, a national event and an opportunity for families to see the inner workings of farms all over the country.

I was booked to attend Meadowlea Farm in Somerset to capture a flavour of the day for sponsors ABP. The images were destined for press release and ABPs website and internal communications, so I needed to get a good variety of shots showing interactions between families, children, the farmers and animals.

I think my favourite shots of the day show a delightful young lad, Tom, doing some colouring in with one of ABP’s representatives, Robyn. The table was set up in one of the farm sheds, I just had it pulled forward enough to get the best of the daylight on them, then let them get going with pencils and crayons. After a few action shots I wanted them looking into my lens, so I told Tom if he looked carefully and smiled nicely, he might see the pink elephant that lives in my camera. It did the trick and Tom gave me a whole bunch of brilliant smiles, it was one of those moments you can’t help smiling at yourself. And of course Tom could see the pink elephant, children always can.

Case Study: Dental Laboratory

Judging by the number of photo shoots I’ve undertaken for dental practices over the last few years it’s become obvious that like most businesses, dentists have also come to realise that fresh, illustrative images really help to bring a website together.

When JSL dental laboratory first made contact with me to arrange photography for their new website, I could be forgiven for thinking they were another dentist, but JSL are a dental laboratory, not a dental practice. That is to say, they make the crowns, bridges, ceramic teeth, implants and so on which dentists use to make our smiles beautiful again.

JSL’s laboratory in The Circus in Bath is a tight space to work because it’s a fully-equipped lab, which meant my my main challenge was getting good angles on people and equipment as well as finding the space to place an off-camera flash when needed, but having gone over the required shots with marketing coordinator Joanna Lye we worked out the order the photos could happen in (bearing in mind it’s also an extremely busy dental lab with dental technicians Julian and Britta completing the team).

With this, as with all such commissions, my job wasn’t just to photograph a variety of people and things, but also to consider different dimensions to give the web designer the widest choice for their page grids. With a combination of portraits, team shots, technicians-at-work and details, there was a good selection of images by the end of the half-day session and you can see the finished JSL site here and a selection of screen grabs below.