by Tim Gander

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.

An unconscious female western lowland gorilla lies on her back on hay bales with a medical tube coming from her gaping mouth while a keeper and veterinary practitioner (both male, one crouching and holding her hand, the other standing over her checking her breathing) look on.
Still unconscious after her operation.
A baby western lowland gorilla is clinging to the fur of the father's back, looking directly into the camera.
A baby portrait with a difference.

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.

in Older Work / Personal Opinion / photographer / Uncategorized 0 comments
 by Tim Gander

From BTS to ECG, MRI to ICB – it’s all happening here!

First of all, apologies for the extended radio silence, I’ve been having an unusually busy time. There are reasons behind this which I will save for another time, another blog post.

Suffice to say, Google might have been disappointed by my lack of posting; my handful of loyal readers on the other hand might have enjoyed the quiet.

While much of my recent photography work hasn’t lent itself to sharing, there is one completed project worth a mention: a series of images taken around the local(ish) area of newly-installed Community Diagnostics Centres. This is work I’ve undertaken for NHS Bath and North East Somerset, Swindon and Wiltshire Integrated Care Board.

The brief was to visit the various hospitals and health centres in Bath, Salisbury and Swindon where new diagnostics facilities have been set up so patients don’t have to travel so far for MRI scans, respiratory tests, CT scans and the like. It’s a multimillion pound investment making testing facilities more accessible to a greater number of people.

What is always rather fun these days is when I’m asked if a few Behind The Scenes (BTS) photos are ok. This usually involves me being photographed while I’m setting up and taking pictures.

I’m fine with this as it helps the client with their social media, and most are happy to give me a mention too.

This set includes the BTS photo followed by the shot I was setting up, and a couple of further images taken during my visit to the rather swanky Sulis Hospital in Peasedown St John near Bath.

 

A medical nurse sits at a electrocardiogram (ECG) machine while a photographer adjusts the medical light behind her. The photographer's camera is on a tripod in the foreground.
I'm gracefully reaching across to adjust the light.
A clinical nurse sits at an electrocardiogram (ECG) machine, looking at the screen and operating the controls. There is an examination bed in the background.
One of the results of my set-up to photograph the ECG machine.
The Sulis Hospital Bath reception area with comfy seating, reception desk and hanging net curtains designed to bring light into the space. I blurred nurse is walking through the scene.
The reception area at Sulis, Bath.
A male patient is on the MRI bed wearing a hospital gown and the head scanner piece. A female nurse is standing the other side of the bed operating the controls.
To avoid my equipment damaging the MRI, I could only take this shot from the doorway.
Screengrab from the News page of the NHS BANES Swindon and Wiltshire ICB website showing the announcement of the multi-million-pound investment in new community diagnostics centres
The client was able to quickly update their news page with one of the images from the set.
in Case Studies / corporate communications / My News 0 comments
 by Tim Gander

Looking Back, Looking Forward

Yes, it’s that time of year when we all take a look in the rearview mirror to see what we’re leaving behind, simultaneously stepping on the gas, and accelerating into the year ahead. Or maybe we’re just trying to get away from zombies!

Assuming we’re not being chased out of town by the undead, I am of course building up (in a rather clumsy way) to my annual look at what has been and what is to come.

Except I’m not going to do that this time around, or at least not in quite as much depth as I normally would. I’m just going to say that 2023 had its highs and lows, and I have plans for 2024 which will evolve as I go.

At this point, I could sign off, wish you a merry Christmas and a happy New Year, and be done, but that wouldn’t be particularly satisfactory, would it? Maybe it would, but tough; you’re here now.

No, for this post I’m going to use broad brush strokes which I hope will also stimulate some thoughts within you, my current or potential clients.

Looking Back – 2023

While my stills work held up remarkably well, video demand seemed to drop off sharply. Instinct tells me clients are struggling to decide whether video is worth the investment. My advice is, talk to me! I’ll be happy to discuss your ideas and will be honest about your best options.

All too often I have clients come to me with only the vaguest idea that they want ‘some video of a thing’. But rather than allow me to guide them further, they either kill the project or go to someone who will happily turn their half-baked plans into a massive invoice. Don’t fall into that trap.

Even the stills work was a bit up and down this year. I’ve done pretty well, but I can tell businesses are struggling to see through the fog of wars, climate crisis, cost of living, and so on. Some are taking positive steps to keep their marketing on track, while others see marketing as a cost (bizarrely).

If you can’t stretch to video, keep using stills to keep your brand fresh and alive. They’re far more cost-effective than video and more adaptable, but they also need a clear direction (purpose and brief). Again, talk to me if you want to develop the germ of an idea.

Overall, 2023 has been ok. Its school report would read, “Could do better”.

View into a French seaside cafe showing sunlight hitting a white table surrounded by red, grey and natural wood chairs. The table is set for three, with mats and coffee cups.
From August 2023, a favourite holiday photo taken in Brittany. Photo © Tim Gander. All rights reserved.

A highlight of 2023 was a trip by rail and bike to Côte Sauvage, Brittany.

Looking Forward – 2024

So let’s gaze into the crystal ball.

I predict it’s going to be more of the same because the uncertainties that have troubled businesses since (to put it frankly) the Brexit vote of 2016 are not going to be resolved in the next few weeks or even months. Domestically we’re going to have a general election, so there will be plenty of people waiting to see how that shakes out. Which is frustrating because it could be yet another year of bumpiness. And who’s to say something else won’t come along in the meantime to create more market jitters?

My advice is, if you want to do something, do it. If you don’t, someone else will and they’ll steal all the credit (and potentially your clients).

Moving on from the pure business aspects of the year ahead, I’ve decided to have another look at something rather more ephemeral; the ethics of my business.

That isn’t to say that for the past 25 years as a freelance photographer, I’ve operated unethically but I feel we’re at a juncture where it’s not a bad idea to have a fresh think about how we all work and how we treat each other.

Towards the end of this year, I finally managed to update my Terms and Conditions (something I’d planned to do last Christmas!) and in 2024 I plan to add an Ethical Statement that will cover a wide range of aspects, from use of AI in images, to how I approach my personal project work.

This isn’t going to be easy as I don’t want to just put up a bunch of warm, fuzzy words and say job done. This will, in effect, put into text the moral rules by which I already work, but will also tie in some new issues which have emerged more recently.

There’s no harm in any business or organisation, however ethical they already say they are, spending a little time having a deep think about whether their ethical practices are up-to-date and whether they genuinely implement them. Perhaps every business should have an Ethical Statement against which their actions can be measured.

So look, I’m not going to make great proclamations about how I see the year ahead. It’s all too up in the air for that, but I have set out a couple of road signs.

At the risk of labouring my metaphors, I’m going to pull up at the side of the road to stretch my legs, before getting back in the car, stepping on the non-greenhouse-gas-emitting accelerator peddle and zooming off into the bright new dawn of 2024.

Thank you to every one of my clients, suppliers, friends, and colleagues who’ve made 2023 bearable. Let’s do the same, but more and better, in 2024.

Happy Christmas!

Tim

in Industry Comment / Personal Opinion / Video 2 comments
 by Tim Gander

Sound Advice

Another from my occasional series offering hints, tips and advice on video.

Sound vs Vision

Do you have any idea how important sound is to a successful video?

It’s one thing to have great visuals and a compelling storyline, but the one thing that will push your audience away is poor sound.

Ask any decent videographer and they’ll tell you this. More important than picture quality, is the quality of sound.

Now I’m no sound engineer, but I have built up enough basic understanding to know how to organise a video shoot to get the sound quality my clients need. That’s even when they don’t know what they need. Mainly that involves not allowing interviews to happen right next to a road drill. It means knowing when to use a boom mic, when to use a lav mic etc.

One of the first things I learned was to get the mic as close as possible to the sound source. That means those little shotgun mics you see mounted on cameras, well they’ll do an ok job. But if you really want to hold audience attention, nothing beats a close mic on the speaker.

Sound Analogy

In this way, I find it easier to think of sound and microphones in the same way I think about light and studio flash. By placing a flash close to the subject I can more easily control the balance between flash and ambient light (that is, daylight or room light).

Similarly, bringing the mic closer to the subject captures more of the speaker’s voice, less of the background noise. With sound it’s then easier to mix in ambient sound from a separate recording of the space if needed. It’s not a perfect analogy, but it helps.

Terminology

I don’t wish to bog you down in the complexities of sound capture, but it’s worth understanding a couple of basics. Why, as a client, would you need to know this stuff? Well it’s so when I talk to you about where best to shoot an interview, you have an understanding of what I’m thinking about and why certain options might be ruled in or out.

Depending on the space and its ambient noise, there are some basic choices to start with. First will be location. Of course this might be dictated by what the visuals demand, but wise choice of microphone will help eliminate the issues a particular location might have.

There are a few different types of mic, and the below are the ones I use:

Close-up photo of a SE Electronics pencil condenser mic clipped to the end of a stand against a white background.

A pencil condenser mic will give the best result for indoor interviews

Lav mic. For outdoors, lav mics work pretty well. A lav (aka lavalier, or lapel microphone) clips to the lapel. They’re designed to pick up as much voice as possible, ignoring background noise, but they’re not perfect. I have a couple of lav mics for when I need two people on sound.

Boom mic. A boom mic is a long, slim microphone that sits on the end of a boom arm. Sometimes shielded in a blimp (one of those Zeppelin-looking things, sometimes covered in fur), a boom mic is designed to pick up sound from a very specific angle and is best for outdoors use when conditions permit. It’s a bit like how a telephoto lens is designed to narrow-in on a scene. I have one for when the need arises. In fact it was the first mic I used regularly because they can be picked up quite cheap.

Pencil Condenser mic. My personal favourites. These look like stubby boom mics (see photo). They can have a variety of ‘fields of view’ depending on their internal design. For reasons of sound physics (ie something I don’t understand well enough to explain), they work better indoors than boom mics. I have two of these as I prefer them to lav mics and they’re great for two-person interviews.

A Trunk Full of Sound

Now a proper sound engineer will have a suitcase full of microphones. Many of each variety, more than I’ve mentioned above, and duplicates of each in case of technical failure. They’ll have mics which will have cost £thousands because they need the best quality and longevity. Consequently, for the services of a sound engineer, expect to pay a hefty price. It’s not unjustified, but it’s more like Hollywood budget than SME marketing funds. By contrast, I have more than my average client needs, but nothing like the quantity or quality of a full-on sound engineer.

My aim with sound is to make sure my clients get better than they thought they needed because THAT is what will hold audience through their video. And if getting people to watch your video to the end isn’t your goal, what is?

Real World Example

As a real example of the challenges faced by the videographer tackling sound, the video below was recorded in a very echoey space with noisy engineering works going on next door. Setting the mic as close as possible to the sitter helped with the worst of it, but now I have better mics and more experience, I’d do an even better job today!

For more examples, see my Video page. Or just to have a chat about whether I can help with your next video project, drop me a line.

 

in Advice / Video 0 comments
 by Tim Gander

Video Budget Breakdown

Ok, so you’ve read my previous articles and decided your business absolutely NEEDS video. What next?

Let’s just assume you’ve mapped out the whys, whats and wherefores of jumping into video. What you need to do next is start thinking about budget.

Originally I’d drafted a long-winded post about the various options and costs associated with video, from the DIY approach to the full production company treatment, but a) it was turning into a novel and b) there are too many variables to do the entire subject justice.

Instead I’ll concentrate on how you should think about budget when working with me. I hope that’s more useful!

A Breakdown of Costs

Of course every project will be different and require its own considerations of cost, but as a rule I generally work to my standard photography rates when it comes to planning and shooting video. Where stills and video diverge in terms of cost is when it comes to editing and delivery.

As many of you know, my standard stills packages include some pre-planning, the shoot rate, post-production and delivery as well as the end-user’s licence to use the images. Video works a little differently.

In the case of stills I have a fair idea how many shots can be realistically achieved in a half-day or a day, and from this I know how much post-production time is required. With video, the post-production is by far the longer process. If I spend a day shooting video, depending on the end requirements it could take a full week to finalise an edit. As with all things, there are many variables along the way such as whether I’m generating titles and graphics from scratch, researching music soundtracks and liaising with the client on those, or having to make multiple re-edits according to the client’s wishes before delivery. For this reason, video editing fees are set outside of the shoot fee.

To keep those fees sensible, I offer an hour or two pre-planning time with the client to work out the storyboard and logistics. At this stage I’ll also be putting together a plan for graphics, titles, music etc so that once I have the footage, I can get straight on with the edit. This way, before I even start shooting, you’ll already have a good idea of the scale of costs.

See the Video link above for examples of my work

Real-World Examples

I can offer a recent case study where I’ve shot a 15-second reel for the client to use across Instagram, Facebook, Twitter and so on.

After initial consultation time and hammering out the brief, it took me a couple of hours to capture enough variety of content to make a mini narrative work in such a short clip (it always takes longer than you think!)

I then spent time editing, liaising with the client on pacing, researching a suitable sound clip, bouncing edits between myself and the client before they were 100% happy, then delivered the clip in upright format. I then re-edited to square format and delivered again.

The total edit time for that clip was three hours. Sometimes the edit will go quicker, sometimes slower – it’s all down to the client’s requirements.

The fee came to £450.00 for the video, though this was discounted from a standard half-day fee because I was shooting stills at the same time, for which I charged a half-day.

As you can see, all kinds of factors can swing the fee up or down. Had the above example been a half-day of video only, the fee could have been more like £900.00 for the same end result. Here the stills fee, which was £590.00, meant I could reign in the video costs a fair bit.

Bear in mind when combining stills and video shoots in a single session, this will often limit how much attention to detail can be paid to either. As a rule, I prefer to separate the two.

Typically a full-day video-only shoot with pre-planning, research, editing resulting in two or three different edits can easily top £1,600.00, so hopefully these figures help when planning a budget for video.

Crucial Element to Budget Planning

This part’s easy. Talk to me. Tell me what you want to do and how you see it working. We can discuss content, logistics, timings and more. From that I can work out an outline estimate. If fees look as though they may have to rise, I’ll always flag this at the earliest possible stage.

Unless you want to go the DIY route, you’ll need to be realistic about the cost of video. I cannot stress enough how important it is to know what you want your video to do before committing the cost to making it happen. A good video should at least pay for itself, either in terms of direct sales, or in terms of brand enhancement and of course the time you’ve saved by getting me in to do it for you.

So drop me a line and let’s get the ball rolling on your video journey!

in Advice / Video 0 comments
 by Tim Gander

Has Video Grown Up?

This is the first in a short series of articles discussing the various pros, cons and considerations for businesses and organisations to get the most out of video. I’m going to start with a bit of background.

In the Beginning

In the beginning there were words, and words were good. Actually, images pre-date words by some considerable margin, but since Egyptian hieroglyphs are pictures which represent language, maybe it’s a moot point. I digress.

The point is, still images remain the most portable and often most potent and powerful method of disseminating information. There’s no denying though that video has exploded in popularity over the past decade.

Where Are We Now?

I don’t want to state the obvious, but let’s just recap that the power and popularity of video has its foundations in the convergence of Web 2.0 with digital cameras, followed by the rise of social media and easier access to the creative tools to bring us to where we are.

What has changed in more recent years is the refining of of the equipment and the editing software, bringing the craft within reach of anyone who understands images (namely photographers).

How Did We Get Here?

In 2008 the first full-frame digital SLR capable of video capture launched. It was “a game changer” but only in the right (experienced) hands. I wasn’t ready to offer video at that stage.

The tipping point has come with the emergence of mirrorless cameras, where the combination of stills and video capability in a single camera might be said to have come of age. It still requires more than just flipping a switch from Stills to Video, but that’s the nature of the medium, not the technology.

Where Do We Go Now?

All of the above leads to a situation where high quality video is now more accessible to a wider range of businesses than ever before. That isn’t to pretend it’s cheap or easy, but where it would previously have been impractical and excessively expensive to commission video for an SME’s communications, it can now be achieved with a far more attainable investment.

I mention it’s not cheap, but if you consider I can deliver a sequence up to 60 seconds long for a little over £1,000.00, that’s pretty astonishing. Of course overall cost depends on various factors which I’ll cover in a future article, but a few years ago that kind of budget would have left you with something you wouldn’t want associated with your brand. To have a video shot professionally and with any level of polish would have set you back £10,000.00 + and then you’d have the expense of getting it out there, most likely through paid-for advertising channels (more £££££££!).

Angled close-up photo of a mirrorless camera mounted on a video tripod with a follow-focus device attached.
Crossover stills/video cameras are highly capable machines now

Where Do Photographers Fit In This New Paradigm?

There are still differences between the service someone like me offers, and that of a full production company. However, like many photographers, my service is in addition to, not instead of, the Hollywood treatment. It’s a service which is positioned to give SME’s a step up into the world of video. The finer differences between this and the full production house service are an aspect I’ll discuss in another article later in this series.

I’m concentrating on in-house interviews, client testimonials and B roll (think flavour-of-the-event, office/business overview and retail events). Clips for YouTube, Vimeo, Instagram reels etc are an increasingly large part of my practice, often alongside stills work (not always practical or possible, but always worth asking about).

You can see some of my video work here.

That’s A Wrap!

If you’re not sure whether video has matured enough for your needs, I hope this article puts things in context. In simple terms, video is here, it’s more available than ever and it can be incredibly powerful.

Whether it’s right for your business is a question I tackle next time. Make sure you’re subscribed so you don’t miss it!

in Industry Comment 0 comments
 by Tim Gander

Smart Power to the People

When communicating an abstract or technical idea, creative photography is vital for engaging your readers.

In this case study I’ll share some insights of a shoot I undertook for University of Bath late last year.

Background.

We needed to illustrate the university’s research into managed power distribution and supply, in particular the regulation of the “last mile” from the national grid into your home. You might not think the subject electrifying, but actually it’s interesting research and vital to anyone who uses electricity!

The research by Furong Li, Professor in Electrical Power Systems, is looking at how mass data can be used to adjust supply to the home according to real-time demand. Currently the supply is regulated using relatively old data and inflexible systems.

You can see the article here, but in this post I’ll go into the background to the photography.

Concept.

When I was approached by the university’s web content editor, she already had the idea to use a model of a pylon, while I suggested we match that up with a location where a real pylon could reinforce the initial idea.

Furong came up with the location and so we met on a slightly dreary November morning to make the pictures.

Actually the dreariness helped because I wanted to use portable lighting to make the shots more three-dimensional, and the clouds added drama.

A simple, portable lighting setup.
Variations on a theme...
I played with the idea of lining up the two pylons. It didn't quite work.
Screen shot from the article with the final image choice.

Execution.

Having got some basic headshots in the bag “just in case”, we then played with various ideas and positions to ensure there was a good variety of images to choose from; not only for the initial article, but also for other uses down the line.

Photographers often forget to shoot “around” the subject or the idea, leaving the client little to choose from should an initial layout change, or when the shots are needed in different media. I’ve just shown you a couple of the other shots here, with the final choice being visible in the article itself.

This was no huge production; the ideas were simple and effective and the final results are eye-catching. Perfect for an article you want people to notice in a sea of online content.

in Case Studies 0 comments
 by Tim Gander

A Hand Up for Startups

Necessity is the mother of invention, so they say, and a lot of people are going to be doing a lot of inventing in the coming months and years.

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Brainstorming a new venture?

People who have been made redundant and those who have just had enough of the daily office grind will be setting up new ventures, which in the teeth of the fiercest of recessions is a brave thing indeed.

Which is why I’ve launched a new service to help anyone considering such a move. Called Startup Exclusive, this is a photography package designed to give new ventures the vital images they need for their websites, marketing materials and social media channels.

From headshots to product shots, or pictures illustrating the services they offer, new business startups will have the basic images they need to get going and at a price that shouldn’t sink them at launch.

At the very least I’ve always prided myself on publishing a fee structure which allows clients to get an idea of what to expect before they’ve even called me, and with Startup Exclusive added to my fees guide, they’ll be able to work the cost of bespoke photography into their business plan long before they’ve committed to booking me.

So if you, or anyone you know, is considering a new venture, point them to my website so they can at least get a sense of what’s available and what the likely fees will be. You never know, I could end up documenting the birth of something really big.

in Advice / My News 0 comments
 by Tim Gander

I’ll Make These b****y Pictures Move!

There is a vague recollection in the furthest reaches of my mind of my dad making a joke about “moving pictures” while shaking a photo up and down in his hand. It involved the “b” word and was very funny. You had to be there.

Which brings me in the clunkiest way possible to the announcement that I have added moving pictures to my suite of client services. They’ll even have sound! And they’ll be in glorious colour (actually, black and white is also an option, but let’s not get ahead of ourselves).

Yes, lockdown has given me the opportunity to learn a huge amount about shooting video, recording sound and using editing software to bring it all together. I’m not going to pretend I’m the next Martin Scorsese, I still have much to learn, but I’ve used the time to get the basics nailed down.

My focus will be on corporate testimonials, talking heads and interview pieces, giving businesses the material they need to keep putting fresh material out on social media. I think video is well suited to this kind of use and will help my clients communicate more effectively than they might with just a text-based blog.

To give myself material with which to practice camera settings, focus, exposure, colour balance, sound recording, editing, and so on, I shot a short film at home using the best model I could find in my house (my wife). She did a fantastic job, and while the result is probably not what you would call corporate style, it demonstrates much of what I’ve learned in this exercise. You can see the film here.

The result is just over 4 minutes long and it’s entitled A SHEDx Talk with Dr Helen Roberts. I hope you get a few minutes to watch it, because the feedback I’ve had so far has been that it is calming, soothing and inspiring!

Dr Helen Roberts delivers her SHEDx talk.

 

in My News 0 comments
 by Tim Gander

Beyond the Brief

Next time you’re planning to update the photography for your corporate communications, why not consider allowing some additional creative time within the session? Allowing some creative space beyond the brief could result in some interesting results.

An excellent example of this is from November last year when I was commissioned to create new team head shots for business data analysts Kaiasm – I’m massively paraphrasing what they do for the sake of brevity.

Liam McGee poses with his hands raised, palms-up in a supplicant pose, with a data graph mimicking a halo behind his head.
Liam McGee poses in front of a data graph.

There was one shot which I pretty much took as a bit of a joke; I’d noticed how the data graph behind the founder Liam McGee’s head made him look like he had a halo. When I mentioned this to him, he obliged with a suitable pose and expression and I took the shot.

The photo was included in the final edit because I know clients often enjoy the odd outtake in their set, but I didn’t expect to see it used.

A couple of weeks later, the local paper ran the photo with an article about Kaiasm and their pending expansion plans.

So allowing some creative freedom and a dollop of humour can lead to unexpectedly useful results. That photo will have drawn far more attention to the article than any plain headshot or stock image of the office would have done, and will have conveyed Kaiasm as a business run by human beings, not robots.

Bear in mind the creative possibilities, even the occasional happy accident afforded by engaging a professional photographer, and you may find the results are a revelation.

in Advice / Case Studies 0 comments