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

Three In One

The majority of my work is based around photographing people; professional headshots, people in business, in their office environment or at corporate events. However, every so often I’ll be called upon to make purely architectural images too.

It’s a side to my practice which I enjoy, so it’s a particular pleasure to get to work with property development company Bellhammer through their design agency Blast Design Limited.

Those with a good memory will recall that my relationship with Bellhammer’s Bristol city centre project (Assembly Buildings A, B and C) started during a headshot session for another client, when I took an opportunistic photo of Building C under construction. Since then I’ve returned to the site a few times to capture various stages of the project.

I was there again in June, with a brief to capture various aspects of Buildings B and C, but also to get an angle which included all three buildings in a single shot. That’s not as easy as it might sound, requiring some consideration of how the light falls on the buildings at various times of day, as well as trying to exclude other buildings or scrappy bits of cityscape.

However, give me a challenge and I’ll rise to it (within the bounds of feasibility of course).

What I came up with was two options. One based on a reference photo supplied by the client, the other an angle I found by walking the site until I located a spot which would work.

The more ‘standard’ angle is the stronger of the two images, but the one looking up at the buildings also has its strengths and uses. Giving a client a choice allows them to adapt images to whatever design and format they need, even if they don’t yet know what they need it for.

Sections of three modern office buildings shown together in a 'compressed' view using a long lens. From left, a burgundy-coloured building, the centre building has yellow accented balconies and the righ-hand building features green external steel girder construction.
Left to right, Buildings B, C and A.
Wide angle view looking up at buildings C, A and B with blue sky beyond their rooflines.
Left to right, Assembly C, A and B

Some of the images are included in the micro-sites for the buildings, including this (see below) from Building C taken during a previous trip.

Screenshot from the Assembly C website showing the open-plan reception area with the letter C layered over and the square footage available. A blurred female figure is striding through the photograph, carrying an opened laptop.
Still from the Building C web page.

Architectural photography, done properly, won’t generate anything like the quantity of images that something like a headshot session or event coverage might. More time and consideration is required; finding the best angles, setting up a tripod, making sure verticals and horizontals are correct (unless you’re after that leaning look, of course) and often having to wait until a person or lorry or whatever has cleared the scene.

The challenges of architecture are very different to pretty much any other genre of photography, but if you have a project which needs photography, I’d be delighted to hear from you!

Email me, or call 07703 124412 for that initial creative chat.

in Architectural Photography / Bristol / Case Studies / corporate communications / photographer 0 comments
 by Tim Gander

Two Cameras, Two Brains, One Photographer

Following on from my previous post focusing on my work with advanced propulsion R&I centre IAAPS (IAAPS for short) near Bristol, this week’s post centres on the official launch held in September last year.

However, rather than talk specifically about the opening itself, I’m going to use this as a case study to delve into the logistics and thought processes employed when covering an event like this.

This area of photography uses a different part of the brain from industrial work, which is very measured, precise and considered compared to the fly-on-the-wall, reactive style required for an official opening, especially one on the scale of the IAAPS launch.

The truth is, I enjoy both. Industrial photography is a chance to slow down, be methodical and produce images with a bit more finesse, while the launch event gets my editorial brain whirring. I’m having to react to emerging scenarios as I work my way through the brief and the events as they unfold.

Each aspect of an event like this requires a subtly different approach; choices around composition, timing, reading the light, lens selection – at times I’m making multiple decisions all at once. In these situations it helps to have both cameras on my shoulders; one for wide shots, and the other for long shots, which saves a lot of lens swapping.

And yet I have to remain calm and composed because no one needs a stressed photographer in the room.

Keeping a level of control starts with having a properly constructed brief in advance of the event, something IAAPS’ head of marketing communications is good at.

Armed with a solid brief, I can keep an eye on the timings of various key moments as well as check off the pictures I’ve achieved. Having a list I can work through methodically means I can keep the scale of the task in context. I can also look for additional off-brief pictures.

Reacting to changing moments and requirements is where the stress can creep in once again, but knowing how to pace a job and when to tie up an element of coverage is a skill in self-management.

For example, it’s easy to get bogged down in trying to capture absolutely everyone as they gather and chat. These make for good “flavour of the day” pictures, but not every attendee needs to be recorded. These pictures have their uses, but at some point, I have to gauge when opening speeches are about to start.

For this, I have one eye on the schedule, and one on the key speakers. Their behaviour changes as they realise they’re about to step up to the podium, and that’s my cue to ensure I have the right kit and settings already sorted.

Of course, I will have arrived ahead of the event to check out things like the light levels on the stage or the positioning of the podium, but these can change at the last minute, so it’s good to do a final check before speeches and presentations kick-off. Ideally, I’m in position before the speaker steps up onto the stage.

For speeches, I’m looking to capture the speakers with their heads up, eyes open and preferably making some kind of hand gesture. It’s also important to capture a variety of shots with design space around the subject, as well as a choice of upright and landscape orientations.

All this is to ensure that when the images are put out to press release, there’s something to fit the space on the page. If they’re used in corporate communications, either online or in print, that design space might be handy for a text box or graphic element.

Simultaneously, I’ll be looking for interesting and unusual angles, tight shots on the speakers as well as wider views showing the venue and audience.

Recording the setup before guests arrive is a useful reference for future events.
As guests arrive and start to network, I'll be on the lookout for interaction shots.
A quick overview moments before the speeches start.
Framing the speaker (Chris Skidmore MP) with members of the audience gives a sense of "being there".
A wider shot showing the speaker in context (Prof. Ian White, Vice-Chancellor University of Bath).
That decisive moment as the ribbon disintegrates.
Bringing together the people and the facility...
...to show elements of the facility and a flavour of the event.

If a speech is only a few minutes long, I have to make sure I divide the time carefully and prioritise the must-have images over the nice-to-have extras.

In the case of the IAAPS launch, there was a series of speeches followed by a ribbon-cutting. So I made sure that as the final speech drew to a close, my kit and I were both ready for that moment. This included organising the group, arranging the props and making sure the photographer behind me, who’d brought the wrong lens for the job, could also get a few shots without the back of my head being in the way.

This particular event was a busy one. After the ribbon cutting came tours of the facility for stakeholders and members of the press, so I was back in fly-on-the-wall mode, looking for interactions between visitors and the cells and capturing more images for potential press and industry journal use.

With an event like this, it’s important to pace the coverage. It’s too easy to get into a spin or to phase out and lose concentration. To most people, it might look like ‘just taking pictures of something happening’, but without a considered and measured approach, things can run away from the photographer very quickly. It’s important to take a moment every so often to pause and re-check the brief, the progress and the next stage, all while looking for ways to ensure the resulting pictures have as much impact as possible.

While there were no surprises at the end of this event, I always check in with my lead contact before pulling away. It’s also a good chance to double-check any urgent image requirements as sometimes the client will want a selection for immediate social media use or a press release.

Of course, the end of a job isn’t the end of the job; there’s captioning, editing, filing, supply and a whole load of other tasks around fully completing a job. Perhaps that’s a blog post for another time though. After 951 words, it’s time to take a break.

in Case Studies 2 comments
 by Tim Gander

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.

Relaxed portrait of Professor Rob Oliver of IAAPS with computer cabinets visible behind him.
Portrait of Rob Oliver, IAAPS Engineering Director and Professor of Practice.

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.

Photo is a low-angle view of a BMW on a test rig.
The original image was created as a 12,000 pixel high-resolution image.
Screen shot from the IAAPS website showing a BMW on a test cell rig.
Scaled down for the website.
Close-up photo of red and black cable terminal connectors.
The Nikkor 55mm lens is a benchmark closeup lens.
Screen shot from the IAAPS website featuring a photo of cable terminal connectors.
A simple close-up image helps break up text and add visual interest to a web page.
Photo of orange and blue hydraulic lines connected to machinery terminals on the left of the photo with a yellow winch hand controller on the right.
General details from the test cells make for useful stock images for the client.
Screengrab from the IAAPS website featuring a photo of a hydraulic winch controller and hydraulic lines.
From the Our Facilities page of the website, this image sits behind scrolling text panels.

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.

in Case Studies 3 comments
 by Tim Gander

See The Portfolio, Understand The Process

With the exception of David Bailey, every photographer has to keep their portfolio fresh and updated regularly. While for some that still means a printed volume, for most photographers it’s their website, which is what I’ve been working on lately.

The question photographers have to ask themselves as they work through this process is, “What makes a picture worth adding to my portfolio?” The question you might ask yourself is, “Why should I care?”

Well if a client understands the thinking behind what makes a good portfolio, they can also understand what a portfolio says about the photographer behind it.

There’s plenty to think about, but it’ll start with context (ie. what kind of photographer they are and what kind of work they want to attract), but setting that aside for now, the best way for me to illustrate the subject is by setting down my thoughts. Through this process, I hope you’ll gain some useful insights too.

1. Why Update My Portfolio?

This one’s simple – a regularly updated online portfolio keeps Google (and other search engines) happy. Each time a search engine indexes a website it’s looking for fresh content. Fresh content boosts the value of the site and elevates it in search rankings. I get a fair bit of work this way, so I need to keep my portfolio updated.

2. What to update it with?

Every few months I go through my Portfolio pages to see what’s especially old, or what might no longer be relevant to the types of work I’m doing or want to do.

Showing certain kinds of work will attract enquiries from certain kinds of clients, which is why my site is fairly heavily skewed towards showing corporate portraits – that’s both the work I do and the work I want.

Age isn’t everything – I’ll keep older pictures in if they’re strong and still serve a purpose, but on the whole, I’m looking at recent jobs to see what might be suitable to add to or replace existing work.

When I’m trawling through my recent archive I’ll be searching for images that fall into one of the three portfolio categories: Business Portraits, Corporate Communications, Editorial & PR.

3. What Makes A Portfolio Picture?

That’s where it gets trickier, and while I don’t think I nail this one every time, I see photographers who haven’t mastered the challenge at all. They include their favourite pictures, but this is the wrong place to start.

The challenge is to disassociate yourself from the making of the picture. A portfolio picture isn’t good just because you like it. It isn’t good because it was hard to make, or because you made a silk purse from a sow’s ear.

A portfolio picture has to be good in its own right. While Google won’t even care if a picture is interesting, in focus or correctly exposed, a potential client has to be convinced by the quality of what they see. What they won’t see is the effort or the circumstances surrounding the making of that image, so its entire strength will come from its quality and content.

Screen grab from Tim Gander's photography website showing a selection of business portraits.
Business Portrait examples.
Screen grab from Tim Gander's photography website showing a selection of Corporate Communications images.
Corporate Communications examples.
Screen grab from Tim Gander's photography website showing a selection of Editorial and PR images.
Editorial and PR examples.

4. What Is The Context?

I mentioned the context in my introduction, and there I was referring to the type or field of photography being promoted. A wedding photographer will have different considerations than an industrial, architectural or food photographer.

Similarly, I need to apply different considerations when choosing images for any of my three categories. Let’s briefly go through those:

Business Portraits

Here I want to show the quality and style of my portraiture, but I’m also looking for some variety. Beyond the basic headshot against white, I also want to show I can create different styles, moods and even orientations (upright or landscape). I also include a few images to suggest that a portrait can mean more than a simple headshot and can include some context, which stylistically starts to overlap with Corporate Communications.

Corporate Communications

This is broader than just headshots, so it’s an opportunity to show greater creativity. These images might include props or location elements; they might be staged or fly-on-the-wall action images. People presenting, interacting with others or with their environment are fairly typical examples of the Corporate Communications image.

I should add that the term Corporate Communications refers to everything I do for my clients, but I sub-categorise these images to differentiate them from pure Business Portraits or Editorial & PR images.

Editorial & PR

This gallery is unusual in that I’ll often include screen grabs of the images ‘out in the wild’ in news media sites, allowing clients to make the connection between my work and the possible exposure it will bring them.

The nature of the category means I might be showing work which has more of a story to tell, but the image should still be as self-explanatory as possible (though my captions will also help explain the context and reason for the image).

For this category, I’m looking for images of a news or feature style. They were shot for a newspaper, press release or corporate news web page and therefore have a different look to those shot for general Corporate Communications.

Site-Wide Refresh

While the focus of this article has been on the portfolios, I also regularly update my homepage image as this is the first impression potential clients get. It also makes the site more attractive to search engines as they favour new content over old.

As if all that wasn’t enough, this time around I’ve also updated some of the featured pictures for the top-level Portfolio menu, again keeping the site a bit fresh for returning visitors and search engines alike.

Screen grab of the Portfolio menu page of Tim Gander's photography website showing three thumbnail images to illustrate each of the Portfolio categories; Business Headshots, Corporate Communications and Editorial and PR.
The thumbnail images help to guide clients to the relevant gallery.

Summing Up

In essence, if you’re a client casting around for a photographer for your next project, it’s worth having a bit of insight into what you’re being presented and why.

If a portfolio doesn’t even present examples of the genre you need, move on to the next site. For example, photographers who showcase family portraits are probably not going to grasp the particular challenges and requirements of corporate or business portraiture.

It’s important to match genre as well as style and quality to your requirements to avoid costly mistakes, and I hope this article goes some way towards avoiding that scenario.

Now you’ve read this, why not take a look back at my website? I’d love to hear if it’s changed your perception of what you see.

in Advice / Case Studies / Industry Comment / Personal Opinion 0 comments
 by Tim Gander

Is Video The Answer?

Is video the answer? Well that depends on the question. This is the second in a short series of articles discussing the various pros, cons and considerations needed to get the most out of video. You can read the first in this series here.

The Fundamental Question

So I’m starting with the fundamental question you should ask yourself, “does my business need video?”

Certainly it’s hard to avoid these days; from YouTube to Instagram, TikTok, Facebook and frankly any platform you care to name, video has become a solid part of any social media activity, but that doesn’t necessarily mean your business has to jump in to keep up.

If you want to jump to the spoiler, just scroll to the bullets at the end of this post. If you want more in-depth reasoning, read on.

The first factor to consider is whether your clients/prospective clients would learn anything from the addition of video to your communications. If you just want a ‘vanity video’ that’s fine, but be aware it might not appeal to those outside your organisation.

So flip your perspective and start from the client point of view. Ask whether you think they would sit through a 60-second clip that showcases your product or service. If your video doesn’t say something fresh and doesn’t get to the point quickly, you could be wasting your resources.

You might at this stage consider whether stills and text might not serve you better. Plus if you haven’t got those nailed down on your website, are you sure you’re ready to jump into video?

It’s all too easy to get bedazzled by stats that tell you there are a billion videos uploaded to the internet every 15 seconds, but that doesn’t mean anything. If what you upload doesn’t serve your cause, it isn’t doing its job.

What’s Your Story?

This isn’t to say you should avoid using video at all costs. In fact there are many businesses missing a trick by avoiding the fundamental question altogether.

The reason will often be that they don’t believe their product is worth a video, or that it wouldn’t work because it’s a ‘boring’ product or service. But most businesses have a core story to tell. It could be about their product/service, or it could be about their capability. At the absolute basic level, it might not be about what they sell so much as about the team that makes it all happen; their people.

The people that make up an organisation are often their greatest asset and as humans we like to connect with the experiences of others. So why not bring out the human side of your business? Showcase who you are, not necessarily what you do. Short colleague interviews could be one idea to consider.

A composite of stills from a recent Instagram video for Calvin Klein store opening at Clarks Village in Street, Somerset

Flip It Again

This option can be more complicated, but consider asking your clients what they think about working with you, and commit their views to video. Testimonials are a powerful tool, but with video testimonials remember to keep asking the question, ‘if I wasn’t me, would I watch this?’ They need to be concise. They also need to avoid being self-indulgent (ie too long!)

Time Is Money

Yes, the longer your video is, the more expensive it’ll be to produce. Longer videos require more footage and more editing, and editing costs really can spiral quickly. Think about your own attention span and ask how long you’re happy to sit and watch a product/service video. I bet it’s not much more than 60 seconds, 90 tops.

So you could spend £thousands on all the footage and editing, only to have no one watch the result beyond the first 30 seconds. I’ll wager there are plenty of people who pre-check the length of a video before they’ll even click on it. If they see it’s two, three or more minutes long, they might not click Play at all!

Takeaways (things to ask yourself)

  • Is your product or service suited to video explanation/promotion?
  • Who is your audience and what do you want them to take from it?
  • How short (not how long!) does your message need to be?
  • Would you be better off with a series of short clips?
  • How will you promote the video (and where will you host it) once it’s made?
  • Are there other areas of your website and marketing which need attention first?

That’s a Wrap!

I’ll keep returning to this subject because there are as many angles to cover as there are kinds of businesses in the world, so no single article can cover every scenario. However I hope this has got you thinking about the basics before launching into something that requires time and commitment (and not inconsiderable funds).

In the meantime, if you’re considering dipping your toes into video and would like some personal advice, feel free to drop me a line.

Thanks for reading!

Tim Gander is a freelance photographer and videographer based in Somerset. He covers all aspects of corporate communications, serving clients in the South West, centring on Bristol and Bath. You can see examples of Tim’s video work here.

in Advice / Case Studies / Video 0 comments
 by Tim Gander

The Pop-Up Job

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

in Case Studies / Uncategorized 0 comments
 by Tim Gander

Buckle Up! It’s going to get rough (again)

The previous 15 years has been a tough time for many, myself included, so what will this coming recession mean and what can I do to help your business?

The short answer to either of those questions could be ‘not a lot’, but I think there are ways we can coordinate our approach and help each other. Here’s a broad outline of my plans as we head into choppy waters.

In the wake of the pandemic, I set up a Startups Exclusive package. Aimed at those starting up new businesses, perhaps as a result of being made redundant or deciding on a career change after being furloughed, this is my most competitive package and is a gesture to help individuals or teams of up to three to get their branding images in the bag. It is limited to genuine startups though, so please don’t try to book this if you’re an established business 🙂

Since the fallout of the pandemic is still with us, compounded by Putin’s nasty little war, it seems fair to keep this package going for the foreseeable future.

The other way I can help your business communicate with your audience is through video work.

Now I’m not going to pretend video is cheap. Cheap video is cheap, but that doesn’t work for most professional businesses. Even the YouTube and Instagram influencer crowd has had to up their game, but good quality video, the kind you’d want representing your brand, has become far more accessible than it used to be.

With sensible pre-production planning, a day’s video shoot can often be edited a number of ways to suit different platforms and target specific audiences. It requires close collaboration and good communication to get the most out of a video session, but the results achievable with relatively modest outlay can be far better polished than anything a solo photographer could offer just a few years ago.

Check out the Video link on my website for examples of my work

To help clients save valuable marketing budget, I’m very open with clients about what I can do for them in terms of video. Before there’s any commitment between us, I’m happy to discuss an outline brief with you. If your project requires a crew or production company, I’ll tell you I’m not the solution you need. You’ll either have to increase your budget and find the right supplier, or trim your expectations to match your available budget.

If what you want is office B roll (a flavour of your team, culture and working environment, for example), that I can do. I can undertake interview projects, short promo videos – it basically comes down to what you require and what resources will be needed to achieve that.

Ultimately, where this helps businesses is they can now access a quality of video they simply couldn’t raise budget for previously, and video has definitely become more important in corporate communications than ever it was previously.

Underpinning the services I offer, I’ve always believed that communication, coordination and flexibility are the best routes to success. I’ve been freelance for almost 25 years now, and in that time I’ve seen clients flourish and I’ve seen clients fail.

Thankfully far more have flourished than have failed, but I can honestly say that the failures were always the ones least open to communication with me, least willing to take advice on how best to make a project work and a realistic view of the resources required. I was simply a tool for the task, rather than a collaborator in their project.

It will have been a wider, embedded corporate culture which lead to this failure for sure, but if you’re open to communicating, being realistic about what it costs to achieve your goals and can be flexible to adapt to changing needs, we can help each other.

The one thing to keep in mind is that I want you and your business to succeed, even through the toughest times. If we can achieve that, just think what we can achieve in calmer waters!

If any of this chimes with you, why not drop me a line? It’d be great to hear from you.

in Advice / Industry Comment 0 comments
 by Tim Gander

No One’s Bursting My Bubble

I’m not sure “busy” quite describes the intensity of my work recently. The fact is, since April I’ve been busier than at any other time in my 23-year freelance career.

This is a post-covid bubble for sure. Pent-up plans, postponed events and long-neglected websites have suddenly become the focus of many corporate marketing teams, and I’ve had the pleasure of working with many to shoot the stills, and now video, they need to bring those plans to fruition.

Biggest Project to Date

One project in particular has dominated my diary. I suspect this won’t be the only blog post I reference to it either, and that has been the stills and video content for Shaw & Co’s new website.

The Shaw & Co website homepage.
The new Shaw & Co website.

Shaw & Co has been a long-standing client of mine. In fact I first photographed company founder Jim Shaw way back in 2010 when he was at a different, now defunct firm in Bath. But my work with the Bristol-based corporate finance firm came about by a chance google search for a photographer which has kept me going back ever since 2017.

And so for the past 5 years I’ve been taking Shaw & Co’s team shots, head shots and office stock images. But then during 2020 their Chief Marketing Officer Paul Mills brought me into the picture about their plans for a re-brand. This was going to be a bit more than the usual photo session.

This time there would be video alongside stills on the website, so I started to look into whether I could deliver that for them. My cameras were video-enabled, but I knew enough about video to understand you don’t simply switch from stills to video mode and wave the camera about a bit. At least not if you want anything vaguely usable.

Lockdown Learning

Lockdown proved a useful breathing space for me to research and learn the very basics, but there’s nothing quite like having an actual commission on the books to focus the mind. In fact it was essential for me to have a goal to work towards. Video is a huge discipline and you can stray off in all directions if there’s no end-goal. You can also spend your way to bankruptcy if you’re not careful. Knowing what the requirements were for what I needed to deliver allowed me to focus on the kit and the skills I needed to develop as priority.

Being Part of the Process

Perhaps what has been most unusual about this project is just how deeply embedded I’ve been with its development – seeing the brand graphics as they evolved, liaising with the design agency Design By Structure at various stages and even finding my own suggestions being incorporated where appropriate. With some projects I feel I could be a robot with a camera, told to “stand there, shoot that,” but not on this occasion; I was definitely part of the team here.

The website launched this week and given the time period over which it has been developed and implemented, it really is an astonishing achievement. I’ve known much smaller projects to take far longer, which is testament to Paul’s enthusiasm and drive and his ability to enthuse all those around him.

Having Faith Helps

It’s also fair to say that the confidence Paul (and Jim) placed in me has sometimes outstripped my own self-belief, but I’m incredibly proud of the speed of my development and more importantly of the work I’ve turned in.

You can now see the stills and video clips over at Shaw & Co’s new website and even if their work isn’t an area you’re familiar with, I’d love to know your thoughts here.

Is That It Then?

Now I know I said this was a post-lockdown bubble, and things have quietened off a little as we get into August, but I’m still busy with new work and projects which were delayed by covid.

I also know that whatever happens next, I’ve gained valuable skills I can offer new and existing clients. I also know Shaw & Co are keen to build upon what we’ve started, so bubble or not, I’m confident there’s more to come.

in Case Studies / My News 0 comments
 by Tim Gander

Film to Film

One week I’m banging on about the joys of shooting old-school (skool) film, this week I’m talking about this frightfully modern video fandango.

In November 2020 I blogged about my video progress and things have, well, progressed! I now have a couple of small projects under my belt, one delivered and one still ongoing, and more in the pipeline. It’s been a massive learning curve, but I’m enjoying the challenge and the new creative direction.

The Backstory

For many years I held off getting into video because I had no personal need for it and enquiries from clients asking if I did it numbered single digits per year.

Then towards the end of 2019 enquiries seemed to grow. Mostly from clients who were already working with me for their stills as they wanted to add video to their marketing toolkit.

Lockdown

And then 2020 happened, and we all know what that meant. So during the first lockdown I investigated, cogitated and decided to learn the basics and see where it took me.

Of course as a stills photographer I already had many of the basics, but video is obviously a lot more than just pictures which move, and I’m not just talking about the addition of sound here either.

A New Energy

I’m glad I got the ball rolling because as we’ve emerged from the latest lockdown, client work has really sprung back to life and it’s including a lot of video.

While I’m keeping it fairly simple at this stage (sit-down interviews, testimonials and informational clips), as my abilities and capabilities grow I’ll be able to cover a wider variety of briefs.

In the meantime I’m cramming to learn editing as I know that will make me a better camera operator, just as learning to picture edit made me a better photographer when I was starting out in stills.

As ever, keep watching this space for further updates on this new direction and if you’re a business looking to step up from iPad videos to something more polished, drop me a line and let’s talk.

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