by Tim Gander

Latest on Routes

Screen grab of the archive thumbnail images from the Faces of Routes exhibition.

The brilliant people who sat for the Faces of Routes photo session.

Great news! Frome’s best and only youth drop-in centre, Routes, has been saved for at least another year following a concerted campaign to raise awareness and funds.

Local businesses have run various fund-raising schemes and events and these, along with my Faces of Routes project and exhibition, have raised over £60,000 in donations with a few more bits and pieces still coming in, plus the outcome of a National Lottery application which was started before the appeal was made.

Routes manager Sarah Stobbart assures me the bulk of the money was raised as a result of the exhibition, with a very large chunk being donated by an individual who saw the pictures during a visit to Cafe La Strada in the town centre. I don’t know much detail about who, but I believe the sum was £30,000, which is brilliant and I’m thrilled to know that the service has gained valuable breathing space.

Of course this isn’t the end of the story, but with such a lot of good will and awareness raised this will make future funding applications that little bit easier. I still believe Routes should be properly funded by responsible organisations such as local government, but perhaps this stay of execution will allow these avenues to be explored further.

Sarah got in touch to say, “I truly think that the portraits, the use of them and the associated press has contributed massively to the fundraising campaign for Routes being successful – you’ve no idea how glad I am that you got in touch to begin with!”

In the meantime it’s fantastic to know that youngsters from Frome and the surrounding villages have somewhere they can seek help, guidance and a listening ear. I’ll be keeping an eye on things and will update here whenever there is significant news.

To all my blog readers who donated, a very heartfelt thank you. This has been the best personal project I’ve ever undertaken and without so much support it could have been a very futile gesture.

Thank you.

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 by Tim Gander

Routes in the News

Yes, Routes has been dominating my blog lately, but this has to be one of the most important projects I’ve worked on in a very long time, so I hope you’ll indulge me a little longer.

This is just a round-up of where we are with the exhibition, donations and stuff.

I’m pleased to say I’ve had some really positive feedback about the exhibition from people I’ve met in the street, through Facebook and twitter, but what’s even better is that Sarah, the Routes centre manager, tells me people have been donating on the strength of seeing the pictures in Cafe La Strada.

We were a little worried that the cost of getting the pictures printed and framed wouldn’t be met, but with a local grant and donations from individuals we’ve covered that now. Phew!

Now it would be valid to ask why Routes spent money on an exhibition when the centre so desperately needs cash to keep going, but the fact is the portraits and case studies and the exhibition itself have generated a great deal more local awareness than could otherwise have been achieved, especially in the few weeks they have before the funding expires.

Take a look at the local press coverage just this week. Imagine what it would cost to buy a full-page advert in a local paper, yet this week we made the front page and a full-page spread inside. This is in addition to the coverage we had in the last couple of weeks on the launch of the exhibition in both local papers as well as an online article in one of the most popular photography sites on the internet.

Frome Standard cover showing the portrait of Mona Vaas.
Frome Standard cover
Full-page spread of photos and case studies in the Frome Standard.
Frome Standard full-page spread

With that in mind, I have to give full credit to Sarah for having the foresight to suggest the exhibition.

The latest news I have is that grant funding for at least a proportion of the running costs is on the cards. Fingers very much crossed that this comes through and for the balance to be covered by other funding bodies, but in the meantime if you would like to donate, you can do so by Texting MEND41 an amount from £1 to £10 to 70070, or by a cheque made payable to YMCA Mendip to ‘Routes’ Drop-In Centre, 1A Palmer Street, Frome, BA11 1DS. Donate online by clicking on the BT Mydonate button at http://tinyurl.com/j9jukt9 and select Routes as your chosen project.

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 by Tim Gander

Faces of Routes Launches!

Wow, what a rollercoaster ride that was. From concept to completion, a photographic exhibition launched in less that five weeks and that includes shooting the photos! I may have to give the Guinness Book of World Records a call.

You can now see the Faces of Routes pictures in all their glory at Cafe La Strada in Cheap Street, Frome, until the end of March and I’m hoping many of you will take the opportunity to take a look around the gallery areas and read the quotes before enjoying some quality refreshments.

06/02/2017 Faces of Frome exhibition at Cafe La Strada, Frome, Somerset. Photographer Tim Gander (back) launches his Faces of Routes exhibition at Cafe La Strada in Cheap Street, Frome, with (left to right) cafe owner Jude Kelly, Routes service users Laura Davies and Kieran Wason and Routes centre manager Sarah Stobbart. The exhibition features 18 portraits and quotes from those who use and run the Routes service.

(L-r) Jude of Cafe La Strada, Laura and Kieran with Routes manager Sarah and me at back

This really has been a Frome effort, obviously starting with the help and cooperation of Sarah at Routes and her colleague Silky, all the young people who so bravely sat for my camera and shared their very personal experiences for the case studies, right through Nik Jones who added the text to the images for the exhibition, Mount Art Studio who did such a fantastic job of printing them and Studio Prints who did the framing at breakneck speed so we could get the exhibition launched as soon as possible and of course thanks to Cafe La Strada for giving us exhibition space for two months for free!

Of course the whole point of this exercise has been to try to save Routes, and we’re not there yet. The hope is that the bodies which really should be funding this kind of service will understand how important Routes is to young, vulnerable people of Frome and that without it there will be barely any other resource to which they can turn when they’re in difficulty.

Fingers crossed then. In the meantime, if live in Frome and you want to help but haven’t the finances to do so, please consider writing to your local councillor or David Warburton MP. If the message is made clear that we don’t want Routes to close, we have to speak loudly.

 

 

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 by Tim Gander

Routes to Exhibition

Happy New Year! Ok, so 2016 might not have been your favourite year, but the bright side for me was lots of great work with wonderful clients and some personal highlights I won’t go into here.

To make sure my 2017 kicked off with a January-blues-beating personal project, I’ve launched into one which is exciting in a number of ways; I was able get it under way quickly, it’s local, it has a finite duration, has a tangible purpose and perhaps best of all it looks like it’s going to culminate in a local exhibition.

It all started when, just before Christmas, I had been trying to formulate ideas for a personal project I could launch in the New Year. I wanted something which would not only please me, but also have some kind of impact either on those involved, or on its audience.

Then I saw a tweet from Routes, the youth drop-in centre in Frome. I’d always been vaguely aware of their work with young, often vulnerable people in the town, but didn’t have much detail beyond that.

Routes tweeted that their funding is coming to an end in March 2017, after which they would have to find a new source of revenue or close. While I can’t afford the £80,000 + per year to keep them running, I felt I could help them publicise their plight so I got in touch with the centre manager Sarah Stobbart, an absolute ball of energy and a real doer.

The idea was simple; I would take portraits of those who who either use or had used Routes and the pictures could be used for press releases and grant funding applications. Sarah added the idea of holding an exhibition of the portraits somewhere in the town, and so the ball got rolling.

03+04/01/2017 Portrait for case study for Routes young person's help centre in Frome, Somerset. Portrait: Stu Mansell.
Stu
06/01/2017 Portrait for case study for Routes young person's help centre in Frome, Somerset. Portrait: Luke Bolster.
Luke
06/01/2017 Portrait for case study for Routes young person's help centre in Frome, Somerset. Portrait: Jazz Lewthwaite.
Jazz

I started shooting on January 3rd because there’s no time like the present, and with all those willing to participate we now have 13 youngsters, Sarah and her colleague Silky shot for the project.

The local press have picked up the story and one local paper is looking to publish the portraits with case studies as a series, while a local cafe/art space has agreed to host the exhibition for free for two months.

At some point I’ll create a portfolio gallery of the final images on my website, but I’ve included a couple of examples here to give you a taster of the work.

The main purpose of all this is to get funding for Routes to continue their work, so I’ll leave you with this plea from Sarah:

“If you would like to show your support and help to keep this vital service operating for young people in Frome, there are a number of ways you can help our appeal. By Texting MEND41 an amount from £1 to £10 to 70070 Or by a cheque made payable to YMCA Mendip to ‘Routes’ Drop-In Centre, 1A Palmer Street, Frome, BA11 1DS. Donate online by clicking on the BT Mydonate button at http://tinyurl.com/j9jukt9 and select Routes as your chosen project. By holding a fundraising event to help raise funds and awareness! Or become a ‘Friend’ of Routes!- Contact Sarah Stobbart (Routes Project Manager) on 01749 679553 Ext 5020 or e-mail [email protected]”

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 by Tim Gander

2016, a personal review

Normally I’d post a “year in pictures” round-up just about now, but I’ve decided to do something a little different this time just because.

Instead I’m going to focus on the more off-beat, off-diary photos I’ve taken. You’ll have seen most of them, but not all, in various blog posts through the year, but it’s fun to pull them together into a single gallery to enjoy again.

So sit back with your cuppa and your mince pie and enjoy…

A red car, seen from above, is blurred as it drives along a dual carriageway. Its shape is split by the shadow of an unseen lighting pole which is cast diagonally across the road.
Taken while attending National Photography Symposium in Derby.
30/04/2016 32-year-old Victoria Venteo takes a cigarette break towards the end of her shift as a waitress at Bedales wine bar in Borough Market, Southwark, London, UK. Photo © Tim Gander 2016. All rights reserved.
Wine waitress Victoria takes a break at Borough Market, London.
Joe Gander is lit dramatically, standing looking to camera with an alleyway leading off behind him.
Flash test shoot with my son Joe.
Bad Rasta travels the country selling merchandise at carnivals. Pictured here at Frome Carnival, Somerset, UK.
Bad Rasta, carnival trader, poses, smiling to camera as part of my film test project.
Digitised photos from black and white film, Sept 2016. Portrait of Geoff Eastaff, aged 64 of Frome, who has had to live on benefits since 1980 when his now ex wife attacked him and left him with serious head injuries.
Geoff poses for my film test project.
Shot through a tinted window in the rain, St John's in Newfoundland and Labrador, Canada.
Shot through a tinted window in the rain, St John's in Newfoundland and Labrador, Canada.
Closeup texture, dead tree.
Closeup texture, dead tree.
Pentax S1a 35mm camera with Super-Takumar 55mm f/1.8 lens attached.
I'm hoping to shoot much more film in 2017.
The sun sets behind a large Canadian pine tree, Nova Scotia, Canada.
Happy Christmas!

 

 

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 by Tim Gander

Marketing Smarter

While my lovely Pentax S1a is off for a rebuild, I’ll return my attention to things more corporate photography related.

With doom and gloom headlines about the state and future prospects of the UK economy all over our news channels it might be tempting to think it’s time to tighten belts and hunker down for the long haul.

Often the first casualty of financial difficulty is marketing, and perhaps more specifically photography, but if that’s your plan you might want to hold fire because done right, good marketing and good photography, even on a reduced annual budget, can keep your company name in the frame and help you survive the economic Winter.

Chief economist of the Bank of England Andy Haldane speaks at a CBI dinner in Bath in 2014.
Chief economist for the Bank of England Andy Haldane

This week’s message is simple: If you’re going to market less, you’d better market smarter. What does this mean in practice?

Of course I speak from the perspective of a photographer in this corporate world and what I occasionally see is businesses devoting a lot of resource to cutting corners. Not only is this a waste of their valuable time, it also leads to results which don’t hold the client in the best light, or images which have little real impact. It might look like the cheaper option, but at what cost to the business?

I know I’m not the cheapest photographer in my market, but then I wouldn’t want to be. Because quite apart from the quality I strive for in my photography, when a client approaches me I’m there for them from the word go until well after the project has been delivered.

The difference I offer starts with the helping hand and sounding board at the concept stage. Even corporate portraits or the “humble” press release require a level of creative input and the right photographer will be able to guide the project from the earliest stages, ensuring the end-result has maximum impact.

The other aspect you’ll want to consider when hiring a photographer on the sole parameter of cost is, will they help, guide and assist during and after the photo session?

All this help and input, from concept stage to post-delivery assistance, requires time, knowledge and experience, all of which have a value which should be factored into the cost of hiring. Of course this means a cost above and beyond simply that of producing photographs, but since you’re spending the money anyway (and almost certainly taking up your and your colleagues’ time doing so) you may as well get the best results possible.

And when the job is over, the photos delivered, is your photographer still there to help if you need it? I’m not just talking about up to the point they’ve sent the invoice. I’m often helping clients with follow-up assistance months, even years after the job was shot, delivered and paid for.

So, who’s the smart marketer now?

 

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 by Tim Gander

Basic as a spade

Pentax S1a 35mm camera with Super-Takumar 55mm f/1.8 lens attached.
I'm hoping to shoot much more film in 2017.
Detail showing the Asahi Pentax name on the front of the camera.
Detail showing the film advance lever, shutter speed dial and shutter release button.

You might know, or at least you should if you’re a regular reader of this blog, that I’ve been taking some time to revisit film photography of late and I have to say I’ve been rather enjoying it.

There’s definitely a different interaction with photography when your camera isn’t buzzing with electronics, utterly reliant on batteries and a whole host of features which are sold to us as benefits, but which on the whole are just technological mitigations for the shortcomings of digital.

That’s what I said, digital has shortcomings. Don’t get me wrong, digital is incredible and of course it’s perfect for my corporate photography. The technical image quality of digital is astounding and under most circumstances far out-performs film, but this isn’t an article for those wishing to watch a punch-up between film and digital.

My point is just this; shooting with film allows you (indeed often forces you) to think differently, approach your subject differently. It sometimes limits what you can do, but if you’re doing it properly then you’ll realise that film isn’t about photographing everything, it’s about considering and carefully choosing not only how we photograph something, but also which things we choose to photograph.

I’m also finding it’s getting me back to basics, and as of Wednesday evening even more back to basics than I have probably been in maybe 30 years. That’s because there was a knock on my door and my neighbour, knowing my interest in getting back into film photography (and him having cupboards crammed with gear he stopped using years ago) gave me, gratis and for free, a Pentax S1a camera with three lenses and a camera-top light meter. I was bowled over and spent the evening cleaning and cooing over it.

To say this camera is in stunning condition would be an understatement. In all likelihood it was manufactured in the 1960s, but apart from the odd mark, scuff and slightest of dents, it’s immaculate. Inside, the film chamber looks like it’s never been accessed; it’s that clean.

For several months now I’ve had an inexplicable craving for a basic, no-frills, fully-mechanical camera. No batteries, no lights, bleepers or anything which could break or fail through old age and lo and behold, my amazing neighbour just gives me this utterly scrumptious camera. It has no instructions, but then it’s got nothing to learn beyond the theory of photography. It’s as basic as a spade.

It’s weighty for sure; it’s solid metal, but everything seems to work. I’ve put a film through it and will get it serviced soon because I suspect the seals around the film door have probably deteriorated, but I bet it’s still light tight. I just want to be sure and I want to have the shutter serviced too. Of course components on this camera could fail, but they’re all almost certainly repairable.

One thing I can say for certain about my current digital cameras is that as fine as they are, I (or more realistically, my descendants) won’t be able to get the batteries for them in 50 years time. They will at best be nostalgic, novelty doorstops, at worst landfill.

At the same time I’m having a look at a medium format kit he’s selling because I also want to have a go with a larger film format. One thing is for sure, my adventures in film have only just begun. Obviously I’ll be keeping you updated here.

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 by Tim Gander

Art for Inspiration

This week I took a trip to Birmingham, partly for pleasure and partly to refresh the ol’ brain cells and for a change of scene.

Yesterday, during a visit to the city centre I decided what I really needed was an injection of inspiration so headed to the IKON gallery to see an exhibition by Žilvinas Kempinas. Sara Barker is also currently showing there, but for time/space constraints I’ll need to concentrate on Žilvinas’ work today. I happen to prefer his work too.

Žilvinas’ art is very much on the Intsallation spectrum, and normally I’m a little sceptical of anything with that tag, but his work is very engaging and thought-provoking. I’m no art critic, so I’m going to struggle with the terms and concepts used to describe this work, but it seemed to me he’s very interested in magnets and magnetic media, physics, frequencies, organic shapes and ways of using these elements either singly or combined to fascinate or disturb us.

I won’t describe the entire exhibition, but highlights would have to include Oasis; imagine a loop of recording tape, diameter approximately 6 foot, levitating, swirling, shape-shifting, rising and falling in mid-air by use of a ceiling fan directly above and an arrangement of metal panels on the floor below which together form some kind of air vortex which keeps the tape from ever flying out of its space or dropping to the floor.

In another room, black walls with circular works laid behind panels, illuminated all-round from inside the wall, resemble a series of moonscapes. From the ceiling are suspended dozens of strands of magnetic recording tape, forcing the viewer to mind how they navigate the room. At the end of the room is a giant screen, a piece titled White Noise, comprising a dizzying display of horizontal strands of video tape, rapidly animated by hidden fans, creating the effect of white noise on a de-tuned TV.

Standing facing this screen and allowing it to fill my vision for a few moments gave me motion sickness, but it was fascinating to allow a piece of art to affect me on such a visceral level and I struggled to peel myself away.

The IKON positively encourages photography, and plenty of visitors were snapping away on cameras and smartphones, and while I wanted to concentrate on just looking at and considering the works I couldn’t resist lining up a couple of shots to capture peoples’ interactions with them.

Entrance sign to IKON gallery, Birmingham.
A detail from Illuminator XVII, a modern art installation which resembles the surface of the moon. A silhouetted figure of a lady taking a photo partially obscures the view of the piece.
White Noise, a "video" installation by Zilvinas Kampinas.

I don’t get the opportunity to get out and view much art, but often when I do I come away with new thoughts about my own work; even the corporate photography. It’s good fuel for my mind’s eye.

And every time I do go and see an exhibition, I tell myself I must get out and see more. Then time passes by, life intervenes and I seem to be back where I started. The beauty of Žilvinas’ work is I think unlike most modern art, this will stay with me for a long time and I’ll keep thinking back to what it represents and what I learned from it.

For more information on this and future exhibitions at IKON, see this link.

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 by Tim Gander

Adventures in Film: Canada

You know if you’re going to travel to Nova Scotia in Fall the trees will be spectacularly colourful. So when I went over a couple of weekends ago for the wedding of a couple of friends, I chose to take black and white film.

Let’s be honest, if you want to see great pictures of anything, anywhere, taken at any time of year, you may as well look online. I chose to take my old film camera and some rolls of black and white film so that I would avoid clichés like the plague (nice cliché).

For the most part I took pictures of the friends there, and some new friends I made, but the shot I wanted to share this week is of Cape Split, the very tip of a spit of land which when viewed on a map resembles the swept-back ears of a racing hare. From this point you can look across the Bay of Fundy and at certain times of day you’ll see the colliding tide swirling around the isolated rocks which jut up from the sea off the end of the spit.

My photo can’t compete with an Ansel Adams masterpiece, but the use of grainy, black and white film on such a dramatic, craggy subject adds I think a certain extra texture to what could have been just another tourist shot.

My adventures in film will continue, but as a side-project to my main work. I’m finding it invigorating and exciting to recall old techniques and try new tricks and tweaks and I’m sure it’s refreshing how I approach my corporate work too, but I’ll probably be keeping it under wraps a bit more until it evolves into something more like a coherent body of work.

Black and white view of Cape Split, Nova Scotia, Canada looking over the Bay of Fundy.

Cape Split, Nova Scotia, Canada

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 by Tim Gander

Back to Black (and white)

For the past 16 years I’ve shot exclusively digital images for my clients which is brilliant for client work.

Deadlines have reached a stage where pictures are sometimes needed for social media even before an event has finished, and even for more polished work the turnaround required often needs to be pretty rapid. It’s also fair to say that on a purely technical level, digital has matched or exceeded that which was ever possible with film.

And of course I can do so much more with digital than I ever could with film, but whatever my medium I work hard to keep things “honest”. I don’t use filters or add grain to my digital images. My style is in the lighting, composition and final presentation of my work. Anything else risks dishonesty in my view, and even when I’ve shot digital and converted to black and white, it’s not the same as shooting a black and white original.

Ah, but film. I spent the first 13 years of my career shooting film; the first couple of years shooting only black and white. In recent years I’ve had a real itch to get back to film one way or another. I doubt I will ever have another client request that I shoot film, though I’d be delighted if the opportunity arose, so it has to be a self-motivated project.

Finally, a couple of weeks ago I could take it no more. I started to research what I needed. I still had my old film processing tanks, measures, thermometer and bits and pieces, so just needed film and chemicals to get started again.

To be fair, it had been so long that I had to remind myself of exactly what was required – vague memories of Ilford ID-11, stop bath, fixer were all very well, but I needed to refresh my memory of the specifics. As an initial competency test I found an out-of-date roll of colour film that had been languishing in the back of my fridge which I sacrificed to practicing loading film onto a spool in the dark bag. It all came back like I’d never stopped, so that was a good start.

Of course film is no good without a camera. I still have my Canon EOS 1N which must be 20 years old, but works with all my current lenses so I dusted that off, popped a new battery in and it still works perfectly. I confess I spent a while lusting over old Nikon and Leica mechanical SLR cameras on eBay, but collectors have turned these into objects of fetish obsession and the prices are ridiculous for anything which hasn’t been dropped in salt water or run over by a bus.

Film and chemicals arrive. Exciting!
My Canon EOS 1N with EF 40mm f/2.8 pancake lens.
My Canon EOS 1N with EF 40mm f/2.8 pancake lens.

The EOS 1N isn’t a “refined” camera, but it’s solid and dependable and I could spend £450.00 on an old, mechanical Nikon (not including a lens) or replace mine (if it ever dies) for about £90.00 because it doesn’t look cool and retro enough for collectors to lust after it.

Now this is the point at which I’m going to tease you to death because I have already shot and processed my first two rolls of Kodak Tri-X film, but they’re not yet digitised (oh the irony) for display here. Looking at them on my old Cabin light panel they look pretty damn lovely. Film really does have something digital lacks; the difference is greater than that between vinyl and mp3s in the music world and it’s just a shame that short of mounting an exhibition there’s no getting away from digital if I want anyone to see the photos. I guess I’ll just have to mount an exhibition then.

Seriously though, in an ideal world I would get myself into a darkroom with a Durst enlarger with a Schneider Kreuznach lens and make beautiful prints on fibre-based paper, but if I can manage that ever at all it’s unlikely to be in the next few weeks. In the meantime I’m working out a system for achieving the best possible digital versions of the negatives.

When that’s done, I’ll definitely update you with images here. I honestly can’t wait. It’ll be interesting to see if the conversion to digital retains any of the character of the film. I do hope so!

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