by Tim Gander

Coronation Coverage

Away from the hubbub, pomp and ceremony of London this past weekend, I sought out a more local view of the coronation.

Taking the opportunity to work on my Salisbury Plain project, I set out to see the scale of the preparations and celebrations in that area. I wasn’t sure what to expect, but neither did the outcome surprise me – a mixture of nothing much and concentrated activities.

This is just a small selection of my favourites. I wish I could have covered more ground, shot more variety and really fleshed out the story, but my intention wasn’t to shoot an entire coronation photo feature. What I wanted to get was a few images to fit within the wider project. Plus there was a lot of ground to cover in a very short timeslot.

I’ll leave the photos to speak for themselves.

Black and white photo of people draping union jack bunting along a street and round a historical stone blind house (or jail) in Shrewton, Wiltshire. A black dog is standing watching what's going on.
Preparations underway in Shrewton on April 29th.
View of the back of a woman's head. She has curly strawberry blonde hair with a union jack hair clip in it with red, white and blue ribbons. She is seated at a table covered in a union jack oilcloth.
May 6th 2023 - Watching the coronation at Shrewton Sports and Social Club.
A large wall-mounted television is showing the moment King Charles III is crowned. There is just one man sitting watching the event in a side bar where all the other chairs are empty.
May 6th 2023 - Shrewton Sports and Social Club. Watching the moment the crown touches down.
A young girl wearing a large union jack like a cape runs away from the camera across a field towards coronation picnickers.
May 7th 2023 - The Shrewton Big Coronation Lunch at the village recreation ground.
Close-up view of a woman's back showing her union flag dress, her bare upper back, bra straps and love heart tattoo.
May 7th 2023 - A sunny afternoon in Figheldean brings out the flags and the bare English skin.
Union jack flags and a hat are left on a blue paper table covering on a trestle table after a coronation picnic.
May 7th 2023 - With the Big Coronation Lunch drawing to a close in Figheldean, hats and flags are left on the trestle table.
in Personal Work 0 comments
 by Tim Gander

Grape Expectations

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

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

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

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

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

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

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

Getting the right variety

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

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

 

Professional photographic portrait of Neil Tully MW
A standard portrait is a very versatile image asset
Professional photographic portrait of Neil Tully MW
A much tighter crop with design space to the side offers more creative options
Professional photographic portrait of Neil Tully MW
A more feature-style approach is great for editorial use
Professional photographic portrait of Neil Tully MW
A simple portrait against an interesting background adds subtle character

Vintage Chateau

The next question was where to do the session.

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

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

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

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

A wonderful finish

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

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

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

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

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

Cheers!

Tim

 

 

in Case Studies 0 comments
 by Tim Gander

AI AI, What’s All This Then?

Unless you’re living under a rock, you’ll be aware of a great deal of chatter about AI (Artificial Intelligence) and its increasing influence on all our lives. I suspect some of that chatter is AI-generated, but how would we know?

Of course in this article I’ll be contemplating AI’s impact on the future of photography. I think it’s going to be interesting.

The AI Roadmap

I say interesting because you can see that AI is at the foothills of its potential (good or bad). Give it a few years and you’ll see it progress beyond what we can imagine right now.

Also bear in mind that different areas of photography will be affected in different ways and at a different pace.

Right now, AI images of people are creepy, weird and downright unnerving (see examples below generated using DeepAI.org).

A triptych of AI-generated business portraits
Generated using deepai.org's image generator, these are not great examples

Inanimate objects are generally better, but are they convincing? I’d say this is where progress will advance most rapidly. For now, many product shots are rendered using computer graphics anyway, so AI will probably simply change how those renders are generated. Product photographers will still find themselves in demand for the more bespoke shoots.

Some areas could see no impact at all. Do you want AI-generated family photos? How about a wedding? What would be the point?

We’ve Been Here Before

Thinking about images for business, I see AI as having parallels with micro-payment stock photography of a decade or so ago; businesses embraced it as an easy way to fill the gaps between words on their websites, but many have reverted to commissioned work as it’s more convincing.

There is currently a cost barrier to AI. It’s more expensive and time-consuming to get usable visual AI content for marketing purposes than it is to commission original work. However, even if the cost and quality of AI become non-issues, there’s the question of the human factor.

Microstock flourished while it was novel and before businesses realised they needed to connect with clients and consumers on a human level. They discovered their audiences weren’t engaging with the over-polished models and unrealistic scenarios of the stock world. Where we are now is that stock images supplement pictures of ‘real’ people, but they can’t replace them. The same will stand for AI.

In fact commissioned work (in my personal experience) has grown over the past decade. It will continue to grow as businesses use more video, which stock (and AI) imagery won’t be able to compete with for a very long time (if ever).

What stock could never replace, AI won’t be able to either. If anything, AI will replace stock imagery and we’re starting to see that happen.

Stocks and ShAIrs (ouch)

Shutterstock, the bete noir of photography and the murderer of the viable stock image industry, have seen the future. And the future is bleak.

They now have their own AI image-generating portal, which I suspect not only undercuts their contributing photographers, but might also be using the existing library of 400 million+ images (supplied by those same contributors) to feed the neural engine which generates the AI images. It’ll be interesting to see how Shutterstock plans on ‘rewarding’ contributing photographers when their images are reduced to AI fodder. An AI-generated image will contain data from hundreds (maybe thousands) of images from the library, so who gets paid for that data. Will photographers know which pixel was theirs?

Am AI Safe From All This?

Notwithstanding my tortured AI-themed puns, I can see how AI might impact certain areas of my work, but since I mostly concentrate on photographing real people, and since this is what businesses need, it’s hard to see how AI can impact that.

And AI currently works best when used to generate static content. Video would require an unimaginably high level of computing power (read ‘cost’) which doesn’t yet exist. I say yet, but processors based on quantum physics are emerging in laboratories and could be in our devices soon enough.

Ultimately I don’t think it matters what AI does, because one thing it can never replicate is reality. It will have its uses, but for my typical client there is nothing that can beat the human touch. I am going to confidently say, there never will be.

One More Thought

This is perhaps the most troubling thought too. AI has already been used to generate ‘deepfake’ news images and video. We can’t stop this, but news outlets will need new tools and rules to spot and stop this. That is where the real danger of AI lies. The last two words of that sentence are the perfect note to end on.

in Industry Comment / Personal Opinion 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

We’re Not “Post-Covid” yet

Looking at when I last posted here, it seems I’ve let things slip a bit. I hope you’ve missed me.

My excuse is I’ve been busy with work, a book, a photo festival and covid finally got me. Then I got over covid, and work came back with a vengeance.

Ok, a bit more detail to explain all this.

Since December 2021 I’ve been working on my first photo book, What Happened Here (the book of the Saxonvale project I shot between 2017 and 2019). I started work on the book when I agreed to be part of Photo|Frome. I was invited to be part of an exhibition and to present a talk on What Happened Here, which meant I really needed to have the book in place for the festival.

Putting a book together isn’t easy if you want it to be the best it can be, and never having done a book before made this an even more challenging kind of challenge. However, I worked with designer Victoria Yates for the book layout and colours, and graphic designer Nik Jones who produced a map to help tell the story.

Then as Photo|Frome approached I got involved with planning my talk as well as another event I was to be involved with, a conversation with documentary and portrait photographer John Angerson. All this while work continued to roll in.

But just as the festival got underway, John caught covid and had to pull out of his talk. Then I got covid and had to cancel mine. It was all a bit of a mess really, and deeply disappointing.

screenshot of photofrome website homepage
Screenshot of the Photo|Frome website

 

What I haven’t been disappointed by is the success of photo|frome. Although I wasn’t one of the main organisers, I did jump in to help and support as much as I could (cut short only by my testing positive for Covid for 10 days). The festival was testament to the need for high-quality talks and exhibitions around photography, and there’s little outside London that caters to such a broad range of people as Frome’s festival did. The plan is to make it even bigger next year and they’ve already got national and international photographers lined up.

Equally encouraging has been the reception my book has received. I had people reserving copies before it was even printed. I expected to sell the majority of the books at my talk, but sales have been steady even without that. And because the book is very limited edition (just 50 hardback copies and 100 softcover versions), there’s a risk that by the time I come to reschedule the talk, the books might already be sold out.

So there you have it. I think it’s fair to say I’ve been a bit preoccupied lately and that’s not going to change drastically in the next few weeks at least.

I have my talk to reschedule, client work to handle and I’m also painfully aware just how neglected my current personal project on Salisbury Plain has been. I need to get back to that before it keels over completely.

In the meantime, if you’d like to support my personal work, and be the proud owner of a very limited edition photo book, head over here to purchase your copy of What Happened Here. Every copy I sell justifies all the stress and hard work just that little bit more.

Thank you,

Tim

in My News / Personal Work 0 comments
 by Tim Gander

Hacked Off

Ukrainian flag
are hackers Putin's virtual invaders?

Is Putin’s War the Cause?

It’s possible I’m turning into a conspiracy theorist, but having had my website hacked twice in two weeks, each time within hours of tweeting something derogatory about Putin and his invasion of Ukraine, I have had to wonder if there wasn’t a connection.

Even if it’s un-related, it’s been a complete pain in the !@*^# to sort out. It has disrupted my schedule and soaked up my time; I’ve had to postpone blogging for two weeks, I’ve postponed much-needed updates to my website, I’ve been trying to compose the text for my book What Happened Here as well as handle client enquiries and prepare for up-coming work. All this has been disrupted while I tackled the situation.

All that might sound trivial, and of course compared with the horrors being inflicted on Ukrainians by Putin’s invasion, it is indeed piffling. But if these hacks do have tentacles reaching back to The Kremlin, that would make them part of Putin’s war effort. Ok, perhaps that’s going too far. If it’s a theory with any legs at all, it could simply be part of a mass, un-targeted attack on any IT vulnerabilities the hackers can find, regardless of their importance.

Impact on the Sole Trader

The impact of these hacks is also greatest on those of us who operate as sole traders and freelancers because we don’t have large resources to fight back. Even with outside help, we’re having to be there liaising and dealing with the situation. We can’t just hand the problem off and go and do other tasks. If you’re a sole trader handling sensitive customer information through your website, it could be crippling.

Thankfully I did manage to get some help from my wonderful web design colleague Ben who finally got everything back to normal. I have now beefed up the security to a level which should keep the hackers out. Only time will tell.

And Just… WHY?!

Dismissing my earlier, possibly paranoid theories, it still begs the question of why my site. I haven’t the foggiest idea what the hackers wanted to achieve. There were malicious files found (now deleted), but there is no client database to compromise, no e-commerce aspect to the site. Presumably it was “just because we can” hackers.

Hacking is big now. It affects everyone. From personal Facebook accounts to huge corporate databases, everyone now has to spend more time battling hackers. We could be approaching a time when we’re spending more time using technology to sort out problems caused by technology (or more accurately, the misuse of technology) than we are using technology to assist our lives and livelihoods. Technology could be on the way to becoming a zero sum game.

Chain Reaction

Now I know this next conspiracy theory is straying into tin foil hat territory, but last weekend I was on a bike ride with my best friend. He commented that his blue and yellow bike was in the colours of Ukraine. Twenty minutes later, his rear gear mechanism packed up and his pedals would only free-spin. He couldn’t pedal anywhere and had to call his wife to come and pick him up. Coincidence? Or conspiracy? You decide!

in Industry Comment / My News 0 comments
 by Tim Gander

Is shooting film pointless in a digital age?

I have been told by people who clearly know more than I do about these things that shooting film, then digitising it, is a pointless exercise because you end up with a digital photo; why not shoot digital in the first place? Well sometimes I do shoot digital for personal projects, but it’s my choice.

So here’s my response:

1. If I shoot digital, I can only ever have a digital print from that file. Conversely, if I shoot film I have the option of a traditional (wet) print if I want it, with all the nuance and quality that gives me – far above and beyond anything achievable from a digital file.

2. Done correctly (and I’ve spent a lot of time working on this), a digital reproduction of a film negative (or positive, for that matter), should preserve much of the tonality and look of the original. It still doesn’t look like a digital image.

3. So why not add a film look to a digital original and be done with it? Because it always looks fake. And I still can’t get a traditional print from that (see 1 above).

4. When I shoot film I’ve already made certain creative choices about how I want the end result to look; I’ve baked my commitment in from the moment I loaded the film. When I shoot digital, the choices can overwhelm the creative process and the question arises, what was my original intention? What constitutes ‘the original image’?

5. Detail isn’t everything. Digital cameras now record scenes in such fine detail, it can leave the result looking sterile and forensic. Emotion and nuance are difficult to preserve in a forensic medium.

6. Why get so bent out of shape about the fact I shoot film? Some people get quite heated about this and I just don’t understand this reaction. Do they rant at watercolour artists? Do they criticise sculptors who must surely be throwing their chisels away in favour of 3D printing?

Apart from all that

I shoot film for all of the above reasons and for more besides (archival stability, provenance, approach and so on). Let me do my thing. And if my results are rubbish, by all means have a go at me for that. Criticise my results, not my method of obtaining them.

Right, I’m glad that’s settled once and for all…

PS. To see more of my personal project work, head over to https://www.takeagander.co.uk

If you sign up to my quarterly newsletter at https://www.takeagander.co.uk/contact before March 1st 2022 you’ll receive a 10% discount code for any order worth £75.00 or above AND be in with the chance to win an A4 fine art print of your choice! The winner will be announced on Friday 4th March 2022.

A roll of 35mm film lies curled on gritty ground having been pulled from its canister and dumped.
From my series What Happened Here
in Industry Comment / Personal Work 0 comments
 by Tim Gander

Documenting Challenging Times

On The Vaccination Trail

Regular readers will be aware of my recent work covering the vaccination programme in Wiltshire. I’d like to dedicate this post to all the hard-working front line staff who are the reason the vaccination rollout has been such a huge success.

I blogged previously about the initial coverage of the walk-in vaccination service at Bath Racecourse, but since then I’ve visited a mobile service on a bus, a school vaccination day and most recently, a session on a narrow boat.

The client, NHS BANES, Swindon & Wiltshire CCG (BSWCCG), use the images for social media promotion of the vaccination programme as well as for external stakeholder communications and reports. However, the images are more than just PR. They’re an historical record of the regional effort to control Covid-19 and its effects.

A Client With Vision

Perhaps 20 years ago such a huge national effort would have been covered more widely and in greater depth by the regional and local press, but they are largely absent from from the scene. With few (I suspect now the number is 0) industry-trained photographers covering local news events anymore, there’s a vacuum of photographic coverage of important regional stories.

This is a shame, but I’m thrilled to be able to help document what is undoubtedly a critical moment.

While BSWCCG is not a media company, their communications team have recognised the need for photography not only as a promotional tool, but also as a means to document the clinical effort within the pandemic. And though I’m no Dorothea Lange, this exercise echos that need to record a critical issue to raise awareness.

A young man is seen receiving his vaccine. We can only see the man, who is wearing a mask, and the arms of the nurse administering the vaccine.
August 2021 - Bath Racecourse.
A college student receives her Covid vaccination on board a bus.
September 2021 - Wiltshire College.
A school pupil in his school sports hall is vaccinated by a nurse.
November 2021 - Clarendon School, Trowbridge.
A blonde nurse bends to vaccinate a female patient on board a narrow boat.
A Covid 19 vaccination is administered on a narrowboat on the Kennet and Avon canal.

My Approach

Not all of my images are strictly fly-on-the-wall photo-documentary, though I do strive to capture what I witness with as much honesty and integrity as if I was still a staff news photographer.

For example, at Clarendon Academy, the two pupils I had permission to photograph had recently come out of self-isolation after contracting Covid-19. This meant they were unable to have their boosters on the day, so I posed those shots with empty syringes (and they were captioned as posed). However the images of the nurse at the dilution station were all taken as she did her work. Nothing staged, pure documentary.

Meanwhile for the narrow boat visit, as for the Bath Racecourse and Lackham College sessions, the vaccinations were real and I had to get my shots live. I couldn’t ask a nurse to hold a position or pose while I got set up – I couldn’t interrupt the process of administering an injection.

This makes for some challenging moments. In particular, in the cramped confines of a narrow boat I had to be very aware of my surroundings. Hats off to the staff who had to work in there all day; I kept my time on board to a minimum.

Regardless of any challenges, I have to go in with a calm, professional attitude. Being jittery about camera settings, working in the rain, with difficult light, or stressing about working in a mask will transmit to those I need to work with, and they’ll react negatively and rightly so. They have a job to do and protocols to follow, they don’t need a clown in the room.

Clinical nurses at tables in a school gymnasium with blue walls prepare to vaccinate school pupils in Trowbridge.
Setting up in a school sports hall.
Nurses at tables in a school sports hall prepare syringes with vaccine prior to administering the injections.
Preparing syringes in a school sports hall used as a vaccination centre in Trowbridge, Wiltshire.
A nurse in mask and apron dilutes a vial of Pfizer vaccine by turning it in her fingers 10 times.
Mixing vaccine.
A registered nurse holds up a vial of vaccine to the light to check it is still clear and good to use.
Checking the vaccine.

Thank You

So I want to say a big thank you to NHS BANES, Swindon & Wiltshire CCG for commissioning me. I value my involvement in this effort and if there is more to come, I’ll relish the opportunity to play my small part. Also to the administrative staff who’ve been so helpful and in particular to all the registered nurses who, while being utterly professional in their work, have accommodated me in mine.

Thank you.

And Finally

This is probably my final post for the year. I’ll be back in January, kicking off with a look back at 2021 and a look forward at 2022. So have a great and safe Christmas and New Year and I’ll see you again soon. Thanks for staying loyal through 2021.

Tim

in Case Studies 2 comments
 by Tim Gander

From the Archive: The Musicians

This week I’m going to talk about a collection of pictures which are relatively recent, but which seem much older. To be honest, anything from 2020 now feels like a different era.

Rachel and Silas

One, a portrait of Rachel Byrt, is already in my Business Portraits portfolio. While the other, featuring Silas Wollston, hasn’t made it in yet, but I think it needs to because it’s a strong image. There are in fact a few potential candidates in the set.

Viola player Rachel and harpsichordist and organist Silas visited my home back in August 2020. It was part social/part portrait session, so for the portraits we made space in our kitchen/dining room for a mini studio. As ever through 2020, the prevailing Covid restrictions were observed.

Viola player Rachel Byrt in black and white, holding her viola and looking to camera.
Viola player Rachel Byrt.
Colour photo of Viola player Rachel Byrt wearing a black coat holding her viola and looking to camera.
An alternative shot for Rachel.
Colour portrait of harpsichord player Silas Wollston holding his virginal and looking to camera.
Silas' profile portrait.

Working Smart

Being such a tight space, I had to be creative with just a single studio light and a black backdrop which I used as a flag to control the lighting. Our bright yellow feature wall took up backdrop duty. This worked very well for both the colour and black and white photos.

Each portrait required a slightly different setup, but for an impromptu music session I took the studio gear away and captured some action using my medium format film camera.

Photo showing Silas Wollston standing with his up-ended virginal, with the photographer's studio light and "flag" in shot.
A tight space for so much kit.
Black and white square format photo of Silas Wollston siting at his virginal (harpsichord), seen through two music stands which are in the foreground.
Silas Wollston during a practice session.

Because Rachel and Silas are busy professionals, it was important to ensure they had a decent choice of pictures for different areas of their work. Also, without knowing where pictures will be used it was important to have a variety of upright and landscape oriented images. Both Rachel and Silas have their own picture galleries from which they can download what they need, when they need it.

Ready for the Comeback

I would love to do more musician profile work, but of course it’s been a tough time in the creative arts. Fingers crossed 2022 will be the year when live music really gets going again. When it does, I’ll certainly be happy to do my bit whenever it happens.

in Case Studies / My News / Older Work 0 comments