by Tim Gander

For people who eat

One area of commercial photography I seem to have been getting involved with more frequently over the past year has been on-location food photography.

Food photography is a highly specialized area and if a client is going to go the whole hog (pun intended) they’ll be looking at very high fees for a top-end photographer, plus assistant, food stylist, studio hire, props, editing and post-production.

As for my work, I know my level and I know what I can do for a client. When they approach me I measure their expectations and requirements against their budget and if I believe I can offer what they need, I’ll take on the task. If they’re looking for something very high-end, I’ll recommend them to a food photography specialist. However, there are many instances where quality is required, but it’s clear we’re not shooting for The Ritz brochure and that’s where I can help.

This is the same approach I took when I was recommended to Caroline Jones of newly-launched online food magazine Local Morsels, which champions local food producers, growers, retailers, chefs and restaurant owners in the Bath and Bradford on Avon area.

I was recommended to Caroline by web designer Andrew Eberlin. Caroline and I met over coffee, discussed her requirements and I designed a fee and licence structure which suits her requirements perfectly.

The first batch of images, shot for the inaugural issue, were taken at locations in Bradford on Avon, using my portable studio lighting setup. The work was fun to do and I’m looking forward to the next session, which is already booked for later this month.

In the meantime, here’s a small selection of images from the first edition. If you’re the kind of person who eats, why not bookmark the Local Morsels website and learn more about locally produced food? Try not to drool on your keyboard though.

Pumpkin soup in a bowl on a place setting

The challenge – to create a warm light effect, and get the shot before the sparkler fizzled out

Apples in a pan with raisins and cinnamon sticks

The challenge – balancing cinnamon sticks

easy jose coffee beans in a bag with grinder

The challenge – foil pack reflections can be tricky

Christmas cake with slice removed

The challenge – making the cake look as moist in a photo as it was in real life

 

 

 

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 by Tim Gander

Back to my roots

With my roots firmly set in newspaper photography, it’s always a pleasure to get a commission to shoot pictures for a client that require that newspaper style. It’s not the same as shooting for a corporate website or brochure which generally requires a bit less story telling and tends to be more polished. For a newspaper style you can work faster and produce a wider range of image options. It’s ok to pull in props from what’s around you if it helps, and you’re not looking for a totally slick look, which can leave a photo looking less genuine when it’s for a news context.

A good recent example is a job I shot for Positive Outcomes, a national training company, who offer a range of training and apprenticeship services to companies and organisations and training to help a whole range of people looking to improve their work skills.

In this example two people, Holly Drew and Alistair Johnstone, completed their on-the-job training while volunteering at the St Peter’s Hospice charity shop in Westbury on Trym, Bristol and I was asked to produce a set of images suitable for local press and web use to help tell their story.

After about an hour on site I had a good selection of images, both upright and landscape orientations to suit picture desk requirements. I thought perhaps you’d like to see a selection of the results.

Showing Holly and Alistair interacting as they work adds an extra layer to the picture story

Offering a vertical alternative reduces the risk of a photo being ditched just because it doesn’t fit the page design

Showing Holly and Alistair at work in the stock room is another opportunity to show them at work

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 by Tim Gander

An Instagram Update

Those of you who pay attention will recall I recently wrote about my first foray into Instagram. I said it was more about the filters and effects than the content of the photos and I now think I was wrong.

It’s true many people shoot and edit their images in Instagram, but the beauty of Instagram is that it is primarily a way of sharing images. The pictures themselves don’t have to be shot in Instagram, or even on an iPhone to be shared this way.

I’ve uploaded images from my professional portfolio as well as more fun pictures from my personal life. A more recent fascination for me has been the introduction of the Panorama mode with the new iPhone operating system. Not only can I now shoot panoramas using this function, I’ve also been experimenting with it to see what weird effects can be achieved by panning in a way the phone and software don’t expect and seeing how they deal with it. As an example, see my “torn” ukulele photo below my more standard panorama.

panoramic photo of heathland near Bournemouth, Dorset

A fairly standard panorama, though I’m impressed with the iPhone’s quality here.

photo taken using the iPhone's panorama function to create an abstract photo of a ukulele

Torn Ukulele effect using the panorama mode on the iPhone4s

 

Other Instagrammers build up massive followings and the most successful of them do it by shooting in a very consistent style – whether on their iPhone or by uploading images from their SLR cameras isn’t always clear, but consistency seems to be the key issue. I personally prefer to share a mixture of portfolio, experimental and personal-moment (drunk in the pub) snaps. I might take a photo of some recently published work and share it on Instagram so people get a better idea of the kind of work I do. I simultaneously share my Instagram posts on Twitter and sometimes Facebook too, which means I can reach an even wider audience.

If you’re on Instagram look me up @takeagander and let me see what you do. One account I’ve been especially impressed with recently is @tonytanktop who creates larger images from tiles of individual ones. A brilliant way of using the technology and the sharing platform in an unexpected way. I suggest you look him up too and prepare to be dazzled.

I think it’s fair to say, I’m starting to understand Instagram a lot better. It’s becoming a business tool as well as a way to have fun. My initial cynicism (and I’m a natural cynic about these things) has given way to greater curiosity to explore more boundaries.

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 by Tim Gander

No pixels were harmed…

I have an excellent friend on twitter, @lau_merritt, who has been very supportive of my photography work since I can’t remember when, but certainly since not that long after I joined twitter. I’m sure she was among my first followers.

We keep in touch, re-tweet each other’s posts and I especially appreciate it when she reposts my blog articles… which I have a funny feeling she’ll do today.

Now the other day the subject of photoshopping came up. Lau, a keen amateur photographer, was struggling with some photos she’d taken on a recent trip. She was frustrated that she’d only just got the camera she took with her, hadn’t had time to get to grips with the controls, and had shot in jpeg mode where she’d meant to shoot in RAW.

It was when Lau came to edit the images that the Photoshop fun really started. I received some messages of frustration and Lau felt she was butchering her images. We joked about the slaughter, the sounds of pixels screaming,  red pixels sprayed up the walls – this kind of weird humour appeals to me.

The culmination of our conversation was a rather excellent sketch which Lau drew and which, with her permission, I’m featuring here. After the sketch came the blog article, which you can view by clicking on the photo. I’m hoping for the movie and the musical to be announced soon. The Photoshop Butcher, queue deep, growly voiceover, “In a world where pixels have no meaning, welcome to the slaughter…”

Sketch of a woman butchering photos

Lau’s Photo Butcher – click the photo to see her full article

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 by Tim Gander

Stock as Barometer

Though I’ve derided photographers for supplying the micro-payment stock sites like iStockphoto and Shutterstock, I do have a few stock images with Alamy.com on the basis that though sales might not be as frequent, I do at least get semi-respectable rates for my pictures when they do sell.

I do get some odd-looking sales though, like this one from August for a Spanish direct mail/brochure use in the banking and finance sector. Looking at the content of the photo, it makes you wonder what the client’s message is. A bonfire of capitalism?

scrap yard fire in Portsmouth

A vision of things to come?

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 by Tim Gander

Tear Sheet Tastic

This week I’m simply announcing the launch of a major new gallery on my website, this time featuring photographs as they can be seen within the context of their publication in magazines, books and websites.

Over the last 14 years since I went freelance I’ve had the privilege of working with some top-flight clients on really interesting projects and I thought it was time I used some of my cuttings to give my web visitors and potential clients more of an insight into how my work is used.

The images appear in no particular order, but are generally grouped by client or project so you should get a feel for the different styles of shoot as you go through and of course I’ll be updating it as new work becomes available.

I hope you like what you see, and as ever your comments are welcome.

Preview of the Tear Sheets gallery

Click the preview to be taken directly to the gallery

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 by Tim Gander

I like a challenge (couldn’t be bothered with a ‘try’ pun)

Last Tuesday I was asked to cover a photo-call on behalf of Premiership Rugby in the build-up to the Rugby 7s final taking place on the Friday.

This was going to be a quick-turnaround job, but the shots also needed to look polished, so I arrived in plenty of time to set up portable strobes on the rugby pitch at the Bath Rec (recreation ground, home to Bath Rugby Club) and have the trophy arranged so that when the team captains came down for the photo, I’d be good and ready.

The shoot list required pictures for the website, a shot for each of the captains’ home newspapers (consisting of a group shot each, with each captain taking it in turns to be nearest the cup and then individual captains with the cup), and a programme cover. I probably had less than half an hour to shoot the whole thing, including time for the photographer from The Bath Chronicle to get his shots too.

Having got all the shots I needed, I got the images onto my laptop, captioned, edited and sent off to the agency that was going to deal with the distribution of the images to all concerned. From starting the shoot to delivering the images was about 2 hours.

Premiership Rugby 7s Final web page

The website was updated with the new group photo of the team captains with the cup.

Despite the rain, the shots turned out fine and the Premiership Rugby website was updated with the new group photo and the regional papers all had the shots they needed. And on Friday when I arrived to cover the corporate hospitality aspect of the event, there was the programme with my cover shot on it. It’s challenges like that which get the adrenaline going and keep me keen. More please 🙂

Rugby 7s Final programme cover

I photographed the players, but you might detect some Photoshop work in the background…

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 by Tim Gander

The Only Constant is Change

Every now and then I review the way I shoot assignments. From the way I prepare for jobs, through shooting, to editing and delivery of the final images. The changes might be big or small, but they always have the goal of improving my client’s experience.

Sometimes the changes help me, and this also feeds through to the client experience. As an example, a couple of years ago I switched to using the Photoshelter system and away from sending CDs and DVDs of images to clients.

This was a big, scary change for me, but it paid off and clients find it incredibly useful to be able to view, choose and download the images they need directly from the service without having to get back to me to tell me their choices, then wait for me to do the post-production and send out the image disk. And if they ever lose the images, the can download them again.

That was a big change, and that was some time ago. More recent changes have included a move away from using zoom lenses to fixed lenses. The step up in quality is remarkable, and I’ve generally not missed the ability to zoom as I have legs which can take me closer to, or further away from my subject. I actually find it a quicker way of working because I’m not spending time zooming and recomposing my images like I used to do.

I haven’t dumped all my zooms. I keep a very wide zoom for when that’s really needed and a telephoto zoom because it’s useful for press events and it’s more telephoto than my longest fixed lens.

The strangest change of late is that I’ve started using a hand-held light meter more often. Yes, the thing that’s built into all cameras and tells you which aperture and shutter speed to set. You might think that with all the wizardry that’s built into a modern camera you could rely on the internal meter to set the right shutter speed/aperture combination, but I find the metering quite erratic, and there are many times when even the most sophisticated built-in metering system just seems flummoxed by the scene in front of me.

Instead, I find it easier to take a light reading using my Sekonic light meter, then I dial the settings into my camera. A slower way of working, perhaps, but it’s how I always work with studio flash anyway, so what’s the difference?

It might not be the most suitable way of working for faster-paced news events or where the light levels are constantly up and down, but for outside portraits and shots I’m setting up and have more control over it actually saves time and reduces the number of shots I have to take to get correct exposure.

I’m not sure what my next change will be. I’m probably already changing, and won’t even realise it’s a change until it’s complete.

Two portraits of women showing exposure contrast between subject and background

Wherever there is a strong contrast between subject’s skin tone, clothing and background, the built-in metering struggles to give an accurate reading.

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 by Tim Gander

F/8 and be chic*

“PRIX is a photography lifestyle magazine for men. If you love to snap photos, chances are you’re into cars, naked women and guns.”

Ok, that’s not a real magazine, but here’s an introduction to a magazine which does exist. Or should that be ‘does sexist’? you decide. At the very least it strikes me as deeply patronizing, but here goes the intro from editor Jeanine Moutenot:

“PIX is a photography lifestyle magazine for women. If you love to snap photos, chances are you’re pretty creative and artsy about the rest of your world too. It’s important to you that your business is modern and cool, you’ve always got an eye out for hip clothing and accessories, and looking professional and shooting well are top priorities. If this sounds like you, PIX is here to help! In each issue you’ll find tips, ideas, products and trend reports for women in photography.” Shooting well? Whatever that means.

Fluffy and patronising? Am I the best judge?

The cover to the first edition features a photo of a young woman holding a camera awkwardly, Canon logo ham-fistedly edited out, cheap kit lens on, but at least her hair, nails and dress are pretty. That’s the main thing, right?

Never mind the intro and cover shot, we know there are some incredible photographers out there and many of them happen to be women who would give highly insightful interviews. So what does pix offer? “Photo gear designed for women,” “irresistible accessories,” and “smudge-proof makeup tips for long days behind the camera.”

Indeed, in the pages of PIX you’ll get advice on where to buy a striped skirt to go with your funky striped Lomo camera. Or perhaps you need some Summer pumps so your feet can stay “covered, comfortable and cute while you’re on photo shoots.” Cute?! The general tone of the magazine seems to be aimed at women more interested in cameras as accessories than tools of a trade.

There are maybe 12 pages of articles featuring working photographers buried within the 63 pages of puff, but references to their motivations, challenges, styles or paths to success are fleeting. Before you know it, you’re back to editorial featuring pretty things to buy.

Notably, an article on studio lighting isn’t about studio lighting at all, but about how to make lampshades from paper cupcake cases.

Maybe my being a man precludes me from passing judgement on a photography magazine aimed at women. Perhaps I’m missing the point and female photographers will relish the chance to read about flowery camera straps or an eyeliner that doesn’t smudge onto the viewfinder.

My gut feeling though is that PIX is incredibly patronizing, is aimed at aspiring photographers who are more interested in pretty things than the hard-nosed facts of photography and would have worked better if it had been aimed more at women simply by virtue of not featuring ads for glamour shoot workshops and men talking about the size of their kit.

PIX is really saying that if you’re a photographer and a woman, how you dress and the colour of your camera bag is at least as important as your ability and vision. In an industry with something of a male-dominated culture, is PIX redressing the balance or reinforcing stereotypes? I’d love to hear the views of photographers with fallopian tubes.

*The original quote “F/8 and be there” is attributed to New York photojournalist Arthur “Weegee” Fellig whenever he was asked how he got such striking images of news events during his career in the 1930s and 40s. Look him up, interesting guy. I don’t know if he ever worried about whether his camera matched his handbag.

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 by Tim Gander

Making an exhibition of myself

Some of you may know I’ve been a regular at the Frome Farmers’ Market at Standerwick for some time now. I’ve been attending as and when my paid work allows on Wednesdays and Fridays (the two market days of the week) to create a photographic record of the workings of the market, the people who work, buy, sell and trade there and their interactions with the livestock.

This is an un-paid personal project which I chose to do because I knew I needed to keep my brain creatively active at times when I tend to be shooting lot of corporate headshots. I chose Standerwick because it’s close-by, so more likely I could get to it at short notice, and because it’s something that interests me.

When I set out to do the project I didn’t have any particular goal in mind except to get along there, see what’s what and see what would come out of it.

Now I’ve started to gather up a fair body of images I’ve decided to move things on a step and have started to look into the possibility of mounting an exhibition of the images. This is a first for me as I’ve never exhibited before, but the idea is quite exciting as it injects new impetus to the project and gives me an end-goal.

This isn’t something that’s going to happen over night and I still need to shoot more pictures in order to complete the narrative which has developed, but I’ve approached one or two likely sponsors (I can’t afford to mount this entirely from my own funds) and things are looking quite positive.

Through this blog I’ll keep you updated on my progress and of course I won’t be shy in announcing the location and dates of the exhibition. Sometime next year and somewhere in Frome is as far as I’ve got.

If any businesses out there would like to talk about sponsorship, or if any photographers with exhibition experience have any advice they’d like to offer, I’ll be delighted to hear from you. As the saying goes, watch this space.

Standerwick Farmers' Market near Frome

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