press Archives - Tim Gander, Photographer, Bristol

August 7, 2024August 7, 2024 by Tim Gander

Going for G-old

Have you been watching the Paris Olympics? Like most big events that I’d like to see (Wimbledon being the annual classic), I usually miss the whole shebang.

This year though, I’ve managed to carve out a little time to catch a bit of the cycling and swimming – the two areas of sport I’m most interested in.

In particular with the swimming, I’ve been trying to pick up some clues for improving my personal performance in the pool. Well, let’s say that’s a work in progress. Most of the athletes have a 40-year advantage on me. Plus they swim every day (for several hours) and spend hours in the gym when they’re not in the pool. I mean really, it’s cheating!

Of course their performances are also enhanced by things like, I dunno, raw talent. They’re coached in techniques to the nth degree, drilled until they want to cry and many have been swimming since early childhood.

Contrast this with my “swimming career”; I left school with only a basic breast stroke, and no real drive to improve even that. As for front crawl (for the Americans reading this, that’s freestyle), until a few months ago, I couldn’t even get off the side of the pool. I was, in short, a drowning windmill.

However since rediscovering the joy of swimming while on holiday last year, I’ve signed up to regular sessions at my local pool, where my breast stroke has blossomed, and I’ve taken lessons in front crawl. I can now just about manage 50m without feeling sick, which is a huge step up from where I was around three months ago.

So why am I wanging on about the Olympics and my swimming now? Well of course it’s so I can shamelessly showcase the fact that 16 years ago, I had the honour of photographing double gold medal swimmer Rebecca Adlington (Becky) when she came to the University of Bath in 2008 to help launch the Youth Olympics.

There is a little more to this tale (not much tho) than just wanting to share an archive photo.

Bearing in mind Becky had only just achieved this huge success in the Beijing Olympics that same year, the attention she received would have been a whole new experience and perhaps slightly disconcerting.

As we settled into one of the university’s lecture theatres for a press call, I was just checking my focus and exposure on Becky when she leaned in to the person sitting next to her and said, “I suppose I’ll have to get used to this,” meaning “being photographed”.

As she sat straight again, she looked directly down my camera lens, and I took the shot you see here.

Becky Adlington looks directly down the barrel of my lens.

Double gold-medal swimmer Rebecca Adlington holds her two gold medals while looking to camera.

Becky Adlington holds the two medals she won at the Beijing 2008 Olympics.

The comment didn’t strike me as anything more than a very matter-of-fact observation of how her life would change; there was nothing hostile in her tone, and she posed patiently and with good humour for more pictures after the sit-down press conference.

Becky’s career beyond the pool has flourished. Clearly, she got “used to this” a long while ago. I doubt she remembers that moment or her comment back in 2008, but for some reason it always stuck with me. Perhaps because I care how someone feels in front of my camera, even if I’m just doing my job.

On that day, we were both there to do a job. I’m still a photographer, Becky is still in the media spotlight and seeing her presenting from Paris 2024 alongside Clare Balding and Mark Foster reminded me of this one moment.

In the meantime, I’m going to continue with my own swimming career, though I’m not expecting to slip into professional swimming any time soon. That ship might have sailed unless there’s a VERY senior league out there?

January 18, 2024January 18, 2024 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

February 18, 2021February 26, 2021 by Tim Gander

Take a Butchers At This

After all these years, I still get a buzz from sniffing out a good little story.

This one came out of a chance conversation with my local butcher, Nigel.

A few days before Valentine’s Day I’d popped along to pick up some eggs, ham… the usual, when Nigel asked if I’d be willing and able to help with something. Being the top bloke Nigel is, of course I said yes.

A year previously, Nigel’s premises had been destroyed by fire when an arsonist set light to a car parked outside the shop front. He wanted to know if there was some way of getting the remains of the shop clock framed for posterity.

Screenshot from Facebook post about H E Williams anniversary showing Nigel Williams outside his shop with the melted shop clock.

Screenshot of the Facebook post and its reactions.

I took an upright option, but preferred the less animated wide shot.

The scene of the burned out butcher's shop in Frome on the morning of February 14th 2020.

I also used a photo I'd taken on the morning of the fire to illustrate the post on Facebook.

The Dalí-esque clock.

He showed me the half-melted clock (which had stopped when the fireball ripped through the shop) and said although he felt it was a silly thing to keep, it was a reminder of the tough year he’d had – this of course in addition to the pandemic.

The best I could do was to recommend contacting local framers to see if someone could make a box frame for it. But before I left, I had an idea.

I asked if I could pop back later and take a photo of him with the clock to mark the anniversary of the fire. And though I could sense his surprise at the idea, he agreed.

And so on the Friday before Valentine’s Day I returned when the shop was quieter and Nigel posed outside for me.

Happy Valentine’s!

That Sunday, which was Valentines Day and the actual anniversary of the fire, I posted the photo with some copy to the Frome Facebook page.

I know there’s a lot of affection in the town for Nigel and his business, but I didn’t expect the reaction my post got. Hundreds of Likes and not a single negative comment.

As a result, Nigel was contacted by customers who hadn’t realised he’d re-opened and someone got in touch to ask if he could make a box frame for the clock, so there were some real-world results to this exercise.

The PR takeaway.

What this also demonstrates is that there are very accessible PR opportunities out there, and with an intelligently crafted photo and copy, the reach can be surprising, the results heartwarming.

It’s well known that well-taken photos and well-written words will reach far more people than an advert (or badly executed photo and copy), and will be far cheaper than equivalent advertising to reach the same audience.

The trick is, knowing when you have a good little story.

I make PR pictures for clients who want to get their message noticed. Drop me a line to discuss your next PR or branding project.

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June 3, 2020 by Tim Gander

On Being a Photographer

“Never Too Old to Learn” is the title of one of the assignments from the newspaper photography course I attended back in 1992.

I remember it particularly well because I ended up contriving a story in which a grandmother was learning to fly helicopters. Of course she wasn’t actually learning to fly helicopters, but since this was just an exercise in illustration it didn’t have to be a true story.

I found a suitably elderly model and a suitably cooperative helicopter pilot, put the two together and took some shots which worked pretty well. All lies, but it fulfilled the purpose of the assignment and the grandmother had a blast.

The reason I’m reminded of this particular college assignment now is because I’ve just bought a copy of “On Being A Photographer” by David Hurn and Bill Jay. Even as a photographer with 30+ years in his back pocket, I still expect to learn a great deal from reading this book.

On Being A Photographer

The other college-days connection here is that David Hurn founded the School of Documentary Photography in Newport. I went to Stradbroke college in Sheffield because that was where budding newspaper photographers went if they wanted to get into the industry. Us Stradbrokers would scoff at the Newport photographers because they had a reputation for swanning about in desert boots while carrying Billingham bags and dreams of shooting for National Geographic.

We were “the real photographers” who would all go on to work for The Independent or Observer magazine, covering conflict and strife around the globe. In reality Newport was a very fine college (the very best for photo-documentary training) and we had as much chance of fulfilling our perceived destinies as those who went to Newport. In other words, not much chance at all.

Actually, most of us did at least make it on to local and regional papers and one or two of us worked with national titles. Even now, one or two of our cohort are still working (albeit occasionally) for international titles.

But Stradbroke for me was 28 years ago. So why have I gone back to the books? In particular one written by the founder of a course I disparaged at the time? Simple; I’ve grown up. I’ve changed and I continue to change. I’m always looking at new sources of inspiration and solid foundations for new knowledge. I slightly wish I’d been able to go to Newport, even better go to Newport AND Stradbroke; that would have been incredible, but it wasn’t possible.

On Being A Photographer has a particular focus on the kind of work I do in my personal projects now and in this regard it will prove invaluable. I know I’ll learn new, better approaches and I’ll have a clearer understanding of how a photo essay should be approached.

It might take me another 30 years, but I hope this book will put me on the path to being a better documentary photographer. I’ll have to let you know how it goes.

in Industry Comment / My News / Personal Work / Uncategorized 4 comments

February 20, 2019 by Tim Gander

Cairncross Review Review (Part the Second)

Selective screen grab of the cover title of the Cairncross Review

The silence is deafening and so is the noise.

The problem with the Cairncross Review is that it tackles issues which should trouble us all, and deeply, yet I’m seeing very little discussion of it not only amongst former journalist colleagues and photographers, but also the wider public.

Much of the problem seems to stem from a general lack of awareness that it was even being undertaken. When I look through the list of organisations and individuals who submitted responses to the call for evidence, all the usual suspects are there (Johnston Press, Facebook, Google, The Guardian, News UK), but not a lot from individuals with specific interests in the industry.

From the general public there were 588 responses, but the report doesn’t publish more than excerpts of these submissions. On the one hand, that’s a larger public response than I was expecting. On the other, it’s pretty abysmal given the importance of a thriving local press sector for our freedoms and democracy.

This relatively low response will be a result of factors such as ignorance of the existence of the review, apathy and perhaps most understandably, an exhaustion brought about by the constant white noise of Brexit debate.

And even I am sitting here wondering why I care so much for an industry which has now given me less than half of my professional life. I’m too busy with keeping my own business running (as well as trying to expand my documentary work, which is in itself a response to the collapse in local journalism) to invest in a future which will be entirely out of my hands.

For now I just need to summarise a few points from my reading of a selection of the responses, in no particular order:

Facebook and Google consider themselves innocent in all this, indeed they claim to be putting masses of cash back into regional journalism and it’s the publishers which are failing to take advantage of the new opportunities open to them.
The publishers consider themselves innocent in all this and their sales were fantastic and revenues strong until the nasty digital boys came and smashed up their game.
Neither side can quite bring themselves to admit the truth, instead pushing positions which are self-serving and often delusional.
Government ultimately has no answer to this. Whatever they do will be wrong and will end in tears, corruption and a slow death for local journalism (followed some time later, probably a Wednesday afternoon, by national journalism).

Whatever happens though, I will try to keep an eye on developments. I can’t help it, and I really do believe that if you care for democracy and a diversity of voices in the many media available to us, you should at least make an attempt to bone-up on the broad outlines of the Cairncross Review and the developments which arise from it.

From next week though, I need to get back to talking about my own work and personal projects before the crashing silence and deafening noise get too much.

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February 15, 2019 by Tim Gander

Cairncross Review Review (Probably part 1)

I’ve been trying to wade through the results from the Cairncross Review into the future of high quality journalism in the UK. I’m not very good at analysing dense, copious amounts of data, but I care and want to try to see where local and regional newspapers are headed (apart from down the plughole).

What is striking is the content of some of the submissions to the call for evidence which are interesting (ish) reads, especially in the sense that they are a weird mix of kernels of truth and self-deceiving, massive pants-on-fire lies.

Check out this particular example from the now defunct Johnston Press, written by the then CEO David King:

“Legacy print publishers have struggled to adapt to the structural changes in the way content is consumed, limited by their geographic publishing models, falling ad revenues, circulation volumes and the need to increase cover prices. In some cases, constraints on investment have been exacerbated by the need to service legacy debt and closed defined benefit pension liabilities, as is the case at Johnston Press.

Yet despite this, to date the traditional publishers have sought to continue to invest in journalism, and remain by far the greatest investors in quality content creation, despite the need to reduce costs. The tech giants, who are the facilitators between audience and content, enjoy the revenue from surfacing this content while not contributing to its cost. These tech giants also control which content the audience sees and which audience a publisher can access. Moreover, they are largely unregulated.”

There’s so much to unpick on so many levels, all packed into just two paragraphs. Bear in mind also that within JP’s submission, their “facts and figures” don’t examine anything earlier than 2008, handily side-stepping the fact that it was their greed and incompetence since the early 1990s which crippled the pension scheme and ultimately led to the collapse of the entire business in 2018. As for “sought to continue to invest in journalism,” in all known universes, this stretches credulity far beyond snapping point.

Beyond JP’s corporate culpability it is too easy to dismiss the ‘traditional’ press as just a victim of progress, but whatever the causes, that which is displacing it does not have the same accountability, nor does it have any pretence to uphold democracy. All this is very dangerous indeed.

Also, these changes in local and regional papers is already affecting the nationals who traditionally relied on a steady flow of fresh, diverse talent from the news rooms and photography pools of the local/regional press. We are now well beyond the point where people without independent means could afford to work for national papers given the collapse in wages and freelance shift rates. The majority of voices we hear are those who can afford to work for the fun of it and their viewpoints largely reflect their relatively privileged positions.

I fear with the likes of Newsquest using the same insane business model as JP, this review and its conclusions have come too late to do anything meaningful beyond arranging the funeral for an industry which has no reason (beyond mis-management) to be a victim of progress or change. The Government is supposed to make some kind of response later this year. Who’s going to put money on that response being anything more than laying on some warm sausage rolls and cheap wine for the wake?

in Industry Comment 6 comments

August 31, 2017 by Tim Gander

Two Decades and a World Away

Members of the Welsh Guards carry Princess Diana's coffin

Yes, I was there too. Another press photographer who covered Diana’s funeral and because my words will be lost in the blizzard of articles and analysis on this the 20th anniversary of her death, I’ll point you towards this excellent article by Fleet Street photographer Brian Harris before offering a few brief thoughts of my own.

For myself, I was a lowly local news photographer at the time and was astonished to be assigned an official pass to cover the funeral from a position directly opposite the main door of Westminster Abbey.

Like Brian, I remember being hissed at by the crowd as I made my way to the position. I remember the weird atmosphere as people cheered the stars of music, TV and film as they arrived for the service. I also remember seeing the shot of the card on the coffin which just read “Mummy” and yes it was a cracking shot, but Brian’s was more graceful.

As for my effort, well it wasn’t the strongest image of the day, but I found myself focusing on the expressions of the pallbearers, members of the Welsh Guards who were clearly struggling to hold their emotions together. The shot summed up the occasion and emotions of the day in a fairly tight frame.

So considering it’s not a shot I had never wanted to have to take, I’ll live with it and leave it here as part of a much larger record of a sad day which changed all who were involved at least a little and for ever.

in Archive / Case Studies / Industry Comment / Older Work 0 comments

February 17, 2017 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

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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June 7, 2016September 16, 2016 by Tim Gander

Paws for Thought

Sourcing photos for a local charity fundraiser is the kind of thing which all too easily falls into the “an iPhone snap will do” category, but when you’re aiming to gain PR exposure across a range of publications, there’s no point wasting good public relations effort with poor imagery.

That’s also the view of Jennie Wood of Avalanche PR, so I was delighted when she came to me for this particular project.

On Friday June 10th 2016, the fifth annual Kennel Break Challenge will be hosted at the Bath Cats and Dogs Home and Jennie was tasked with getting the word out to local business people encouraging them to get involved.

The idea is that participants get locked in a kennel with nothing but a laptop and mobile phone, which they use to raise pledges from their contacts. Once they reach £1,000 in donations they get released, ideally in under an hour, but up to a maximum of three.

For the press release photo session at Bath Cats and Dogs Home, ambassador for the home and former Olympic swimmer Sharron Davies MBE, came to the Claverton Down centre so we could get a series of photos of her in kennels with rescue dogs.

Jennie and I arrived ahead of schedule so we could work out the best angles and options for the photos. I also wanted to ensure we had a choice of larger and smaller dogs to work with, so I liaised with senior fundraiser at the home Zena Jones who checked which dogs would be suitable.

Sharron arrived promptly and after introductions, and a few moments discussing what I was after in terms of photos, we got on with the task in hand.

In true April style the weather was a mixture of sunshine and heavy showers and bitingly cold, so I had to work fairly fast to ensure Sharron didn’t leave with hyperthermia. Even so, within half an hour we’d generated a selection of upright and landscape-oriented photos, with and without dogs and with a choice of large and smaller dogs (which created a choice of tighter and looser compositions). Job done!

This week’s gallery includes one of the cutest photos I’ve taken in a long time as well as some of the cuttings showing how the photos got used in both local and national publications, helping to raise the profile of this great cause.

Cute!

Yourcat

Screen grab of Bath Life use of the article and image

Bath Chronicle screen grab of the online article

Screen grab of the article in The West Wilts Magazine

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April 26, 2016April 26, 2016 by Tim Gander

A Wee Bit of PR Goes A Long Way

At the start of last week I was asked by University of Bath to come into the Department of Chemical Engineering for a photoshoot with a difference. They needed pictures to accompany a press release for their research into urine-powered fuel cells (see what I did in the headline? So droll…) So, forget rechargeable batteries, these new cells take a trickle charge!

It’s not easy working in gown and goggles (a prerequisite of being in the lab) and there was some time pressure and not a huge amount of space to work in, it being a working lab, but by the end of the session I’d captured a range of shots suitable for different outlets.

What I perhaps hadn’t appreciated was just how far and wide the images would go. I knew they were being distributed by the university press office and Press Association, and they appeared on the BBC and Sky News websites, many newspaper sites (as well as in print) and on industry and tech-oriented websites.

So next time urine the need for some PR, why not give me a call? Sorry, I couldn’t resist.

Below is a selection of hits from around the web. Click to enlarge.