Perhaps just as Windscale became such a toxic brand that it was renamed Sellafield, or that the News of the World became The Sunday Sun, so too 2020 has just been re-branded 2021. It’s not a new year at all, just a re-packaging of a disastrous previous year. Or is it?
I refuse to be as downbeat and dour as I’m often minded to be. Yes, this new lockdown has scuppered three paid gigs which were in the diary, but they’re postponed, not cancelled. One was a video gig, the other two are headshot sessions for an existing client.
It’s also frustrating that I’ve once again had to put the Salisbury Plain project on hold. But like the bookings, it’s just delayed, not abandoned.
There are some positives too. Ive just taken in a little product photography, which is an area I don’t normally tackle. And I’m about to ship my very first signed, large format fine art print to a client who has hinted they’d like to invest in several of my prints.
I’ve set up a photography package for startups as they’re going to be big for the next few years. You can check that out here.
So this year is going to start with many challenges and it’s not going to get any easier for a while, but I’m very glad that I started taking my fine art work seriously well before 2020 and that I used the March 2020 lockdown as the starting point for my video practice. All this combined with adding new ideas to my corporate photography package means when things do pick up, I’m already equipped with multiple strands to my business, each of which will grow with time.
So I wish you all the best in your ventures for the coming year, whatever they are. If I can be of any help at all, drop me a line and I’ll be happy to discuss your plans.
At the risk of stating the obvious, the C word is creating difficulties for all kinds of businesses, but what’s been making the news agenda this week is the problems caused by the new home-working paradigm.
For all the benefits to office workers who no longer have a daily commute, the businesses relying on the office economy, from landlords to sandwich vendors, are in trouble.
Even with some hope of an end to the mass contagion of a couple of months ago, it’s not as if there are many signs that businesses and their staff are clamouring to return to the old ways of working.
So if you’ll indulge me to be somewhat selfish for a moment, this has a knock-on effect for my trade too.
When deciding to update a website with fresh office photography, most of my clients will choose a date when the majority of their staff are in. Not only does this mean I can get shots of a busy office, but I’ll also get fresh head shots of as many people as possible in a single visit.
That is no longer (necessarily) possible. If businesses are only inviting small teams in at any given time, there might never be an opportunity to photograph enough people to make a session viable, unless some new thinking is employed. That’s what I’d like to set out here.
Consider The New Normal.
Simplicity is powerful.
Things have to change, at least for the foreseeable future, possibly forever. This means I have to work smarter and differently, and clients have to understand the new constraints in the round.
Traditionally, if a client required a series of headshots against white (grey, or black, but usually white), I would hoof several bags of kit plus an unwieldy backdrop into the office. This might involve multiple trips to/from the car, or a client would help carry my kit in.
This isn’t ideal when you have multiple doors, lifts and other obstacles to tackle and heightens the risk of cross-contamination.
So perhaps a change of approach is needed: I can work more nimbly if all I need is basic kit and no backdrop. Perhaps the age of the headshot against white is over. It will enforce a wider change in look and feel to the portraits too, but is that necessarily a bad thing?
If done with skill and care, a new style can look just as professional.
A New Honesty About Costs.
Ouch, but wait: A photographer can make multiple trips to an office in order to capture all the colleagues in smaller sessions, but inevitably this increases cost. Well perhaps this just requires an adjustment in perception. Photography has been cheap as chips for many years now, so perhaps it’s time to re-evaluate budgets and accept it may never be as cheap again.
Alternatively, to keep costs down, be more selective about who ends up on the About Us page. Ask the question, “Who needs to be visible?” Occasionally I’ve felt as if I’m photographing people just so they don’t feel left out or under-valued. Sometimes I’ve felt this was more a concern of the client than it was of the person standing in front of me who I’m working to relax out of an expression of “I hate having my picture taken, so why am I included in this?” Think about who really needs to appear in corporate communications.
Combining the new normal with an acceptance of higher cost (or being more selective), it’s worth considering that if people are going to work from home more, perhaps that’s where their portraits need to be taken.
Does your corporate imagery have to pretend people are working in an office building when they’re not? It’s also possible, through either photographic or post-production techniques, to diminish the domestic influence in the photograph and create a consistent look across all the portraits even where multiple locations are involved.
I can even bring a backdrop into the home if needed. It’s often easier than getting it into an office building.
Again this has cost implications, but are they insurmountable? By being selective and canny, I think costs can be kept reasonable.
The Bottom Line
The “bottom line” isn’t the bottom line. It’s worth remembering that powerful, engaging photography for your business isn’t about Value for Money, it’s about quality and aesthetics. As un-measurable as that might seem, that is what will help sell your services.
All of this starts with creative conversations, so talk to me. Let me know what you’re trying to achieve and I’ll help you achieve it in the best way possible.
Casual visitors to my website might be a bit confused if they read my blog. I’m supposed to be all Mr Corporate Headshot, Mr Corporate Comms and so on, yet my blog is often about my personal work.
Certainly SEO “experts” would have a thing or two to say about the fact that I’m not plugging the corporate work week-in, week-out, but I’m not sure they understand photography (or people), which in my view is a bit of a shortcoming.
Those experts will presumably have some understanding of search engine algorithms, but I’m more interested in posting material which allows potential clients a more three-dimensional view of my practice.
Which is why this week I am posting pictures from Salisbury Plain*, my current personal project.
After months of barely leaving the house, I was so pleased to be able to get back on the project and I’m happy to share a few of the latest results with you. Some, if not all of these, will be made available as fine art prints via my takeagander website where you can see more images from this project which I made before lockdown.
But given that this blog often veers away from the pure business of corporate communications work, how does a project like this help potential clients choose me over the next photographer? Why do I post personal work here? Let’s turn that around and ask, “What kind of photographer would I be if I didn’t do personal projects?”
Go to a dozen photographer websites and the majority will tell you at some point just how passionate they are about photography. All too often this doesn’t show through their work. I believe they are passionate about being a photographer, but mostly because they like having, or being seen with, cameras. There’s a chasm of distinction between being genuinely passionate about photography, and liking taking pictures (or liking owning nice camera gear).
My personal work is mostly shot on film using a variety of relatively low-tech, often un-glamorous cameras, because photography is the important part to me, not owning the gear or being seen to have the latest equipment. Working this way is also part of my “keep fit” regime in that it keeps my photographic eye honed even during quieter periods (lockdown being an extreme example).
In a world where “everyone’s a photographer” my passion isn’t just about being a photographer, it extends to the purpose of photography, its purpose and value to society. Getting heavy now, huh? Sorry, that’s really a whole other blog post there.
Perhaps next time you’re looking to book a photographer other than myself for a job (yes, I do know this happens!), take a look to see what personal projects they’re working on. If there are none, ask yourself if they’re genuinely as passionate as they say they are.
*I haven’t yet settled on a permanent title. I’m passionate about finding a good one.
In my recent article Measured Success I described how a couple of simple items, a tape measure and chalk, allowed me to work a public relations photoshoot and still keep everyone safe.
This week I thought I’d share a bit more about that job with you.
The client was Seko Logistics, who had undertaken to deliver free personal protective equipment (PPE), supplied by Alexandra Workwear, to all 69 care homes in The Order of St John Care Trust group, starting with their home in Thornbury, Bristol.
Now this was never going to make the tight group shot I would normally aim to produce, but given the circumstances I felt the distancing between the people in the photo would not only keep everyone safe, but would also help make the picture visually interesting.
The light was difficult (when isn’t it?), so I had to put up a couple of high powered studio flash units. Without them the people’s faces would have been silhouetted and I also wanted to pick out some detail of the building too. The only giveaway is the shadow of the care nurse which runs contra to the shadows cast by the sun behind the people and building.
That’s ok though. I’d rather ensure the people were sufficiently lit than have to spend ages trying to wrestle with the exposure levels in post production, which would never have looked as good or had the crisp, colourful impact this image has.
The result is a photo which the client has been able to use not only in their own social media feeds, but which has gone around their various industry publications too. I’m always pleased to see my pictures working hard for a client and I know the client is also pleased with how everything went and the result at the end.
So while organisations will be struggling to balance many conflicting requirements right now, it’s wise to keep an eye out for any stories which your business could put out as a press release. With professional care and execution, it’s still possible to get good PR coverage and raise your business profile with something positive.
My regular readers will already be aware of the importance I place on personal photographic projects, without which I don’t think I’d be the photographer I am.
For the most part I tend to use film for this work because I prefer the change in workflow. However lockdown has presented its own challenges. With limited funds, do I keep shooting film, or save it for when I can next visit Salisbury Plain?
And without the ability to roam about taking the pictures I would normally look for in a personal project, I’ve retreated to the most personal subject of all, my own home life.
Yes I have shot some film, but found myself reaching for the digital camera and developing a new theme: The Home Front.
The Home Front is my deeply personal reaction against the war rhetoric which has been liberally applied to the Covid-19 crisis, in particular by our politicians. I’m a firm believer in the importance of language and how it is used, and since we are not at war, I find it inappropriate to use conflict terminology now.
Apart from anything else I believe it sets a combative tone in the national psyche, and this can have unintended consequences in society. Too much of the “don’t you know there’s a war on” attitude can lead to unnecessary conflict between individuals, or groups.
What The Home Front sets out to illustrate is that while we are facing undeniably difficult times, there is also a great deal to be thankful for. There is also beauty in the small, normally un-observed corners of domestic life.
I know I’m particularly lucky to have a home with a garden, and to be living with someone who is may absolute first choice of lockdown partner. Not everyone enjoys these simple luxuries, but I wanted to illustrate that whatever one’s situation, we are not being shot at or bombed.
The Home Front has been featuring on my Instagram feed this week, and if you’d like to see the set to the end you’ll either have to follow me there, or keep an eye on my Facebook page. In the meantime, here are a couple of the images posted so far.
A PR job this week proved that in spite of everything, photography is being commissioned and it can be done safely.
What is different in this lockdown world is the logistics. I had to think more carefully about how I could execute the photos safely (thinking of my subjects as much as of myself).
So I took some simple precautions. No, I didn’t have a mask or gloves. I didn’t wear a hazmat suit. Neither did I take the pictures from the safety of my car.
I simply took a tape measure and some playground chalk. This meant I could mark out positions two metres apart for people to stand on before bringing them into the scene.
Everyone was at least two metres from anyone else (including myself) at all times. The simplest of tools kept everyone safe.
Of course some types of corporate photography cannot happen right now. For example, office headshots aren’t feasible when businesses have furloughed their staff. Cancelled events and business meetings mean none of that work is available to me right now.
However, it’s probably not a bad time for businesses to consider some positive PR. There are good news stories out there, and we could all do with some of that right now! And using a professional photographer to create the images you need will mean you get high quality photos safely.
If you have a good news story – perhaps it’s related to the crisis, perhaps it isn’t, drop me a line and we can look at options.
My previous post was becoming a bit long-winded as it grew from being a central point of information for clients into more of a diary of my daily doings during lockdown.
So to keep that post a little tidier, this one will brings you more up-to-date with what’s been happening. I suspect subsequent posts will be of a similar vein until paid commissions pick up gain.
The problem with lockdown is I’ve slightly lost track of time. Is it Christmas yet? I’ve sort of forgotten what I’ve done since my last diary update in the earlier post, but I’ll recap briefly here.
On a personal level, I’ve completed a fruit cage in the rear garden, created new planting beds in the front garden, stripped, cleaned and re-installed the rubber door seal on the washing machine. During that episode I discovered a pinhole leak in a copper pipe behind the sink unit, which I was lucky enough to be able to repair (Easter Bank Holiday Monday during lockdown is not a good time to be booking a plumber).
I also accidentally punched a bumble bee in the face, but made up for it by releasing a honey bee from our dining room. Karma restored.
After a friend very kindly posted me some sourdough starter, I’ve returned to making sourdough bread after a two-year hiatus. I’ve baked my first loaf and looking forward to making sourdough pizza this Friday.
“going with the flow”
Work-wise, jobs continue to keel over, but that’s to be expected. I’m keeping my hand in by shooting a mix of digital and film photos because I have to keep practising, my mental health demands it as much as my client work does.
With a view to the future, I’ve started looking at new ways of expanding the fine art print sales side of the business, but that is still a long, slow process rather than a quick fix solution.
I will just add, if you do appreciate my work and you’re interested in having a genuinely beautiful print for your home or office wall, please check out takeagander.co.uk. Pre-orders are being taken and prints will be made once the printer can return to work. It would help me a ton to sell a few prints at this time.
Even though the pictures I’m making now aren’t necessarily going to be offered as prints, making them allows me to explore my own experience of lockdown. Documenting my relatively privileged existence isn’t what really turns me on, but it’s vital I keep making images; not just for my own business, but for my sanity too.
There’s been a bit of a kerfuffle in the press lately about Royalty and tethering (I won’t expand on that here) and it reminded me that I’ve never really explained what tethering means from a photographer’s point of view and why it might be useful to a client.
Tethering is a method of taking photos while the camera is linked to a laptop via a cable, but what it involves and why you’d want to do it is worth a little further explanation.
Tethered capture, as it’s often called, allows the photographer to review photos on a laptop within about a second of them being taken. Of course pictures can be reviewed on the back of the camera, and that’s my regular way of working. However that tiny little screen, often obscured with nose grease (yum!) isn’t always the best way to check fine detail.
A far better solution is to take test shots, then review them on the laptop screen to see how the light is working and whether any tweaks to clothing or hair might be necessary. Really fine details (a cat hair on a lapel, or a stray hair across an eye) are often only visible when viewed on a larger screen.
The software which allows the pictures to display on the laptop (I use Adobe Lightroom) can also be set to show a rough idea of the final treatment (colour, contrast, sharpening etc) that I’ll be using, so a marketing executive can get an idea of how the finished images will look and we can adjust according to their requirements.
Likewise the sitters also benefit from being able to view the images on a decent-sized screen so they can be happy with their shots before going back to their work. They’ll have a much clearer idea of what we’re getting and this can also help them relax into the shoot. Once we’re happy with the test shots, I don’t tend to look at the screen again until after each person’s sitting.
The other reason I like to work this way if I can is that it means the images are backed up automatically as I shoot – one set on the camera card, a duplicate set on the laptop hard drive. So if there is a failure, I’ve a better chance of recovering images which might otherwise be lost.
Of course tethering only works for the headshot work I do because camera movement is limited by the cable length and the reliability of the connection. I couldn’t shoot a corporate event or a conference using tethering, it just wouldn’t be practical, but for the business headshot it’s a useful tool.
It’s also possible to get camera and computer to communicate via wifi, but this can be too fiddly and unreliable, so I tend to use the cable method.
So if I turn up at your corporate headshot session with a music stand, don’t panic: I’m not about to pull a cello from my rolling case and launch into a Rachmaninoff sonata, sometimes it’s just handy to work tethered and to see the bigger picture.
It’s been a few years since my last major website redesign, but my current site appears to be working very well for me. Clients seem to like the simplicity and ease of access, so I see little point in making any design revisions for now.
However what I have become aware of over the last few months has been a gradual, but noticeable, slow-down in loading speed and that, I think, isn’t good enough so I’ve spent some time tackling that this week.
I know my clients are busy people, and a new client looking to find out more about me doesn’t have time to sit there waiting for the homepage to load. They may be looking for a photographer with my style, skills and qualities, but if they can’t get in to see the work, they may never find out what I can do for them.
So I’ve worked with a colleague to do some behind-the-scenes tidying up and optimisation, and I have to say the difference it’s made has been quite startling. It’s possible, depending on how you came to this blog article, that you will have noticed too.
There are still a few more tweaks I need to make; optimising key images is probably the main one, but also as I update and replace images I’ll be fixing those issues by default.
On which note, what I hope to do next is give the content a bit of a polish. Again, it’s been a little while since I updated the galleries with more recent work. I try to keep on top of this, but what with corporate jobs, admin and launching my fine art print site takeagander.co.uk I’ve had to prioritise tasks.
I’m always grateful for feedback, especially from business clients who are always my priority when it comes to setting out how the website works, so do feel free to throw bouquets or brickbats my way so I know how I can do things better.
After all, this website doesn’t exist to massage my ego; it’s there for you, the business client, to find out quickly, easily and with high quality presentation what my photography can do for your business.
In this post I’m back to talking personal photographic projects, this time with one of the quickest I’ve ever done!
A few weeks ago, the local record shop in Frome, Raves from the Grave, was preparing for a move to a new location within the town as they’d outgrown their current store.
In fact they were only moving a couple of streets away, but they’d been in the Cheap Street shop for 12 years (22 years on the same cobbled street and Catherine Hill even before that), so in all that time had become something of a local institution.
I remember my first trip to the Cheap Street store. It was astonishing, with CDs on shelves which extended right up to the ceiling, with more squidged in wherever there was a nook or cranny. The same with DVDs, though I was never a big purchaser of those. The real pleasure though was that they also specialised in vinyl, new and secondhand.
So when I heard about the impending move, I decided someone (me) ought to go in and capture the essence of the place – the heady mix of chaos and order, the colours, lines and hopefully some of the people too.
Of course being a personal project, it had to be shot on film, which also seems appropriate for a record shop (in particular, one selling vinyl).
I only had a two-hour gap in my day and three rolls of film with which to capture what I could, so there was a bit of a challenge, but as a series it sits together pretty well.
Of course Raves from the Grave and I were able to trickle the images out on social media over the course of a week and it was fun to see the reactions to the images. I even started meeting people in town who told me how much they enjoyed the series.
Now the move is pretty much complete and the old shop is soon to be taken over by a new business, a chocolatier I believe, so I’ve captured the end of an era. What with that and Saxonvale, I seem to have a knack of capturing era ends. Maybe I’ve found a new niche!