Looking back, Looking Forward

One aspect of blogging regularly is that, as with a diary, you have a record of your past preoccupations.

In these turbulent times that could be a comfort, perhaps, but it can also be weird.

For example, as I was working out what to write today I found myself looking back at pre-pandemic posts and thinking, “Wow! I really had no idea what was coming.”

Which lead me to darker thoughts about whether we’ll get to look back on this time from some sunny uplands, or whether even this will start to look like some halcyon dream.

Of course I hope for the former, but listening to Norman Lamont on the radio yesterday, talking about how we’ll have to pay down the debt we’re currently running up, I couldn’t help wondering if we’ll be able to do that before the next pandemic. Or maybe China will blow up, or Kanye West will become President of the USA and World markets will decide to crash just for the sake of it.

Good grief! This post got awful dark, awful quick.

Ok, here’s the future – everything is going to be fantastic. Business will pick up again, green technology will mean the planet is saved, and all that debt? Well if every country in the world is up to its neck in debt, we just have to fine the person we owe the money to and ask them to play nice or else.

Now I’ve either predicted the future, or jinxed it completely. Don’t blame me though, start with the guy we owe all that money to.

My Personal Plain

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.

Latest Covid Update for Clients

15th June 2020.

Welcome to the new Covid Updates post (replacing the article published 30th March which you can still see here if you wish).

This post is designed to give you the latest information on where I am with regards my trading position and more importantly, my approach to working with clients as more businesses look to re-engage and get their corporate photography and video organised.

My Trading Position.

I’m still solvent and trading and looking stable for the foreseeable future. I’ve added a video service (please enquire), which means I can help you in more ways than before. All my image delivery systems are paid-up and fully functioning, so you can continue to access your online photo libraries with confidence.

Safety.

Of course I’m looking forward to working with high-quality clients once again, but this has to be safe for all involved.

Photography and video sessions will require a greater level of planning than before, which will probably require greater lead times. It’s possible some styles and types of photography will remain difficult, even impossible, for a while yet. Speak to me about what you’re hoping to achieve and we’ll work it through together.

Before attending your place of work I will need to be briefed on your safety measures and procedures.

Please bear in mind that carrying photographic equipment along with backdrops, lighting and stands can result in many more touch-points than might normally be expected. Where in the past clients have helped carry bags, this may not be appropriate. More comprehensive planning will allow me to do this safely. In some cases I will recommend a change in approach, which might mean your pictures won’t match with previously-taken sets. We’ll have to work and think differently for a while.

Set-up times will be extended and we will need to build this into the timings.

I will be using face coverings while working. They are not medical-grade, but will reduce the risk of me spreading coronavirus (assuming I have it and am asymptomatic – please see below for more on this).

I will bring my own alcohol hand gel, but please ensure there is ample access to hand washing facilities and hand gel and make sure I know where these facilities are.

If I feel I am starting to show symptoms of coronavirus prior to a job, I will do everything I can to ensure your event is covered by an alternative photographer, or we can re-arrange the date. Of course this virus can develop symptoms quickly and last-minute changes may be unavoidable. Likewise, if you or anyone in your team starts to show symptoms, please do not hesitate to let me know.

Postponements and cancellations.

I will work closely with you in the run-up to the photo session. If a cancellation or postponement becomes necessary for either party, we can discuss and agree the best way forward. I will do all I can to help. As a rule I charge the full assignment fee on jobs cancelled less than 24 hours prior to commencement, but I will take a view of this on a case-by-case basis.

My clients are my priority.

I will do everything I can to help you through this weird and challenging time and to get the imagery you need for all your visual communications, but I can help in other ways too. I’m here to help if you need to kick ideas around, or with reviewing your current imagery to see where improvements might be necessary. Steps such as this can mean that once you’re ready to go ahead with your next project, we’ve already done the groundwork.

In the meantime, keep well, stay safe and I look forward to working with you soon.

 

Tim

Because History Matters

Last Sunday there was a Black Lives Matter rally in my home town and I felt a strange compulsion to cover it as a photographer. Strange because I normally shy away from large gatherings for personal work.

However I support the aims of the BLM cause, and I also felt that since this movement had resonated all the way to the relatively small, rural town of Frome in Somerset, the local story should be told too.

Because no one was paying me to go I decided I would shoot black and white film. There was another motivation for this – given that in 100 years’ time it’s possible that digital images of today will be inaccessible, perhaps shooting on film would present an insurance against digital degradation. Future generations would be able to see us, in protest, working to change the future.

I approached the rally as if I had been commissioned by my local paper, creating a mini series of images suitable for a double page spread. That would give me a structure to work to beyond just taking a random set of pictures, so I prepared my kit, loaded film and set off.

At first I didn’t think many people would be there. The weather was cold and wet, social distancing is still in place, and I hadn’t seen much publicity for the event. However as the start time approached, people arrived in reassuringly high numbers.

There was one particular shot I knew I needed to get to justify my un-commissioned intrusion and it’s the photo I had in mind from the moment I decided to attend. It’s the final shot in this gallery and I was the only photographer with the foresight to capture it.

After the event I decided to turn the pictures around as fast as I could and I posted that last frame to the Frome Facebook page. To say the reaction was intense is an understatement. I don’t think I’ve ever had an image be so widely liked and shared online ever.

Perhaps it is a shame I wasn’t commissioned to go, but I’m glad I did because if such big stories are left to random photos on individuals’ iPhones, there is a risk no permanent record will exist for future historians and generations to refer back to.

In fact I bought this week’s local paper to see how they covered the story.

They didn’t.

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.

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.

 

I’ll Make These b****y Pictures Move!

There is a vague recollection in the furthest reaches of my mind of my dad making a joke about “moving pictures” while shaking a photo up and down in his hand. It involved the “b” word and was very funny. You had to be there.

Which brings me in the clunkiest way possible to the announcement that I have added moving pictures to my suite of client services. They’ll even have sound! And they’ll be in glorious colour (actually, black and white is also an option, but let’s not get ahead of ourselves).

Yes, lockdown has given me the opportunity to learn a huge amount about shooting video, recording sound and using editing software to bring it all together. I’m not going to pretend I’m the next Martin Scorsese, I still have much to learn, but I’ve used the time to get the basics nailed down.

My focus will be on corporate testimonials, talking heads and interview pieces, giving businesses the material they need to keep putting fresh material out on social media. I think video is well suited to this kind of use and will help my clients communicate more effectively than they might with just a text-based blog.

To give myself material with which to practice camera settings, focus, exposure, colour balance, sound recording, editing, and so on, I shot a short film at home using the best model I could find in my house (my wife). She did a fantastic job, and while the result is probably not what you would call corporate style, it demonstrates much of what I’ve learned in this exercise. You can see the film here.

The result is just over 4 minutes long and it’s entitled A SHEDx Talk with Dr Helen Roberts. I hope you get a few minutes to watch it, because the feedback I’ve had so far has been that it is calming, soothing and inspiring!

 

PR Photography in Lockdown

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.

The Most Personal Yet

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.

Measured Success

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.

Maybe I can “chalk up” a success for you too.

Coping with Corona

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.