More New Plans!

As if the launch of takeagander.co.uk wasn’t exciting enough, I’m now also preparing for an exhibition!

On June 20th I’ll be launching a small show in the cafe space at Black Swan Arts in Frome. Rather excitingly, the exhibition will run for a month and will span the very busy Frome Festival period (5th – 14th July) and will feature a very select choice of prints from my Saxonvale (What Happened Here) project.

The prints will be certificated one-offs printed on fine art paper and simply framed, matted and ready to hang. I’ve yet to settle on final prices, but I’m hoping to keep them as accessible as possible.

At this stage I’m very keen to hear from local businesses or organisations interested in part-sponsoring the exhibition. It’s worth noting that the Black Swan cafe is extremely busy at any time of year, but come Frome Festival it is almost always full to capacity, so an excellent chance for some valuable exposure.

With or without sponsorship, the exhibition will be a really exciting first public outing for What Happened Here and I’m looking forward to seeing how it goes down, especially from people who aren’t from this area or familiar with the Saxonvale story.

If you or anyone you know is looking for some additional publicity in conjunction with what I promise will be a beautiful and thought-provoking photographic exhibition, do drop me a line tim@timgander.co.uk. At the very least, let me know if you’re planning on coming down and perhaps I’ll see you there in June.

Tah Dah!

Well I’m sorry to have kept you waiting, but I hope you’ll think it’s worth it. My new site takeagander.co.uk is now live!

The name comes from my Instagram handle, takeagander, and since that’s where I’ve been posting work from my personal projects it seemed fitting to create a website which tied in with that. I was also incredibly lucky that the business which was holding the URL takeagander.co.uk had let their subscription lapse and they didn’t renew it before it expired. Get in there!

So now I have a site where I can bring projects together and offer high-quality fine art prints of the images, which I hope will fund new projects in turn. Of course that’s the dream and it’s very early days, but with the site having been launched less than a week ago, I’m thrilled to have made sales already.

I’ve kept the offer simple for now, just two paper types and a range of sizes, but if there’s anything you’d like to see (framing options, canvas prints perhaps?) let me know and I’ll look into the possibilities.

The galleries are set to grow in size and increase in number as I add new images and entire new series, so I hope you’ll bookmark it for regular visits. You can even sign up for updates, which I promise will be kept infrequent.

Of course this is all in addition to my on-going corporate communications work, but I have found that personal projects have really helped keep me fresh and energised when tackling commissioned assignments. It’s great to have both sides of my career up and running.

Please do let me know what you think of the new site, or perhaps more importantly the photos on there. I have to say the quality of display is impressive compared to how images render pretty much anywhere else on the web.

Of course if you see something you’d like to hang on your home or office wall, I’d be thrilled to make your custom, but you’re welcome to just say hello.

Sound Move

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!

Back to Business

Is it me, or is 2019 already feeling a bit used? a bit secondhand? At least from tomorrow we can officially (because I say so) cease commencing every email with “Happy New Year!” and just get straight to business, polite niceties notwithstanding.

But what should that business be? In my case I’m already seeing the return of clients from last (and previous) years, booking me for repeat events or new corporate photography sessions. I’ve already landed work with new clients and am fielding enquiries from as-yet-unconfirmed new clients, so I can’t complain too much if 2019 already feels a little 2018. That, after all, was a pretty good year for me, so I’m looking forward to more of the same plus some.

If there is a small cloud hovering over the sunny uplands of 2019, it has to be the uncertainty of Brexit. But while businesses work hard to prepare for the unpreparable the one thing they have to avoid is a head-in-the-sand response to marketing.

Oh yes, that ol’ chestnut. Whenever things get tricky, be it recession, austerity, Brexit, bad weather, the season finale of Strictly, you name it, too many businesses batten down the hatches and decide to tighten spending. This isn’t a bad thing in and of itself, but when marketing (which of course includes photography) is often the first victim of pulling the belt in a notch or three, that’s when the harm is done.

Businesses which market through the hard times always come out stronger. Of course the marketing has to be the right type, and photography may not even be what’s needed, but if you need it, you need it. There’s no getting around the fact that sometimes, and quite often, good commerce relies on good communication and good communication relies on really good photography.

An additional risk of suddenly pulling the photography budget (so you’re still marketing, but perhaps you switch to cheaper sources of imagery) is the KERKLUNK sound you hear as your marketing materials go from professional, personal and engaging to ubiquitous, remote and faceless.

I think it’s fair to say that most established businesses with a history, but which don’t want to become history, understand the vital importance of fresh, bespoke, exclusive imagery in their marketing and to suddenly pull the plug when the future looks dicey is the knee-jerk reaction of a business about to find out what free-fall looks and feels like.

So hard Brexit, soft Brexit, don’t make Brexit your exit. If you want to keep doing business, you need to keep marketing because if things do get tough, you need to be seen as the business that’s above it all; still focussed, still professional, still friendly and approachable and above all, still in it for the long-run.

Happy February everyone!

A Visit to the Barber

This isn’t about getting my hair cut, though my pre-Christmas trim is starting to get unruly. No, this article is about a quick trip I made to the Barber Institute of Fine Arts between Christmas and New Year.

As I said in my previous article, my intention is to make it to more exhibitions this year, but I’m not making this exclusive to photography. Any decent photographer will tell you they draw inspiration from other forms of art; notably painting, though sculpture and other art forms can also inspire. And so what if I’m just a humble corporate photographer? It’s incredibly useful to refresh my understanding of light and its effect on the emphasis of a portrait or scene. Plus, I love art.

If you’re not familiar with the Barber, it’s located within the campus complex of Birmingham University. The building itself, in particular the interior, is a splendour of Art Deco marble, brass and wonderfulness and well worth a visit in its own right, but within the collection you can view, free of charge (we made a donation), works of art by the likes of Manet, Turner, Monet, Picasso and many more. I highly recommend it.

When visiting galleries, I tend to avoid taking photos within the gallery space, even where it is allowed. I’m there to observe, enjoy and learn, not interpret or, more crucially, get in other people’s way. The photo you see here is of a light shining through the window in a door to one of the institute’s lecture theatres, which I took before entering the gallery space. So on this visit I sated my urge to click the shutter, without breaking my personal rule.

I’m not sure when I’ll next get to any kind of gallery, perhaps the Martin Par Foundation for a dose of photography, but I hope to get back to the Barber to really soak up some of what I saw last time. Don’t you find it takes a few trips to really understand a large collection?

Work Experience Advice

Perhaps the best piece of advice I can offer any student of photography when seeking work experience is let the application itself be part of the experience. I should preface by saying that I rarely offer work experience placements for a multitude of reasons I won’t go into here, but follow a few simple rules and your application will stand a better chance of finding success.

 

  • Get the photographer’s name right and use it. Just saying “Hi” suggests you’re sending a round-robin email.
  • Don’t send a round-robin email and NEVER use the CC or even BCC functions to send out mass communications.
  • If you cut and paste an email text, make sure you tailor it to each individual recipient.
  • Do your research. Look at the photographer’s website to establish whether they’re working in the specific field you’re interested in.
  • Talk about the kind of photography career you’re interested in, but more in terms of the business than the style. Saying you like to photograph people isn’t the same as saying you want to shoot pictures for businesses (what I call corporate communications photography).
  • When looking at a photographer’s site, look at the kind of work they’re doing and establish from that whether they’re studio-based, work only on location or a mixture of the two. Students often ask to join me in my studio, but it’s possible to work out from my website that I don’t have one.
  • Make sure your contact details are correct, including mobile number and email address.
  • Check your spelling, punctuation and grammar and get someone else to check it for you – this should be someone who is really good at checking these things, so ask a teacher, lecturer or other competent person.
  • Be sure to include your ability to travel – do you have your own transport?

I could go on, but hitting these main points should get your toe in the door at least.

Although I can’t often offer work experience, a competent application will at least get a response from me. Usually I’ll make an offer to have a phone conversation about what the applicant wants to do in the industry, the opportunities and where else to get advice, but I’m astonished how often my email reply goes unanswered. Which of course makes it harder for the next student to get a response from me.

Work experience can be invaluable, it’s how I started out as a press photographer, but the industry structures for training, nurturing and furthering a career have either changed or disappeared since I set out on my journey. Students today will need to find their own tracks into their chosen career, but get these basics right and you never know, you could find yourself ahead of the game and on your way to doing probably the best job in the world.

Christmas came early!

My film foray continues, and with it new ideas about how I want to work and the personal projects I want to use it for.

For a few years now I’ve had a hankering for a camera which had no reliance on batteries. Unbelievably, in all my 30 years as a photographer, every camera I’ve ever owned has needed at least a couple of LR44 button cells to make the shutter work.

It was never a problem, but when looking at secondhand film cameras now (s/h being the only option since nobody makes a 35mm SLR or rangefinder film camera any more), we’re talking about cameras between 20 and 40 years old which all have electronics in them, and circuit boards being rather delicate, specialist parts, it’s less likely they’ll be repairable in years to come.

My very electronic Canon EOS 1N cameras are going well and I’m confident they’ll keep going for several years to come, but an all-mechanical camera, albeit an old one, is still more serviceable than one packed with fine ribbon circuit boards, motors and silicon chips.

Which is why when a Nikon F2 popped up in my Facebook Marketplace, I stopped in my tracks and took a good look.

The Nikon F2 is something of a legend, but I won’t bore you with the full history of this model right now. Suffice to say, it was ‘the’ camera of choice of photojournalists from the early 1970s to the 1980s (when the battery-reliant F3 came out) and finding one in good condition now is getting tricky; they’re actually becoming collectible (aka stupidly expensive). It takes a couple of button cells, but they only work the meter. The shutter is completely mechanical, so if the batteries die, I still have a working camera in my hands.

The particular one which popped up in my Facebook feed looked to be in fantastic condition and even better, it wasn’t a million miles away from me. So I dropped a tentative line to the seller about having a look at it, while assuming I’d never hear back.

Far from it, the seller called me almost immediately and we got chatting. Long story short, we met an hour later and I bought the camera (with 50mm lens). An early Christmas present to myself then, albeit one with some serious intent.

Even though it’s had little use since it was bought in 1973, the camera will need a service. The slower shutter speeds are a little dodgy and it’ll do it no harm to have the original lubricants cleaned off and replaced along with any decayed foam seals (though the film door and mirror box foams look incredibly good).

The camera is already booked in to be serviced by the one person in the UK who specialises exclusively in servicing and repairing Nikon F2s, Sover Wong. Sadly his waiting list is over a year, but he’s assured me I should be fine to use the camera while I await my slot.

The downside of it being a Nikon is that I can’t use any of my Canon lenses on it, but that would have been the same if I’d bought Canon’s last mechanical camera because Canon changed their lens mount system for the EOS autofocus cameras, so my EOS lenses don’t fit older Canons. Complicated, ain’t it?!

Thankfully, I’m only interested in using a very limited set of lenses with the Nikon and I can build these up over time.

In the meantime, I’ve put a couple of rolls of Kodak Tri-X through this amazing machine and I’m happy to say it seems to be working just fine. Even the meter is accurate, which isn’t bad for a 45-year-old camera. Yes, it’s only 7 years younger than me, but it looks prettier and less wrinkly.

In time I’ll be using it for personal projects and personal work where the scream of my Canon’s built-in motor-drives are perhaps less appropriate. Keep watching for updates!

So, what I said before…

Only the post before last I posed the question of whether or not I ever stop. Thinking about photography, that is, and the answer surely is confirmed as a resounding NO.

At the end of that post I mentioned the rolls of film I was waiting to process from my holiday in South West Brittany, France, and just writing that line gave me the uncontrollable urge to get those rolls processed. So I processed them and here are the results.

Looking at these photos you might assume I had a rather peculiar holiday, but I actually really enjoyed it. But when I take pictures in my down time, I’m still working on approaches and processes. It’s a constant exercise in “how about” and “what if I”. I’m also developing a new method of digitising film, which will be useful when it comes to putting the Saxonvale book together, so a definite research angle too.

On this occasion I was working with basic kit, with a single stock of film, and exploiting the properties of the film to get a very graphic look from what I shot. This in turn influenced what I photographed and here’s a gallery of some of the results.

For those with the technical interest, these were all taken on a Canon EOS 1N camera with a 40mm lens, using Kodak Tri-X 400 rated at 800iso and push processed in Rodinol. A classic combination of film and developer which yields beautiful results.

Holiday over, back to work.

Learning to Assist, Assisting to Learn

The work of a business or corporate communications photographer (which is what I do) is rather different from that of a truly commercial one, by which I mean a photographer who shoots commercial images for advertising campaigns.

Most of what I do is pictures for business communications (website, brochures, press releases and so on), which while it’s commercial in the sense that I make money from my work, it’s not commercial in the strict photography business sense of being for commercials/adverts.

That may seem like a rather fine, specific point to open an article with, but it’s pertinent here because a few weeks ago I found myself assisting a commercial (as in advertising) photographer.

Now the other stand-out point of this article is that I was assisting another photographer at all. In 30 years of being a professional photographer I have never assisted, but when I was asked if I’d be interested in helping with a series of shoots I didn’t have to think too hard about whether or not to dive in.

The thing is, assisting is one of the best ways to learn and evolve as a photographer. I never did it because I trained as a press photographer and cut my teeth with news photography at college and local papers. This was a typical career path for many newspaper photographers.

For commercial and studio photographers, assisting was the way to learn the ropes, develop techniques and evolve your own style.

If I have one gripe about those starting out as photographers now (ok, I may have more than one gripe, but let’s keep this brief), it’s that too many of them think that to be a commercial photographer, all you need to do is read the camera manual and start taking pictures. If a friend or your mum tells you your pictures are nice, you launch a website and hey presto you’re a fully-fledged commercial pro. Believe me, without a few years of assisting, training and a baptism or two by fire, this just isn’t going to cut it.

Anyway, back to the plot. In my case, the call came from friend, fellow photographer and all-round-good-egg Jon Raine whose work you really should take a look at.

Jon’s background is very much in the commercial sphere, shooting pictures for big brands, and one of his regular gigs has been to take portraits of TalkSport presenters which is what he was asking me to assist him with on this occasion.

The obvious benefit of this gig for me was to work alongside someone who has deep experience as both a photographer and a commercial art director. Seeing how Jon plans and executes his work was a great insight, as was seeing the similarities between his methods and mine. It helped reinforce some of my practices for me, which is also useful.

The benefit for Jon was not only that he got to listen to my jokes all day, but there were also one or two small tips I was able to offer back.

Also, being a photographer myself meant I knew what to look out for as his images came through to the laptop – an errant hair, a badly placed crease in a shirt or white fluff on a dark top (not always easy to spot until flash hits it).

Another advantage for Jon was that I could take behind the scenes photos while he worked, which he could then use for a record of his work and social media if he wished. Of course that was a mutual advantage because now I’m using one of the photos for this blog post, a BTS shot of Olympic champion and Tour de France winner Sir Bradley Wiggins.

So everyone’s a winner! Including the subject.

Don’t I Ever Stop?!

Even when I’m not taking business photos for clients or shooting a personal project, when I go away on a break I take yet more photos. Which would be fine except that I obsess about not taking the kind of holiday photos I ought really to be taking.

If I tell someone I’m going for a break in wherever, the common reaction is for them to suggest things I should take pictures of while I’m there. It might be the pretty houses, the beautiful landscapes, the amazing night lights by the river or whatever. The problem is, most of these photos can already be seen on Google, so why would I just repeat what someone else has already done?

I’m not entirely sure it’s a healthy state of affairs, but whenever I go away I end up treating it like some kind of mini assignment. A good recent example is when my wife Helen and I went to Kent for a music festival she was performing in. We decided to make it a weekend as the weather was glorious and we were very close to Dymchurch Beach.

So instead of a snap of a sunny beach and blue skies, I zeroed in on the detectorist who was kind enough to chat and be photographed.

And during the festival, instead of photographing the beautiful little church where the music was being performed, I honed in on the side details of the event. Which would be fine if that just meant drinking the tea and eating the biscuits, but I came over all Martin Parr and took wry, dry observational shots of tea cups, trays of mugs and helpers in the cake tent.

Just to make it even more of an inconvenience for myself, I took all my photos on expired film (yes, I still have some from my Saxonvale project).

Now you may ask what the heck’s wrong with me, but the thing is a break is about enjoying yourself and having freedom to do what you want. It just happens I enjoy shooting film (expired or not) but with the freedom to explore a subject however I want.

It might not be everyone’s idea of a break, but I fid it liberating even though there’s still a background static of wishing not to fail to get good shots.

Am I weird? Probably. Perhaps I need a break. Which reminds me, I’ve got four rolls of black and white film from my holiday in France to process.