Product Review: Aquapac Wet & Dry Backpack

You may remember my last review video, which looked at the Aquapac PDA case. On that occasion, I headed out the woodland in the pouring rain, to see just how well this protective case stood up to the elements when shielding my audio recorder.

Well, throughout last year - from around summer onwards - I also put another Aquapac item of kit through its paces. This time, it was the turn of the excellent Wet & Dry backpack - a technical, yet simple and versatile 25 litre bag.

Once again, I've put together something of a real-world review video for you - this time, filmed when we were lucky enough to have snow just before Christmas.

If you have any questions, feel free to ask them in the comment section below this post.





Key features worth noting:

• 25-litre capacity
  

• 100% waterproof and buoyant

• Quick-access key pocket

• 3-roll top closure with quick-release clips and toggles for extra security

• Removable back support

• Separate wet and dry sections

• Mesh bottle pockets

• Adjustable sternum strap

• Removable waist strap

• Breathable shoulder straps

• Lightweight - 640g/22.5oz

And then there were penguins...

When the snow hit, what did you do?

In the past week or so, the UK has been hit by a considerable amount of snow; most heavily up north and in the Midlands, but we've also had our fair share down here on the south coast.

Not surprisingly, I received many comments from friends and colleagues who assumed that I'd be out there at the crack of dawn, taking pictures all day, every day. Because that's what every photographer is expected to do, right?

Funny, really. Would you expect a vet to check over every dog they encountered in the street? Should every mechanic take immediate action when they hear a car rattling along the road? Of course not, so why the special rule for photographers?

That said, I did venture out on three of the days that my immediate landscape was coated in the white stuff... but with certain objectives in mind. Hey, even I know I'd be be stupid not to take advantage of such great conditions!

The first day saw me head out into my local woodland to shoot a video review - more about this in another post coming soon. The weather was not ideal (for what I had in mind, snow falling would have been preferential to sleet), but I wanted to get something in the bag, just in case conditions took an even bigger dive the following day.

Thankfully, things got a whole lot better, and so out I went for a second time, to pick up where I left off the previous afternoon. With establishing shots sorted, I was able to film the main review in one take, before grabbing a few additional establishing shots on my way back out of the woodland. Can't wait to see how it all lines up in the final edit!

As a side note... I also recorded some audio commentary, too. If you don't know what this is for (I've mentioned it enough on Twitter!), then keep an eye out at the beginning of next week, when all shall be revealed.

So, back to the snow. Seven inches fell overnight. Okay, granted that's not going to break any records but, believe me, it was enough to raise a few eyebrows around here.

With filming complete, Inny and I headed for an old Saxon path, which we knew would look fantastic - about as close to the idyllic winter wonderland image as you could hope for. It was still early enough in the day that the local kids hadn't spoilt it with their sledging and snowball fights, so out came the D3 with 24-85mm to seal a number of other key images...

Firstly, I wanted to get a new shot for this year's client Christmas card. I wasn't disappointed; perfect white snow, hedgerows with leaves and berries delicately adorned with shimmering white highlights... Couldn't have asked for more, and this was also a great time to get some nice stock pictures taken care of.

And then there were penguins. As far as I'm aware, not native to this part of the world, and we certainly weren't expecting to encounter a couple of four-foot fibreglass beasts on our travels. But, sure enough, that's exactly what we got, having entered into a random conversation with one of the locals. Got to sort him out with a couple of prints - that was the deal - which I'm thinking just might lead to yet more obscure findings in his workshop!

Could make for some interesting portraits...

Product test: Aquapac PDA Case

With the launch of my brand new podcast just over a week away, my thoughts have turned to all things audio of late - not least of all the considerations I have to bear in mind when I'm out and about recording content.

A while back, I reviewed the Aquapac PDA case, which took the form of a video and write-up on the GBP:Blog. You may remember it. Well, that video and post has been so well received, and subsequently pushed around the social media world so much, that I thought I'd make mention of it one more time.

Look out for more of the same from me soon, as I am now working directly with Aquapac and a number of other companies offering a range of great products which make our lives that much nicer.

---

One of the latest additions to my kit bag is an audio recorder, which I've begun using to produce interviews, location reports, video commentary etc for the GBP Blog. And so far, I can't fault it ('initial impression' review coming up soon). That is, except for one thing.

This technology is all well and good, but there comes a time when it needs a little helping hand in more extreme environments. Put simply, the audio recorder doesn't like the rain. Suffice it to say this is an assumption and I don't wish to test the theory - but for piece of mind, I set out to find some decent protection for the thing.

Enter Aquapac, who produce all manner of dependable covers and cases. I have been aware of these guys for many years, and took the opportunity to catch up with them earlier in the year at the Ordnance Survey Outdoors Show. Jump forward a few months and they suggested the 100% waterproof PDA Case for my particular requirements.

Rather than waffle on here too much, I've put together the following short video so you can see and hear the test for yourself:




Several details are not mentioned in the video, as I wanted to keep it fairly brief, but for your reference:

• This case will float in water, and is submersible to 15ft (5 metres)
• It has an optically-clear rear panel, good enough to shoot photos/video through
• You can use your PDA stylus as normal right through the case
• A stylus holder is built-in
• The product model reference/number is Small PDA Classic (344)
• You can also check out more more from Aquapac on their Facebook page
  

If you have any thoughts or comments, feel free to jot them in the comments section.

Another last-minute shoot

A quick case study about a shoot from last week, which came at the very last minute from a long-standing client of mine...

Complicated story cut short, I received a phone call on Friday. The details about what was required seemed clear enough - shoot and supply a set of simple head-and-shoulders portraits for use in a forthcoming report. This was as much a surprise to them as it was to me, having already been confronted with a set of images depicting people which "look like they've just escaped from prison." Not a good look.

Thankfully, I had already met some of these people in the past and knew that this really wasn't a fair reflection on them, rather it was a reference to the fact that their current 'portraits' were most likely unflattering, 'rabbit caught in the headlights,' point-and-shoot snaps. Again, not a good look.

To top this off, everything - words, pictures, layout - had to be ready for publishing in less than a week, meaning all images needed to be edited and ready to go at their London office first thing on Monday morning (yesterday).

This is not an unusual amount of pressure for me. It happens all the time, so I immediately knew the setup I would use. And, knowing the sort of office space I would likely be setting up in, my choice of kit was instinctive.

So, here's the 'studio' space we took over for a couple of hours. A fairly typical boardroom affair, it came with an instant backdrop and soft back lighting in the form of large windows and blinds:



Arriving in plenty of time, I tested a few angles to see which window would work best, and decided on the furthest right (as viewed in the picture above). The next stage was to conduct a few lighting tests, arranging first one then two halogen lamps, which would produce soft, flattering results with the minimum of shadow.

Stepping back from the scene, here's what it looked like. Notice how the middle blind is drawn closer to give the desired effect, while the two outer ones (and out of frame in the final images) were left more open to allow extra light to reach the subject:


You can see two of the results at the top of this post.

All said and done, my kit was set up, broken down and all images captured within the space of two hours. The editing process was completed when I got back to the office, followed by the upload and supply of all high resolution files, via my website, later that afternoon.

Make the most of your pictures!

A recent shoot got me thinking about how people don't always make full use of the photographs which they commission. Thankfully, those involved on this particular occasion will.

So, I was asked to attend the relaunch party of a local beauty salon, capturing a series of images depicting the proceedings over the course of a few hours. Getting on site early allowed me to catch up with my client (she contacted me via LinkedIn, having remembered me from a networking group we both attended 4 years ago), and get a good idea of the location and lighting considerations.

Before guests started to arrive, I made it my priority to capture a set of nice, clean images showing the atmospheric, newly-decorated rooms, including detail shots. The rest of my time was then spent capturing a mix of posed and un-posed pictures of everyone chatting, networking and generally enjoying the free champagne.

Perfect PR material.

In the first instance, my images hit an advertorial feature in the local press (see photo above). Ffollowing that, they will be used in both printed and online media well into the future.

-

The great thing about photographs - especially the digital variety - is that they are very flexible when it comes to how you can use them. Sounds kind of obvious, right? Well, not necessarily.

Ahead of any shoot, I always have a meeting and/or series of emails and phone calls with my clients, in which we discuss not just the sort of imagery they are wanting, but the ways in which those pictures are ultimately going to be used.

Quite often, thoughts turn simply to the immediate output (profile pictures on a company's website, for example), and regularly the possibilities just... stop. At least in the client's mind. But why should they?

You need to think laterally, people, and consider what other opportunities are out there for spreading your message!

Let's be frank - you're prepared to pay out 'X' amount for my services, so why wouldn't you make the most of our time together? This isn't exploitation, it's value for money. Bang for your buck... call it what you will.

Never be afraid to ask about the potential for using photographs throughout all your marketing activities - there's no such thing as a stupid question.

The point is, I want my clients to make the most of the photographs I shoot for them. That's why I like working with forward-thinking companies, especially if they have their own in-house or out-sourced marketing department.

It's only be being open to the possibilities that you will ever get the most out of this wonderful, powerful communication device we call photography.

Documenting property

In a previous post, I wrote about a quick job undertaken locally for a good client of mine. Well, in this additional follow-up, I thought I'd speak about the idea of photographically recording your building either for future reference or for promotional purposes.

So, the second shoot, about three weeks later at the same location. This time around, the properties in question were covered in a delicate veil of snow, which had fallen the previous night. Luckily, I was just about able to navigate to treacherous roads to get there; but even more lucky (photographically, at least) was the fact that the snow had not been disturbed around the buildings, so I knew they would look wonderful in the pictures.

The first picture here shows the scene which presented itself back in November. A very simple shot, it illustrates the property clearly and smartly.

Nothing more than that, it is a simple record shot - and one which has already been used in a number of promotional activities by the client.


The second shot - very obviously the same building, and essentially an identical shot, but this time with a slightly different message behind it. Specifically, this picture illustrates how these new-build houses offer comfort and shelter from the elements. If this is not immediately apparent, it is perhaps worth mentioning that I also shot some interiors, featuring inhabitants, in order to support the 'making this house our home' message.

To all you business owners out there, I would say this: Regardless of your sector or type of property, it's always worth considering how you might go about exploiting your premises in order to educate and encourage new customers. After all, assuming that you are paying out on a lease and utilities, it makes sense to get the most out of such a great asset.

With the change of seasons comes a fresh set of new opportunities for exploiting what you have at your disposal. Perhaps you run a hotel which looks equally lovely at first light in the summer months as it does last thing at night as it is bathed in the crisp winter light. Or maybe you are a landscape designer who could be documenting the changing face of a client's gardens.

And if the above does not fit with your requirements, because you are not thinking in business terms, there is still relevance here. It might be worth you documenting the various changes your property goes through over the years - whether this be because you want to track building work and modifications, or because you have family and/or sentimental reasons for doing so.

On this latter point, you only have to see the popularity of activities such as the tracing of one's family tree to see the value of keeping a photographic record for future generations.

Whatever your situation, it's well worth giving this some thought.

Awards in spite of the snow

The trouble with planning ahead, of course, is that, very often you can't predict what might happen in between now and the time you are planning for. As if to prove this point, I recently found myself having to reschedule arrangements in order to photograph an awards night for a new corporate client.

The problem was actually something which neither I nor my client could prevent - the weather. Specifically, the snow. And, come to think of it, how typical that in the weeks before and weeks that followed, the snow did not pose nearly half as much of a threat to our activities!

But, look, you've probably heard just about enough about the snow if you're over here in the UK, so let's talk about the shoot...

All said and done on the arrangements front, I did finally manage to get to the location - the local Guildhall - in plenty of time. With all bags and cases decanted, the first thing to do was was have a run through the brief with those concerned. Even though timings often shift throughout the evening (as they did here), it is important to have a framework which allows us to make the most of our opportunities on the night.

The next 30 minutes or so were then spent wandering around the reception bar area, where guests slowly arrived for a pre-meal drink. I covered this with a two-camera set-up, which allowed me to switch between close-up grab shots from a distance and posed/semi-posed images of couples and small groups, as and when they presented themselves. I really like the flexibility of this approach which, by default, lends itself to the production of a wide variety of photographs.

Following a few 'table' shots, and with everyone now seated, I headed upstairs to get a bird's-eye-view of the main hall. With an ultra-wide lens fitted on a camera bolted securely to a tripod, and a relatively long exposure, I was able to capture the low-light atmosphere of the room. You'll notice how people's movement appears to be blurred in places; I really like this effect and every time I create it, I am reminded to put the technique into practice more often!

The final part of my brief was a set of award presentation shots, for which I had to stand up on stage. On this occasion, the approach was not my typical one, and was actually far from perfect. Due to the fact that the client had television cameras filming the whole sequence, I had to remain very much 'in the wings', shooting on a long lens at people with a less-than-favourable background.

I suppose we are perfectionists, and so this did not sit well with me. One of the first things you learn to do as a photographer is to check that your backgrounds are smart and uncluttered; unfortunately, on this occasion, they were neither. But I was governed by the situation and the pictures were technically very good, so this was just one of those occasions where you grin and bear it.

A few final grab shots of performers on stage rounded off the night, before I once again headed out into the cold. I was lucky to get a train back home (the roads were not suitable for driving) as I had put in some extra time and it was a 50/50 chance whether I'd catch the last one.

All that then remained to be done was the editing. All pictures were online for the client to view the following day and a disk containing those same images was sent out in the next available post.

Unveiling simplicity

A really quick post for this morning...

I recently undertook a job for one of my long-standing local clients. Nothing over complicated, it was a simple case of recording the viewing of several newly-constructed properties, with the resulting images destined for use in various traditional and online marketing publications.

Given that the people involved were there simply to discuss the new unveiling - and not to be bossed around by their photographer - this was a very flexible shoot which involved me fitting the various imagery of my brief around their schedule.

As is quite typical, the shoot entailed the official 'group' picture, informal portraits and a number of interior scenes showing off the overall spaces, fixtures and fittings. And with the properties being empty, devoid of any furniture, the brief really lent itself to some lateral thinking - after all, how does one make an empty room look homely and inviting to would-be residents? Well, if you know me and my approach, you can imagine that the answer is not too complicated!

Because of my long-standing working relationship with this client, I knew that they would be very open to the idea of a little creativity in the form of what we technical people call 'wonky angles' ;) It's a simple enough technique, really - you just rotate the camera a little to throw a touch of visual interest into the picture. Simple, but effective.

On a slightly more technical note, simplicity again won the day - I used a single camera, mounted on a tripod (for the interior shots), and alternated between two lenses (note techies: 18-70mm, 10-24mm). Lighting was whatever came through the windows and from the ceiling-mounted light bulbs, apart from the people shots, which required a single flash light either bounced off the ceiling (inside) or fired directly from a position alongside the camera (outside).

So there you have it, a quick post about a quick set of basic imagery which will be used to promote my client and their properties over the medium- to long-term.

Product test: Aquapac PDA Case

One of the latest additions to my kit bag is an audio recorder, which I've begun using to produce interviews, location reports, video commentary etc for the GBP Blog. And so far, I can't fault it ('initial impression' review coming up soon). That is, except for one thing.

This technology is all well and good, but there comes a time when it needs a little helping hand in more extreme environments. Put simply, the audio recorder doesn't like the rain. Suffice it to say this is an assumption and I don't wish to test the theory - but for piece of mind, I set out to find some decent protection for the thing.

Enter Aquapac, who produce all manner of dependable covers and cases. I have been aware of these guys for many years, and took the opportunity to catch up with them earlier in the year at the Ordnance Survey Outdoors Show. Jump forward a few months and they suggested the 100% waterproof PDA Case for my particular requirements.

Rather than waffle on here too much, I've put together the following short video so you can see and hear the test for yourself:



Several details are not mentioned in the video, as I wanted to keep it fairly brief, but for your reference:

• This case will float in water, and is submersible to 15ft (5 metres)
• It has an optically-clear rear panel, good enough to shoot photos/video through
• You can use your PDA stylus as normal right through the case
• A stylus holder is built-in
• The product model reference/number is Small PDA Classic (344)
• You can also check out more more from Aquapac on their Facebook page
  

If you have any thoughts or comments, feel free to jot them in the comments section.

Take shot, take flight

A number of weeks ago, I teamed up with all-round nice bloke John Preston (of Preston Creative Design Consultancy), to illustrate some publicity material for another of his clients.

The brief was simple enough - photograph a single male subject against a bright blue sky, pointing a branded paper aeroplane towards that sky. The reality of the shoot, naturally, turned out to be less than perfect just as soon as the weather got involved.

Arriving in plenty of time, John and I had a scout around the area for the best location, taking into account the sun's direction, the patches of blue sky and the fierce wind that was blowing around the coastal area. It's one thing having a nice breeze blowing through, but on this occasion it threatened to jeopardise the shoot, given that the paper plane was relatively flimsy and our subject's hair could look a mess if he was blown around too much! The morning's weather had generally been pretty good up until that point and the ground was dry underfoot, so at least that didn't pose any real problems.

Whilst Mr. P went off to meet with our subject, I investigated further, picking out a shortlist of two possible 'sets' to work with. In each case, the sun would be behind the subject - acting as a back-light over his right shoulder (and in so doing, balancing the flash nicely). But my main concern was getting the subject sheltered from the wind.

Here's a quick diagram of the set-up (click to enlarge):


Our saving grace came in the form of some trees and bushes, roughly shaped like a letter L, which wrapped around us nicely.

Next thing, moments before the guys returned, it was time to set up my kit. As ever, keeping it very simple, I went with a single lens (50mm) and single light (SB-800, triggered by Pocket wizard, on a stand). Remember, the sun would be my 2nd light - after all, it's free, so why not make use of it?!

That's when things started to slip. And within a time frame of approximately 1 minute, the shoot was over.

In all I shot just 7 frames, including lighting and posing/angle tests, before the heavens opened and we were forced to run as fast as we possibly could back to the cars.

From memory, the sequence went something like: Sun becomes obscured by cloud... wind picks up... single patch of blue sky is replaced by grey rain clouds... torrential rain. What a farce.

Of course, there had always been a Plan B - to head for a local hotel which both John and I have worked with in the past. There, we would be able to set up a more typical 'studio' arrangement in one of the larger rooms, if needs be.

Amid the ensuing deluge, we peered at the back of my rain-soaked camera...

Job done. No need for additional pictures, no need for a re-shoot. The only call was for dry clothes and a hot cup of tea.

Once the pictures were turned over to John's team, they were tweaked a little - just enough to bring a bit more colour into that damn awful sky. The picture at the top of this post is a quick scan of the final document, showing the image as it appeared, so apologies if it doesn't exactly 'pop' off the screen.

In hindsight, and keeping in mind the less than perfect conditions we faced, I was happy with the way these photographs came through. Looking for the positives, the paper plane stands out well from the sky and the 'mood' of that sky ties in well with the accompanying text.

Sometimes, as they say, it's not the destination but the journey - and this shoot was a case in point. The greatest irony of all still remains that as I was driving back to the office, the clouds parted, revealing a great blue sky and perfect sunshine. Bugger.

Still, at the end of the day, the client was delighted with the end product - and that's what really counts.

Sun, wind, scenery, portraits

Last week, I undertook an assignment photographing a couple on their Wedding day. This came about as the result of a referral passed by one of our corporate clients some months ago, and just goes to prove the value of networking and the power of recommending trusted suppliers.

This was not a 'Wedding photography' job, per se, as the couple were having a very low-key ceremony and did not require our coverage at the West Sussex registry office where they 'tied the knot'. Instead, they asked us to meet them at a rather grand five-star hotel about an hour and a half away, up in the glorious Bedfordshire countryside, where we would simply concentrate on some nice relaxed portraits within the picturesque grounds.

One thing which I did take from the 'Wedding photography' check-list was the need to have a look at those grounds ahead of our meeting. We always insist on conducting a recce with every couple we photograph, taking in all locations where photography is required (for example, the Bride's preparation address, church, Reception location etc). Typically, this occurs about one month before the Wedding day, and let's us make an initial connection and look for possible areas for photography, as well as taking stock of potential issues and considerations such as the need for a contingency plan, should the weather be less than favourable.

On this occasion, though, logistics dictated that it was not feasible to make two trips and so I simply arrived about an hour ahead of time, in order to have a wander around and see what photographic opportunities awaited us. What greeted me was something of a photographer's playground - rock gardens, freshly-mown lawns, stone statues and gardens created by the famous landscape designer Capability Brown. All good stuff, and I couldn't wait to make some images!

There were two main obstacles that we faced here: One was the strong overhead sunlight - lovely to walk around in, but less than ideal for portraits, as it casts heavy shadows at every opportunity and people have a tendency to blink! No worries, though; I simply 'filled-in' these darker areas with some complimentary subtle flash light, and took the couple into shaded areas where suitable. The second concern was the wind - it was a very breezy day; but again, we made use of natural shelter where possible and exploited those moments of facing oncoming headwinds so as to inject a little humour into the images. Hey, you have to make the most of what you're given!

Following that day, the pictures were placed in a secure, password-protected album on our website, allowing the couple to take advantage of the Slideshow function and share them with friends and family.

A printed Preview Album is also on its way to them, together with suggestions of how best to display these pictures. And our services do not simply end at 'pressing the button' - as I have often said, pictures are there to be looked at; because we want our clients to get the most out of images, we will happily discuss the wide range of presentation options available to suit all tastes and budgets.

DVD: Location Lighting with Drew Gardner

In my recent Focus On Imaging post, I mentioned catching up with fellow photographer Drew Gardner, and that I bought a copy of his new DVD.

Well, I've finally had a chance to watch it, and would like to share a few thoughts. This is by no means a review or a critique - merely a reflection on what I saw, which should serve as information for anyone interested in Drew's work or who is thinking about getting a copy for themselves.

First of all, it's important that you know something, as if it isn't obvious in other posts I've written: I am passionate about photography. I also have an insatiable thirst for knowledge. And I never get tired of seeing 'behind the scenes' footage showing other photographers (and creatives) at work.

A pleasant surprise here was that not only do viewers get to see actual shoots unfolding, but Drew then goes on to explain the lighting details (both 'how' and 'why') for each of the shoots covered. As an added bonus, he also shares his post production technique, too - something I really wasn't expecting. So as you can imagine, as far as my criteria were concerned, all boxes ticked.

I think one of the things that really comes accross in the DVD is how very open and honest Drew's approach is. A great many of these DVDs are often 'polished' so as to somehow keep up apearances; not so with this one, and it shows all the good bits, not so good bits, warts and all as the shoots progress. And he doesn't take himself too seriously either, which is definitely a good thing ("If I had hair, I'd pull it out!").

As a photographer, there are many 'nuggets' of information which I would gladly endorse here. For example: the emphasis on advance planning and being in a good frame of mind ahead of a shoot, the fact that pictures should not rely on post production for their success (get it done in camera, at the time!), and that good communication is also essential to the success of a shoot. Photography is all about the moment, but we are reminded that often these moments need to be crafted and built up one element at a time, such as with lighting.

If you are now intrigued, why not check out the teaser which Drew posted on his blog a little while ago here.

Of course, if you have already seen the DVD, let me know what you thought - it's always nice to get another perspective.

Any thoughts or questions - please hit the Comment link below.

In spite of the rain...

Whilst up in Manchester, Manda and I decided to take a trip out into the countryside of Bowland - a lovely area of rivers, sheep and rolling hills crossing rural Lancashire and North Yorkshire in the North West of England. I'm sure there's probably more to the place than that, but these were just my initial observations!

Having been treated in Blackpool, the day before, to a relatively mild afternoon with dry weather and a fantastic sunset, we were all fired up to have another day out walking around and taking pictures 'just because we can'. As I said in a previous post, creating more personal work is very much on my 'to do regularly' list this year.

In theory then, the idea of another day out was a good one... Seeing that the light was pretty good and conditions were almost rain-free, we packed the car with everything we'd need to create simple lighting on location - 2 flash guns (Nikon SB-800s), 2 lightweight stands and a set of Pocket Wizard remotes (for reliable wireless flash triggering). Between us, we were using both Nikon and Canon camera/lens kit. Oh, and just for a bit of comfort, a flask of coffee came along too (pity we forgot the milk!).

I say the idea was a good one 'in theory', because nature had other plans for us.

With every mile we drove, the wet stuff got worse. Specks of rain turned into a fine drizzle, before passing through a state of what can at best be described as 'lazy droplets', before threatening to become a downpour. Add to this the increasing cold and we were getting further and further away from what would be considered 'favorable' conditions.

But of course, in true British spirit (that is to say a stubborn and determined fashion), we refused to be beaten by this. I always carry a bunch of clear freezer and zip-lock bags with me, to keep all the electronic stuff dry in such scenarios - and thankfully, as ever, this simple, cost-effective solution proved perfect for the job.

Modern pro kit is pretty resilient these days - it has to be - but even so, it makes sense to give it a helping hand from time to time.

We managed to get a good few pictures in the can between us before the decision was made to head off to a different location further up the road. In the event, the weather really set in and so 'Plan B' came into force - head for the nearest pub on the way back and have a late lunch before settling down to a warm evening and review our day's efforts.

All in all, we had a great time in Bowland. And despite the weather, the experience only served to fuel what drives us as photographers, and what it's all about - a passion for photography, and a desire to make images. Pure and simple. And with the thought of long summer evenings on the not-so-distant horizon, we can't wait to get out and about and do more of the same!

Just a bit of fun

I like to have a laugh. After all, it can't always be work, work, work. Sometimes you just have to find an escape and let your hair down. For me, this relief often comes in the form of visiting a little web site by the name of World Of Poot. Don't ask. It's just a bit of fun - check it out if, like me, you have a twisted sense of humour, and all will become clear. Disclaimer: I have always maintained that it is my insanity that keeps me sane - and, no, it is not me in the pictures!

Anyway, the point is that over the New Year break, the WOP team went out and about to do a spot of filming locally. Naturally, this gave cause for supporting still images for this non-factual spoof documentary. And as far as I was concerned, it also provided a chance to give the new 50mm Nikkor another airing. Lovely standard lens, and perfectly suited to quick, no-frills portraiture. I also brought out the ultra-wideangle for some more dynamic perspective - another nice option for this kind of stuff, so long as you are aware of the limits of its perspective distortion at closer distances.

As for lighting, the rather flat ambient of the late-afternoon overcast day was just perfect for balancing with portable flash. Given that the images were shot at an old abandoned folly, and the underlying story had a theme of history and the past, we wanted to inject a bit of atmosphere. Playing with light (albeit very simply) is the perfect way to do this.

Additional lighting, then, was supplied by a single Nikon SB-800 speedlight, triggered remotely using CLS - Nikon's Creative Lighting System, and fired bare-bulb style (i.e. no modification such as diffusers, brollies etc). This was mounted on a small tripod for easy positioning.

These are by no means technical images, nor do I claim them to be. It was all just a bit of fun. However, the techniques used for the shots here can be applied to many different assignments in order to add interest, highlight certain image elements or to create separation from surroundings.

Oh, and for quick reference, the direct link to the mini-film is this one right here. Enjoy!

40th party people

In my last post, talking about happy accidents, I alluded to a recent assignment photographing a party. Here's a bit more detail about that...

This one was a private affair - as apposed to a corporate shindig - and was held to celebrate a 40th Birthday. The location was a large activity centre housed in an aircraft hangar, in which 60 guests congregated - complete with fancy dress - to let their hair down... Remember Dennis The Menace? Thunderbirds? Banana Man? Well... they were all there, strutting their stuff! Encouraging attendees to dress as characters from their favourite childhood comic books and television shows was a great idea and, photographically, it offered plenty of potential for some striking images.

As is often the case with these jobs, I was commissioned via one of my event management clients. I've worked with them a lot over the years, and we have such a good working relationship now that they know what they can expect - without the need to direct me in any way. I really like this flexibility because I think it produces better pictures - and that is, after all, what it's all about.

Humor me while I get a bit technical here, but I know some readers love to get a glimpse into the 'behind-the-scenes' stuff... My initial set-up, as is often the case, was to have one camera hooked up to the utra-wideangle Sigma lens, and a second to the trusty telephoto. This is the way I most often kick things off, sometimes substituting the latter for my 'standard' 18-70mm Nikkor zoom - an aging optic now, but still nice and sharp.

One of the great things about the wider lenses is that they allow me to get close in amongst my subjects, for frame-filling shots with a certain intimacy that you just don't get by stepping back from the action. This suits me fine, because I think it's really important to engage directly with people - to make them feel at ease... which results in the best possible pictures.

With all shoots - but especially at events such as weddings and parties - I'm always looking out for the smaller shots, too. The details, the incidentals - such images have the ability to 'fill in the gaps' and ultimately build up the narrative of the story. On the night in question, I was able to produce plenty of candids, using the ambient light to compliment the costumes' striking colours.

Speaking of lighting... each of my cameras was set up with a Nikon SB-800 speedlight. However, I really don't like to use these on-camera if I can help it - the results are often flat, uninspiring and full of god-awful shadows (see left). Instead, I do one of two things - either hand-hold the flash at a distance anywhere within my arm's reach or, at more controlled assignments such as location portraits, place the flash on a stand. Off-camera lighting is just so much better; it is more flattering for portraits, it helps you avoid unsightly image content (again, see picture) and it shows the form of objects off at their best, at the same time adding atmosphere to a shot.

By way of comparison, have a look at this picture, again depicting one of the musicians. See how much better this looks? In this particular example, there was no front spot-lighting of the band, so I was able to replicate this effect simply by holding the flash high up an angle of about 45 degrees to my left shoulder. Notice how the background drops off into shadow, how the wonderful colour and detailing of his guitar stands out, and how I have made use of what little ambient lighting there was, to add a bit of colour and interest. Altogether a much more pleasing image, I think.

And finally, just to prove that the tables do sometimes turn...

If you are one of the girls in this picture, please speak up - I'm curious to see what your picture looked like! Get in touch and we'll do a swap :)

Happy accidents - are they such a bad thing?

This last weekend saw me undertake one of my favourite kinds of assignments - event photography.

The brief itself was very straight forward and called for general coverage capturing the location, the guests, the atmosphere. My initial set-up is nearly always the same for this type of work - 2 camera bodies, each with flash, and lenses covering ultra-wideangle to telephoto. I will be writing about this shoot at a later date, but for now I want to take a more artsy-philosophical route...

There comes a point within any shoot of a certain duration, involving battery-powered equipment, when your batteries are going to fail. Of course I always keep plenty of spares in my case, but the fact remains that it does happen. And not always at the most opportune time. Nine times out of ten, I will have noticed a drop in technical performance or, specifically with lighting equipment, longer recycling times between flashes, and so I can preempt the situation to avoid missing a picture. Sometimes, however, this shortfall in the technology creaps up on you out of the darkness of the music-driven night...

The pictures in this post come as the result of this apparent 'failure'. They are accidents, they were not supposed to exist, and they most certainly do not fit in with 99% of all the images created that night. In theory (ahh, theories...), they are not technically proficient - insofar as the flash failed to fire, meaning they are darker and show more movement than intended. Of course I could easily have produced these results deliberately, but such images were not on my 'to do' list. For a start, anyone who was present at the party most likely would not have recognised the place!

But you know what? I like them. I like them for their atmosphere, for their richness of colour, for their ambiguity even. I like them for what they are. Plain and simple. And what's more, I make no apologies for this - or for admitting to having taken them. This sort of thing happens all the time in our industry - it's just that the majority of photographers keep these 'happy accidents' to themselves. I seem to recall there was one particular news picture, a few years back, which won a major competition (could it have been the World Press Photo Awards?). It was 'taken' when the fleeing photographer tripped and accidentally fired his camera which was hanging at waist height.

But does that make it any less of a picture, any less worthy of the prize? After all, the guy was there, in the thick of the action, covering the events as they played out in front of him. The resulting image may not have been what he would think to produce (either technically or aesthetically), but it was competent nonetheless.

There is, of course, an age-old deabte - centred around the question "What makes a good photograph?" Is it technique? Timing? Or could the simple act of being in the right place at the right time have something to do with it? You see, that's the great thing about photography - and about the creative arts in general. There is plenty of room not just for experimentation, personal interpretation, and technical variation - but for happy accidents, too. I say we embrace the latter and just remind ourselves what the purpose of a photograph ultimately is.

Please let me know your thoughts - by following the 'comments' link below.

Thinking outside the box... literally

One of my favourite types of location to photograph in is a factory or warehouse. There's just something about the lighting that really lends itself to potentially atmospheric images; I love the softness of their overhead illumination, and by working simply with the available light we can get a real sense of the subject matter in its simplicity. One of my assignments this week was in just such a place.

On arriving at the warehouse, however, the conditions appeared less than favourable - a very dimly lit building with no windows, and what light there was fell to the ground in patches. First up, then, we had to stop and re-think how best to illustrate the primary elements we were trying to get across given these conditions - specifically, the overall space, capacity, professional methodology and organisation of the client. Thankfully, there was a saving grace in the form of the key subject matter itself - bright yellow storage boxes - so we ditched the idea of using our SB-800 flashes in favour of the ambient light. Exposures, therefore, were in the region of 1-4 seconds - and for this we brought out the tripod and grip equipment.

This picture, shot on the G9, gives a good indication of the working conditions. Dark corners at the ends of the shelving, ranging through to highlight areas nearer the roof. This particular 'scene' was actually one of the brighter areas. Incidentally, all ground-level static shots were taken with a tripod-mounted Nikon D200 at ISO 100. Lens choice varied between the Sigma 10-20mm f/4-5.6 EX DC HSM ultrawide and the Nikon 18-70mm f/3.5-4.5 AFS IF-ED DX Nikkor.

Ground-level stuff is all very well but, you know, sometimes you just need something extra... And that's where the crane came in, taking me up to a height of aroun 26 metres - near enough to the very top of the building. Still working with the available light, I switched from the tripod to a Super Clamp/Magic Arm combo, which was attached to the basket of the crane. Given that there was no cross-wind(!) and that I was able to stand perfectly still, this arrangement was perfectly adequate for getting sharpe, blur-free pictures. It even did a great job at supporting the Nikon 80-200mm f/2.8 AFS telephoto, which was used for isolating staff from their surroundings.

With any shoot like this, what we are trying to produce is a varied set of images which informs would-be customers not just about the product, but about the process, too. Multiple tools such as clamps, lenses and lighting enable us to do this. Accordingly, we shot a number of supporting photographs showing specific details of the filing system as well as portraits of other members of staff carrying out their specific roles within the operation.

The glamour of 20-hour work days

Sometimes, my week just runs away from from me, taking each 24 hours – and, by default, my plans – with it. I've alluded to this before, and it is something which, with hands held aloft in surrender, is simply the way my work pattern can go over the course of seven days. Anyway, I had just such a week recently...

The Monday in question was spent editing wedding pictures shot at the end of the previous week, along with taking care of emails and phone messages left over the weekend. Then in the evening, it was off to a long-standing local corporate client to photograph their board members' meeting.

The following morning, having had 3 hours' sleep, I attended one of my regular early-morning networking meetings, before heading to the office to crack on with editing those informal portraits from the night before. For all you budding photographers out there, here's a top tip: Never underestimate the powers of a good cup of hot tea to get you though a bout of sleep deprivation!

It was at this point that I received the phone call that would dictate the remainder of the week. Of course, I already had plans, but thankfully on this occasion there was nothing that couldn't be switched to another day or taken care of during the evenings. And the call?... A very last-minute request to carry out assignments in Glasgow on the Wednesday, Northern Ireland on the Thursday and Wales the following Monday! Duly, I obliged. Which in itself caused an initial 'challenge'.

The Glasgow shoot required me to be at the airport for a 7am check-in. Given my weary state, I just couldn't face a 2-3 hour drive in the early hours, so the sensible option was to take the train. Problem was, in order to be at the airport on time, the only possible train I could take set off at 11:30pm on the Tuesday night – meaning a 3-change, 7-hour journey and... yes, you've guessed it, no sleep.

So, with thoughts of... er... 'forget that' in my mind, I arranged to travel up to London that night and stay at a hotel, so as to make an early start on Wednesday morning. This would also mean another early start (4am)... but at least is was a shorter onward journey consisting of taxi ride and connecting train.

Without naming and shaming, I have to say that hotel was possibly the worst one it has ever been my misfortune to stay in. Which didn't help matters. Waking up several times during the night and sneaking out through an empty reception because – I conclude – the duty staff had forgotten to set his alarm, I really wasn't set up all that well for the day ahead. But the flight to Glasgow passed without drama, too.

The Glasgow shoot itself went well, photographing the interior of a retail store. Rather than simply recording the overall department views, we also picked out unusual angles and details, making use of a range of lenses including two of my favourites – the Sigma 10-20mm f/4-5.6 EX DC HSM ultrawide and the slightly aged Nikon 80-200mm f/2.8 AFS telephoto. The brief was typically tight, but with a pleasing degree of flexibility to enable my creativity to show through (remember, we photographers are not paid simply to 'press the button' – it's also that lateral thinking around ideas and the ability to visualise the end results and, ultimately, the output).

Speaking of which - the subsequent images from that day will initially be used in-house and at a conference in the coming weeks. As another shoot for the same client was scheduled in for Friday, a selection of those images were emailed to the Creative Director's office the following morning, to make sure we were all on track for the second shoot on Friday...

... which was an altogether more reasonable affair. The train to Cardiff meant that I could get a decent amount of sleep the night before and the shoot was set for 11am-3pm, and I was back in the office by around 7pm, to back up all the images, follow up phone message and prepare for the following day.

The Northern Ireland shoot was postponed for a few weeks; time, to allow completion of the next shop's refit ahead of the photography.

Last but not least, that Saturday saw me photographing another wedding - thankfully very local and, all said and done, I was finished by around 2:30pm, which enabled me to edit the pictures before uploading them to the GBP website that evening. As such, the couple in question will find an email waiting for them just as soon as they can get to a computer – meaning that, potentially they can view their pictures whilst still on honeymoon. You know, sometimes I just love this modern technology!

So there you have it – a typical week in the glamorous world of professional photography. I wonder what the next 7 days holds in store for me...?!