Old photographs influence the way I work

This morning saw another local networking meeting, and my turn to give a 10-minute update about just what GBP is all about. At times like these, it's very tempting to go full-force into the 'official' promo blurb about professional digital imaging, how I work closely with my clients, building up one's status, blah, blah, blah...

But as regular followers will know, either via the GBP Blog or my Twitter feed, that's not my style. I'm far too down-to-earth, and perhaps far too honest, about the reality of the way I operate day-to-day. I don't like BS and I don't like people who are blatantly out to impress in an all-out blagging fashion (transparency, in such individuals, is not a good quality!).

So, the basis of my presentation today was to turn things around... ignoring the technical, the corporate, the case study, the computers... instead concentrating on what I know best - me, and specifically, how my passion for old photographs directly influences the way I work.

The picture on the left here is a quick scan showing a number of cartes de vistes dating back to the mid-1800s (ok, to be picky, perhaps I should refer to the larger ones as 'cabinet cards'... but that's not important now).

CDVs have a quality all of their own. Sometimes haunting, always intriguing, they link us with our past and, by default, help create and shape our sense of identity. I always get sucked in by good examples of vintage photography, to the point where my computer Bookmarks folder is bulging and my collection of reference books/cuttings/hastily-jotted notes is dictating the practicality and layout of my office space!

Cutting to the chase, what does this amount to? Simple answer - visual awareness.

By default, the 'source imagery' that I consume also informs, inspires and directly influences the work I produce both for personal projects and for my commercial clients. Maybe a lighting technique, maybe a method of posing subjects, maybe even a colour balance; I never know from where the next moment of inspiration will strike - but it's always an interesting process when it does.

We are all familiar with the process of taking family snaps. And at first, such a loosely-bound approach to photography may seem worlds apart from what you'd expect in my day-to-day high-level work. But there is a common thread between the two - the balance of formal/informal conventions...

I like to work in a relaxed way, regardless of my subject matter. Whether it's a high-brow global corporate or an up-and-coming local musician, I always draw, as much as possible, on my knowledge, passion and interest in order to produce imagery that everyone - myself included - is delighted with.

As such, it is very rare that I produce stiff, 'deer-caught-in-the-headlights' portraits (as often seen in 'traditional' studio shots); much more appealing is to get people relaxed, laughing, enjoying the experience rather than fearing the camera as the cold, hard, recording device that it once was. Often, my subjects aren't even aware of the camera, crazy as that might seem - which is why they look so much more 'themeselves' in the resulting photographs.

What inspires you? What are your experiences of having your picture taken? I want to know - and the best way to tell me is either via the comments section below or by connecting in real-time via Twitter.

Yes, we do 'do' weddings!

Weddings. Ah yes, the eternal question: Do you or don't you? A fair enough question, and one which many photographers seem to stumble over when trying to answer. Funny, really, that there appears to be stigma attached to being labelled as 'a wedding photorgapher'...

I must admit, for many years I was one of those people. And for exactly the same reasons as the majority, I should imagine... For one thing, it is often viewed that if you are, say, an industrial photographer and you suddenly start shooting weddings at the weekends, you have somehow 'sold out'. "Trying to make ends meet, are we? Things so bad that you have had to resort to the 'unthinkable'?!...".

Actually, in my case, this could not be further from the truth. My introduction into wedding photography was via another photographer - someone who already had a succesul business set up in the sector, and who was looking for an additional photographer to join him. Of course, I made the usual excuses as to just why his 'very generous offer' just wasn't for me, but ultimately he won me over to his way of thinking. How? Slowly. And in a very gentle 'take it as it comes' fashion.

In hindsight, it was a great a great opportunity and a great decision of mine to go along with the offer. At that time, the weddings which I photographed for him filled a few income gaps in my commercial and editorial work throughout the year. And besides, my weekends were generally quiet, so it was something of a no-brainer: get out and about, meet some great people, take pictures (which, of course I loved doing), have lots of fun, whilst at the same time earning some additional income.

As a quick side-note... I think it is also interesting that there is clearly still a certain public perception/expectation of what it means to be a photographer. Many is the time that I have answered the question 'What do you do for a living', only to be asked the immediate follow-up 'So, you do weddings, then?'

Weddings are actually great fun to photograph. And as a photographer, you are in a priviledged position. Personally, my approach is one of being led by the couple's preference of imagery; some like more formal shots whereas others (and increasingly, this is the majority) prefer the more candid 'reportage' feel. Either way, I feel it is the photographer's duty to record the event not just as technically and professionally as possible (that goes without saying), but also as discretely as possible, too. Yes, there are times during the course of the day where instructions need to be shouted, and people need to be arranged, but in the most part you have to remember that as their photographer, you are simply there to record events for the bride, groom and their wedding party to enjoy in the years that follow.

So here it is - Yes, I (and by that I mean we as a company) do 'do' weddings!

But to be clear, this is just one of the many wide-ranging services offered to our clients, in much the same way that there are also many add-on products offered to compliment the work we produce.

Canvassers welcome

I recently received a call from from a lady whose boyfriend I photographed whilst shooting for Wavelength magazine at an extreme sports event some time back in 2004. Totally out of the blue, but also very interesting at the same time.

I photographed hundreds of people and took thousands of frames during the course of that event, so understandably I couldn't remember exactly who the person in question was. However, a quick search through the archive for the particular file reference number and there he was, riding the waves in all his glory (see picture above).

Turns out his girlfriend was wanting a canvas print made of the picture, to give as a present. She had already gone into her local high street photographic shop to ask about their canvas print services (and no, I am not going to be naming names here!) but, quite rightly, they told her that they could not do this due to copyright laws governing the image. So she gave us a call.

Long story cut short - we have just supplied her with a superior quality, hand-stretched and anti-aging, fade-free 60x85cm (28x40 inches) canvas print. And because we ensure our monitors are calibrated to the the printing machines used (i.e. to guarantee that what you see is what you get), fantastic results are produced time after time.

Canvas prints are a great way to show off your wonderful photographs, both new and old - whether as 'space fillers' in your hallway or as centrepieces in your living room or business premises.

And remember... the whole point of pictures is that they are there to be looked at.

Pictures Are There To Be Looked At

I have just returned from a string of meetings this morning, in which I was talking to clients about how best to display the photographs we produce for them. I say 'talking to' - it was actually more a case of educating them. And here's why.

People love photographs. Fact. Whether it's snaps of friends at the local pub or a corporate team-building day, we love to share stories and memories of the events which occur in our lives. Trouble is, a lot of people don't know how best to enjoy these pictures, and simply throw them in a drawer or onto a bookshelf in the corner of a room, never to see the light of day for years to come. And the worst offenders? [Shudders to think] Direct transfer from camera to hard drive - and we all know what can happen there. Shame on you!

So what options do you have? Prints - sure. Canvas artwork - yup. T-shirts - if you really want. But then... that's it, isn't it? NO! There are so many different ways to present your pictures, many of which people don't know about. Apart from the above, you could consider traditional albums, super-modern picture books, despoke frames, acrylics, aluminium and block-mounted displays, promo transfer sets, multi-item themed gift packs... you get the idea.

But just a second. A word of caution, by way of an old adage - just because you can, doesn't mean you should. Not every display method is suitable for every kind of picture. Likewise, not every location is suitable for certain presentation options (e.g. canvas prints can look terrible in spaces which are too small for them). It's all about considering the options and deciding which will work best for you and your pictures.

Now, before you jump to conclusions, I should say that such considerations do not apply simply to 'private sector' clients (weddings, portraits, that sort of thing) - they are also relevant to business and corporate customers, too. Why? Because photography can and should be used to your advantage.

For example, say you have company premises with a 'typical' reception area. When new or returning clients come in, what are they greeted by (apart from your super-friendly receptionist, naturally)? Blank walls and a few scrappy print-outs plonked on a coffee table next to the water cooler? That's the sight that often greets me when arriving to do a shoot.

Wouldn't it be so much better to create a strong visual impact right from the outset, the moment visitors walk through the door? Maybe some stylish photo-art or team/product shots on the walls to build your profile. Or a smart-looking picture book album documenting your factory facilities or your pro-active operations in the field. Both of these would not only create a good first impression, but a positive lasting one, too.

So... please, please, please, don't just file your pictures away where nobody can see them. Be bold, be proud, and most of all enjoy them - because they are there to be looked at!

Fathers Day, Memories, What The Duck

OK, in my last post, I told you about an online cartoon strip called What The Duck. Well, given that today is Fathers Day, I thought I'd share the strip above (hmm... tedious link, I know, but the word 'Dad' is mentioned!). Anyway, take it for what it is, or feel free to read a little deeper...

Show of hands please, anyone who backs up their photographs. And I don't mean simply copying them from your camera to the computer - we're talking proper 'paranoia-driven, second-guess the future' multiple back-ups here.

It never ceases to amaze me how many people still genuinely believe that their computers will last forever. Never corrupting, never slowing to a grinding halt, these machines are clearly invincible. Apparently. Well, drop us an email and tell me where to sign!

As far as photographs are concerned, never forget - these are visual documents, often showing events which are one-off, unrepeatable times in our lives. They allow us to savour moments and preserve them for future generations. Remember photographic prints? You know, actual 'hard copy', 6"x4" bits of paper you could actually hold in your actual hands and look at without straining your eyes at a computer screen! Increasingly, people are not bothering to get prints made, instead entrusting these memories to a birds-nest of wires and circuitry all neatly packaged in an overheated metal box plugged into the wall.

Fact is, and though it pains me to have to tell you like this, computers can and do go wrong. Badly. And when they do... that's when those same people are suddenly consumed with a rush of blind panic, tears, cursing and, once things have calmed down a bit, regret at having not bothered to back up their pictures sooner. The same scenario holds true for business owners who, frankly, should know better.

Now I'm no computer whizz - far from it - but I do know what it feels like to lose important information from a computer. Which is why we perform multiple backups like our lives depend upon it (actually, in a professional sense, they do!). At the very least, you should be making copies onto CDs or DVDs - seriously, these things cost pennies nowadays (far, far, faaar less than the information they can contain) - and you'd be a fool not to go out to your local computer supply shop today and stock up.

By all means, wait for the 'Big Bang' in the corner of your office or spare room before you decide to take action, but just remember to take a deep breath when the repair guy tells you that he 'might' be able to save your data - and at great cost - but that you should probably prepare for the worst. "Well, of course, you have saved a copy of the important stuff, haven't you...?"

So, take heed of what I have to say. Or don't. At the very least have a look at the cartoon at the top of this post. But one thing I can tell you for sure, from bitter experience, is this: if your computer suddenly takes on the appearance of a pile of scrap metal and your precious pictures are only lodged somewhere in the unrecoverable rubble on the carpet, you'll be kicking yourself for not parting with those pennies.

Happy Birthday, Grandad!

Yesterday was a very special day for our family - my Grandad turned 97 (though you wouldn't have thought it to look at him!). So, naturally, out came the camera and lights to mark the occasion.

The backdrop for the pictures was the rear garden of his house - with a bit of privacy and so many happy memories there, it was the ideal setting.

Past experience has shown that taking a 'posed' picture of my Grandad is akin to photographing a young puppy - I find myself with a maximum of just a few short minutes before he decides it's time to move off to get on with other more 'exciting' activities (thankfully, I have also learnt not to take this reaction personally!). So, with this in mind, I set up the lights in advance, making full use once again of the wireless capabilities of the Nikon Speedlight system. For more examples of this system in use, see the content label list on the right; if you have any questions, please post them via the comments link below.

The diagram here shows the basic arrangement, viewed from above. As you can can see, the main light was fired through a translucent umbrella; I often use this approach as it provides a clean and flattering diffused illumination which softens the skin nicely.

Behind the subjects were placed 2 other (undiffused, SB-800) flash units - one either side, each at approximately 30 degrees, creating a nice rim light and giving clear separation from the background. This would have been accentuated even further had the subjects' clothing been darker.

For any keen photographers who are reading - yes, you're quite right, the the main light is in fact a Metz, not a Nikon. Simply put, the Nikons were set to fire off the Metz, thanks to the SU-4 hack. Want to know more? You should definitely check out this page over at Strobist, where David Hobby gives a great run-down of this excellent slave function.

But getting back to the point... and the whole reason we create pictures in the first place. Regardless of subject matter, every image is designed to be memorable, meaningful, impactful in some way. Of course this process is subjective to varying degrees - the photographer's beliefs, his/her stylistic preferences, even one's state of mind at the time of capturing the image - all can influence how the picture turns out. And every picture has a purpose, it's own story to tell.

On this occasion, I simply wanted to document the fact that my Grandad has reached such a great age. The caption would read nothing more than "Grandad in the garden on his 97th Birthday". In years to come, I will be able to look back on these photographs and remember the happy memories of that day and of the years that led up to it; the times we spent together in that place, the fun we had.

And therein lies photography's greatest strength - the ability to capture moments in time, no matter what content fills the frame. It is there to preserve those moments for the benefit of future generations. Technology is wonderful - but it is merely a tool which allows us to realise our visions.