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.

Feedjit the widget

I thought I'd take a moment to tell you about a neat little widget that you may not be aware of. It's called Feedjit, it's completely free and, simply put, it basically works in two ways:

• For bloggers: It allows you to track, in real time, traffic to your blog.

• For readers: It allows you to check out what's being talked about on blogs in you local area.

If you would like to find out more, take a peek at this short 'About' page.

We have known about Feedjit for some time now, but never really thought to add it to the GBP Blog. However, as we get further into our online networking activities, we thought it would make an interesting addition here. Scroll down and you will see that it currently appears below the 'Content Labels' list on the right-hand side.

Many of you will be aware of other such ways to keep track of things - for example StatCounter and Google Analytics. If you are approaching this as a reader, and want to keep up to date with blogs, it's well worth considering opening a (free) Google account in order to take advantage of their Reader application, which works as a simple RSS feed reader. Other free 'readers' are also available.

I hope this little widget will be of interest and use to you; if not, then perhaps you know someone who can benefit from it. That being the case, please do pass on the link to this post.

Another late night, sleep deprivation and a long drive

The end of February was a hectic time - with all manner of, shall we say, 'challenges' to overcome before heading upcountry for various commitments, including Focus On Imaging. Not least of these 'challenges' was my ongoing love/hate relationship (currently mostly hate, it has to be said) with PC computers; they were giving grief right up until an hour or so before I jumped in the car.

All appeared to be well upon departure but, would you believe it, I find out the laptop is still unwilling to co-operate, despite a full clean-out, and hence this post comes to you thanks to Manda's MacBook. So that'll be another tick in the 'switch-to-Mac' box, then.

On the Saturday night of the weekend I was due to head northwards, I was commissioned to document events as they unfolded at a private 30th Birthday party. A nice job (as you know, I particularly love event photography) and thankfully very local, as timings ran from 6:30pm to 10:30pm. It was the usual sort of thing - guests smiling and chatting and generally having a good time. Add to this the 'overview' room pictures and 'detail' shots which gel the series of pictures together (bowls of sweets, chocolate fountain, goodie-bags etc), and I came away with a nice set of images which told the story of the evening.

Once back at base, there was just enough time for a quick bite to eat before heading straight to the office to begin the process of editing and uploading all images to the GBP website via our Client Area. Whilst the latter was being completed under its own automated steam, I took care of the client's labelled DVD and all corresponding paperwork, ready for posting at a more reasonable hour.

All said and done, with other matters also taken care of, my head finally hit the pillow just as the birds began their morning sing-song. Now, late nights are not unusual for me, but one has to question the sensibility of driving four and a half hours on just three hours sleep! Ah well... all part of the service, as they say!

As part of the 'package', we also prepared in advance a set of 'event slips', each slip containing the online album access details. Every goodie-bag contained one of these, and once logged in, visitors would then be able to view and order photographic prints in various sizes and finishes (eg gloss or matte) directly through the website.

Incidentally, one day a couple of weeks ago saw a shoot in conjunction once again with Matt; typical marketing material sort of stuff, created using all the benefits of our wireless technology. A video of that day will be following in due course, but I've not even had the chance to look at the raw video footage we shot yet.

Why the D2H still holds its ground

First up, a warning - this post is a little bit technical. But only insofar as it allows me to contextualise myself for the sake of my ramblings. Please don't let this put you off; instead, read on to find out why I still whole-heartedly believe older equipment is still capable of standing up to more recent (and blatantly snazzy) technology.

So... A bit of back-history: The D2H was introduced in 2003 and was something of an odd-ball, due to a relatively low resolution of 4.1 megapixels.

'Resolution', for those that don't know, basically refers to a camera's ability to record detail; we are told that the higher the megapixel count (resolution), the more detail can be captured in a picture.

Favoured by sports photographers and photojournalists on account of its ability to capture images at a rate of 8 frames per second, this camera was replaced in 2005 by the D2Hs. At the time that I purchased mine, around the beginning of 2004, feedback for the model had been generally very positive and so I decided it was a worthy addition to my kit bag.

But let me get to the point...

In spite of the marketing men screaming at us that we should buy the latest models, with the highest resolutions and all the bells and whistles, my day-to-day working experience remains somewhat defiant. In practice, for the type of work that I am involved in, 6-8 megapixels is plenty. But wait - I just said the D2H has 4.1 megapixels. Yes, I know that. However, I still maintain that it can hold its own in the ever-lengthening quest for pixel power.

The pictures on the left here show a couple of images I shot some years ago, reproduced on the side of a Renault Traffic van (roughly the same size as a Ford Transit). The actual printed size was somewhere in the region of 6ft by 7ft. From a 4.1 megapixel camera.

Now, many people are shocked when I reveal this to them, saying "But it can't be - that level of resolution would never hold at such a size". In fact, at one point, even I wasn't convinced and I went back through the archives to double-check I had my facts right. Sure enough, they were shot on the D2H. Furthermore, the first image is a crop, showing the central portion of the original picture.

So, how and why am I able to produce this scale on imagery on this camera? Well, of course, it helps that the photograph is correctly focused and exposed in the first place, and that any post production is applied carefully. The next consideration is that of correctly upscaling the image to spec - in this instance, I used a programme called Genuine Fractals, which allowed me to enter the output size and create a larger version of the picture without any loss of quality. All clever stuff.

I was also reminded of this camera's performance capabilities at another recent shoot. I have often maintained that photography is nothing without light - apply either too much or too little, and you will produce inferior-quality images which do not make the most of the technology at your disposal. This picture is also a crop, representing about 1/9th the total area of the full image. Focus is shallow, concentrating somewhere near the middle. Lighting came courtesy of a Nikon SB-800 bounced off the ceiling directly above. And the subject was no more than 8 inches across. You may not be able to see at this size of reproduction, but trust me when I tell you that on closer inspection, the clarity of the sugar dusting and texture of the 'egg' sweets is quite simply breathtaking... And yes, only 4 megapixels. In fact, you would be hard pressed to tell the difference between images shot on this and my other higher-resolution cameras.

As I said, I am not easily swayed by the manufacturer's marketing departments, and it is true to say that there is a lot of hot air blown around when it comes to technology and 'advancements'. But here is a cold hard fact - good, crisp, clean lighting will work wonders when it comes to bringing out the detail in all manner of subjects, regardless of the camera used. And experience has taught me that the much-vaunted argument of camera resolution only carries so far.

I have found flash to be particularly complimentary to the D2H - which is why, in the past, it has served very well as the camera to use in studio arrangements. OK, so this machine is getting on for 5 years old now, but it works - works well, works for me, works as far as my clients' imagery is concerned.

What is that old saying, now...? If it ain't broke, don't fix it. Quite right.

Focus On Imaging 2009

On Tuesday this week, I made my yearly trip up to Focus On Imaging at Birmingham's NEC. For those that don't know, Focus is Europe's largest annual imaging show, where professional and enthusiast photographers alike can get up close and personal with all the latest news, equipment and trends surrounding the photographic industry.

My interest each year is very often centred around meeting up with our suppliers (for example canvas printers and picture-book makers), as well as getting a sense of what the market is doing. This occasion was no exception, and I think it is fair to say that, in spite of the economic situation currently in our country, there appears to be no let-up in the number of people ready and willing to part with their cash.

As for the way the technology is progressing, I got the impression that things have settled down a bit, following several years of hype and excitement at this thing we call 'digital'. Of course, there were new releases on show, along with the usual faces shouting about how great their products are and how they will make your photography soooo much better.

One stand that I had been very keen to visit was Mac. If you are following my gradual journey from PCs to this operating system, you will know why. If you are none-the-wiser, check out this page in order to get up to speed with things. But here's the thing - I was completely unimpressed with the Mac stand a Focus. So much so that I didn't bother approaching them. In previous years, they took up a fair amount of space at the show, with lines of computers there for everyone to try out, along with an impressive area where guest speakers would share their thoughts and valuable knowledge with the public.

I do hope this 'scaled-down' approach isn't a reflection of Mac's resting on its laurels and riding its current wave of popularity. This is what Canon did, and their absence was noted at a previous Focus; they were there this year, as were rivals Nikon (keen to build on the success of its D3/D3X cameras). Coincidence?

A couple of mentions about some people who I had the pleasure of meeting this year...

First of all, fellow photographer Drew Gardner, whose enthusiasm for our wonderful art is there for all to see in a frankly shameless and infectious way. He's also a bloody nice bloke. We listened to him talking on the Phase One stand, discussing the workflow capabilities of their Capture One software, as well as the astonishing resolving power of their current line of digital camera backs. I gladly parted with some of my hard-earned cash and bought a copy of Drew's new DVD "Location Lighting With Drew Gardner", which he very kindly signed for me. Not had the chance to check it out properly yet, but absolutely can't wait. I encourage you to take a peek at the teaser which he posted on his blog a little while ago here.

Edit: DVD has now been watched! See my thoughts about it here.

Secondly, a quick mention for Richard Vobes, whose online radio show I listen to regularly and call up via Skype whenever I feel so inclined. Richard is also a 'good egg', and he was at the show in his capacity as an entertainer, playing out one of his many guises. If you like to be entertained and enjoy good conversation, I would encourage you to check out his site here. Make sure you tell him I directed you to the show and you never know, we might even link up over the air waves.

Edit: The 'Vobes Show' online show is no longer being brodcast; however, please do still check out Richard's site to listen to his daily podcasts.

A matter of ownership

Many of you will have either read the above edition of Metro, or else heard through one channel or another that Facebook recently changed some of its Terms and Conditions; in effect, the powers that be granted themselves full rights and indefinite use of all users' photographs, 'Wall' posts and additional information. There was no advance warning, no communication with users, and certainly no open discussion. As you can imagine, once word got out, the news triggered something of an outcry... which ultimitely brought about Facebook's retraction of their newly amended Ts&Cs.

How does such a large company (are they an 'organisation' yet?) make such a huge mistake, when clearly they have unlimited resources of legal and ethical practice advice? Of course Mark Zuckerberg, the site's founder, immediately started backpedalling by saying that no content would be "shared in a way you wouldn't want". Oh, well that's ok then - we can all rest easy again.

But this isn't about Facebook, so let's move on.

The issue of content and material ownership is still very much a misunderstood one. As image makers, creatives, authors, we know that a breach of the Copyright laws which govern such material is a very serious matter - and one that can have very serious ramifications. But for the 'consumer', there is a definite lack of education on the subject, so perhaps it is not so surprising that people are often taken aback when you try to explain that they simply can't take an image they find and use it for their own purposes.

Here's a real-life example: A while back, I was talking to a client of ours during the course of a shoot. The subject of picture usage came up and the conversation went something like this:

Client - Where can I get a photograph to illustrate computing and technology?
Me - Well, either we could produce a bespoke image to your requirements, or else you could try a stock library, such as ours. But whatever you do, don't just lift a picture you like directly from a website.
Client - Oh, is that not allowed?
Me - No, this is a breach of coyright... etc... etc...

Some months later, I was talking to another client and he happened to mention the man above. Turns out, he ignored my advice and took a picture he liked directly from a website anyway. The website owners found out and started court proceedings almost immediately.

Another example: In the last few days, I received an email from a new client with whom we are due to do a shoot in a couple of weeks' time. The resulting images will be supplied on disk (as is often the norm), and he will be free to use them on his organisation's website and in various local press. In the message, the question was asked "Can we then sell the images on to our members?" I explained that this would also be a breach of the law, because images are supplied for the stated usage and copyright always remains with the photographer unless an agreement is reached to purchase it outright. Essentially, the photographs are classed 'not for resale'.

As a result in the case above, and after finding out more information about just what was required, we are now going to make all the images available via the secure, password-protected Client Area of the GBP website, so that members can purchase photographic prints as and when they wish.

So, what is the moral of this post, if indeed one exists? Well, clearly there are plenty of people out there who will always defy the law, always feign ignorarance if they think it will save them a few pennies. However, in the end, this approach often catches up with them. More importantly, I think, it all comes down to education. Specifically, people need to be educated about how and why they can or can't use images that appear to be at their disposal. There's nothing wrong with asking, as the second example above proves, and in the long run everyone ca and should benefit.

Communication is the key.

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.