I often refer to my photographs as “telling a story”. That’s how I look at what I do. Portraits help to tell that person’s story and the rest of my work is all about creating images that either tell the whole story of work with other elements to achieve that goal. Stories don’t necessarily have to have an ending. Many of the best stories ask a question of the reader/viewer and leave them thinking about what they have seen, read or experienced. That, in my opinion, is what photography is about; telling the right stories and asking the right questions and how you choose to compose your pictures is one of the vital elements of visual storytelling.(more…)
From time-to-time I repost one of the fifty technique examples that were posted on the original dg28.com website between 1999 and 2008. I have timed this one to go with uploading this particular frame to my Instagram feed as one of the series of archive portraits that I’ve been putting there for well over five months.
The idea here is to have two separate lighting set-ups for one interview portrait without having to constantly move around the room adjusting lights. This interview was with a senior businessman who chaired a body that decided how much teachers’ pay rises will be each year. The reporter wasn’t all that comfortable with me shooting through the interview but it was what the picture editor wanted, so that’s what I did. This job required a bit of quick thinking so that I could get two different set-ups in place. (more…)
As I get towards 100 imperfect portraits added to my Instagram feed I have had lots of nice messages about the pictures and the stories behind them. Along with those I have had a few requests for more of the ‘contact sheets’ such as the Dennis Healey one that I added to this blog last month. My portrait of Marsha Hunt has had three requests so I thought that I’d so that one first.
When I posted this on Instagram I added the following words;
It is hard to think of actress, model and writer Marsha Hunt without thinking about Patrick Lichfield’s photograph of her taken when she was starring in the musical “Hair”. In October 2005 when I arrived at the flat where she was staying in London I was a little surprised by her baldness but she has the most amazing presence that I forgot about it is seconds. The shoot was fun and she was just about the most professional subject I have ever been asked to shoot. It was tough to choose which frame to post but this one really shows how she was on the day. #lovemyjob #portraitphotography #archive #locationportraiture #editorial #canonukandireland #digitalevolution #imperfectportraiture #timeseducationalsupplement
This is quite a wide edit but you can see that we didn’t change locations during the shoot at all. There were two reasons for this; the first is that Marsha had been having treatment for cancer and not been that well so we decided that once we had our location, we would work it. The second is that it wasn’t her home so nothing in the background added much to the story anyway.
The eagle-eyed lighting geeks amongst you will notice that the position and angle of the light changes a fair bit and that’s something of a feature of the ay that I shoot this kind of work – always fiddling with the (normally single) light source and combining it with the ambient in different ways as I go.
Technical notes: All of the lighting was with a single Lumedyne battery powered head and pack with a shoot-through umbrella on some and a 60cm x 80cm Chimera soft box on others. The cameras were Canon EOS1D MkII bodies with 16-35 f2.8L, 24-70 f2.8L and 70-200 f2.8L lenses
I have had the title for this piece rattling around in my head for several weeks now but before I dive in I want to explain that it is about a certain style of editorial portraiture that appeals to me. It is equally important that nobody reading this thinks that I believe other forms of portrait photography are somehow inferior or are “less portraity”.
I suspect that every sentiment that you will read in this mini-essay will have been expressed somewhere on my blog at some point in time. After all, if you did a search for the word “portrait” on this site you would get hundreds of hits. From explaining the anguish of editing your own work to my definition of what is and is not a portrait. I have written about why this kind of photography speaks to me so loudly and so consistently but I have wanted for some time to bring all of those thoughts and impulses together. As always, there are two reasons for doing this; the first is to stimulate thought and debate amongst those who care to read it and secondly to help me further clarify my own opinions and, by doing so, make my own work better.
Of course there isn’t a strict set of rules about what constitutes a portrait. Back in 2011 I wrote this; (more…)
Every photographer has a lens or two that they love to use. In my day-to-day work that would be my Canon L Series zooms but when I am shooting quieter and more personal pictures I reach for a very basic and non-L series Canon EF 35mm f2 IS. I am going to try to explain what it is about this lens that makes me love it and I guess that the fact that I have had lenses of that focal length for pretty much my whole life as a photographer (amateur, student and working professional adding up to 38 years or maybe more) and that I appear to know precisely what kind of picture I’m going to get from a 35 make a good start. Canon make an L Series 35 – the 35mm f1.4L but that’s a big, expensive and heavy lens which, at f1.4, is really hard to focus. When I owned one I always shot at f2 or f2.8 even when the light was poor or even when I wanted shallow depths of field because the amount of sharp images that I could get at f1.4 was too low. That was probably due to shortcomings in my technique rather than the lens itself because so many photographers whose work I love are very happy with it. (more…)
When I’m away from home working as a Photo Editor on big sporting events I like to have a compact camera with me. My relatively recent entry into the world of Instagram has made my desire to have a camera in my pocket/rucksack/bag has grown. Regular readers of this site will know that I have owned and loved quite a few but, having sold all of my Fujifilm cameras, I felt the need to buy a new one.
The list of features that I felt that I needed couldn’t really be filled by one camera and I considered several options before finally making a purchase. Top of my list was probably the Sony RX100 MkV and the Panasonic TZ100 was also on that list but the combination of my familiarity with the Canon system meant that I want for the G7X MkII. The Sony was a little expensive (almost £500 dearer than the Canon) and the Panasonic just didn’t produce the results in the way that I wanted. (more…)
Not many, I know. I am delighted by the quality of those followers though because they include at least two dozen photographers whose professional and personal work I admire along with a small number of picture editors and commissioners of photography. Sadly, the young picture editor whose comment triggered this project still hasn’t added herself as a follower but that’s probably just as well because out of those sixty-nine images only eight have the hashtag #newwork which I’m using to indicate brand new pictures shot since I established my account. It has been great going back through archives to find the others and I’ve still got a dozen or so #archivephoto options that haven’t been posted yet. (more…)
In 2008 when I had just left my staff job at TSL I was asked by a reporter working for a photographic magazine about what I intended to do with my career. I pointed out that I had an enormous amount of experience working in schools and universities and that in my time working for the Times Educational Supplement, Times Higher Education Supplement and Nursery World Magazine I had shot pictures in over 3,000 places of learning in at least 13 countries and that it seemed like a “no-brainer” to market myself as a photographer specialising in those areas. Plenty of prospectuses and websites as well as editorial shoots later my tally of educational visits and shoots tops 3,500 and I’m still in love with the genre. The reporter asked what special skills I had that made me good at that part of the job and my response was that if you can’t get great pictures of kids then you really shouldn’t be a photographer because it was “shooting fish in a barrel“. (more…)