I have been cleaning up some of the behind the scenes stuff on my original dg28.com website and got side-tracked looking at some of the old technique posts (again). I really liked this one from July 2003 which was originally entitled “Choosing a Mood”. Anyway, here is the original post cut and pasted:
Every time you take a photograph you are saying something about what is in the image. It’s impossible to avoid a frozen frame being anything other than an interpretation of that moment so it becomes a mark of a good photographer to make sure that every element of the image (composition, subject matter and light) helps to paint a consistent story.
The mood required for every image – especially with portraits – is something that you have to consider very carefully.Some lighting guides will tell you that there is a lighting set up for each mood and that it is a simple matter of placing light A in position B and light C in position D to achieve this. I have to agree that there are some obvious starting points for many of the moods that I use, but there are many other factors that have to be taken into account when setting the scene. (more…)
Quite a lot the posts that I’ve uploaded to this blog in the last few months have been related to the business side of photography. For those who want more of the old dg28 – your time is coming soon. In the meantime I wanted to post my thoughts on what you should agree with your client before undertaking a commission. This is taken directly from my own outline terms and conditions which are posted on my website. I have absolutely no objection to any photographer copying and/or adapting these seven points for use in their own terms and conditions because, in my opinion, the more of us who do this the more likely it is that potential clients will be used to the concepts and it will require less pushing to get them to negotiate. (more…)
Is there anybody out there who would argue against a ‘working day’ being eight hours? Maybe eight hours spread over a nine hour period with an hour for breaks? However you think about it and whatever your opinion actually engaging in work of some sort for eight hours is a good starting point to talk about ‘a day’s work’.
Like a lot of photographers I tend to base my charges based on full or half days combined with the end use of the pictures. A half day with a fully loaded PR license costs more than a whole day for a single use in a newspaper. Half a day that makes it impossible to do any work through the rest of the day isn’t a proper half day and should be charged at a higher rate. It isn’t always easy to explain to inexperienced potential clients but, compared to other charging methods, it is as easy as I can make it. (more…)
A graphical breakdown of the types of work that I do these days and where the images end up.
I do quite a few talks and lectures throughout the year and I don’t normally discuss the specifics here on the blog because they are rarely open to a general paying audience. This one is different. The National Union of Journalists here in the United Kingdom invited me to run a couple of one hour workshops at a very interesting event they are running in London this Saturday. Titled “The Photographers’ Summit 2017” the day includes the following:
Improve your videography skills.
Rights & restrictions: how privacy and property laws affect photographers & videographers.
Using copyright law to make sure you don’t get ripped off.
Moving from staff to freelance photographer.
Innovations in photography — 360degree filming and other developments.
New models and ways to make money.
The good news is that you don’t have to be a member of the NUJ to attend and it looks likely to be an interesting day. (more…)
It’s January 2017 and like most photographers I am looking forward to the year with a mix of excitement and trepidation. What kinds of challenging and interesting projects are going to come my way in the next eleven and a half months? How is my work going to develop? Am I going to get enough work to pay the bills? Big questions that add to the roller-coaster of emotions that being freelance brings out.
One of the things that I always try to do is look back at some of last year’s work and compare it to older stuff and try to come up with some thoughts that help me to understand my own style better and to make sure that I don’t get tripped up by the same old mistakes. There’s a question that pops into my head about this time every year and it is one that I think that I am finally happy to answer: (more…)
I spent some of my day yesterday adapting a 2013 Keynote presentation with lots of my work in it ready to go and give a talk to a local camera club. I removed two thirds of the pictures and added a lot of different and newer ones and the thing that I had in the back of my mind at all times was that I had to have something interesting and/or witty to say about each one. That rules out just showing your current portfolio – although a good percentage of the photographs are the same ones – and means that you spend a lot of time remembering and fact-checking those stories too. It is actually a really good feeling to go back through pictures and smile about them even though they were mostly taken for money and not for the love of taking them. What a great way to make a living!
The promise to do this talk came about after a chance meeting in a cafe last year. (more…)
When you try to explain concepts in photography to someone who isn’t deeply embedded in the art/craft/science/passion it makes sense to find something else top compare it to. My favourite comparisons are driving, cooking and sport.
Driving is something most of us do and, on the whole, we do it without having to think too much about the basics. I’ve talked about it before so I’ll quickly recap my thoughts:
Changing gear, using the indicators, knowing when to use windscreen wipers and headlights are all pretty much done on auto-pilot whilst we think more consciously about road awareness, speeds, traffic, navigation and much else besides. The comparison to photography is an easy one to make because there are basic controls that we like to think are second nature; exposure, focusing, making sure we have memory cards and batteries whilst composition and anticipating things happening in front of your camera (and often off to the side and behind you) are things that require more conscious thought.
Tempting though it is to continue stretching the analogy I want to move onto cooking. (more…)