For a very long time I have been an advocate of shooting RAW files and processing them through Adobe Camera RAW. Recently I have been shooting a lot of pictures in dark spaces with poor light and have been regularly using ISOs of 6400 and above. What has shocked me is that my normal workflows have been producing results that I find a bit grainy – even with the superb high-ISO capabilities of the latest Canon R series cameras.
Having edited some of the live jpegs transmitted during events it has become apparent to me that I need to get stuck into some of the latest noise reduction options as well as having a better look at what in-camera processing can do.
A few years ago I shot a nice picture of two of the younger members of the family jumping over small waves at the seaside. It’s a lovely picture showing the innocence and joy of youth and, though I say so myself, the photograph was perfectly timed with both children in the air at the same time. I guess that they would have been about four years old when it was taken and we have a print of it framed in the house. Fast-forward another three or four years and one of the kids in the picture asked me if it had been Photoshopped. I was taken aback and reminded him that this is what I do for a living; taking good photographs without the need to resort to fabrication. It then struck me that they have lived all of their lives in a world where pretty much every image they see is subjected to some sort of manipulation and that their trust in the accuracy of literally anything is pretty limited.
Glenda Jackson, Labour Party Prospective Parliamentary Candidate. 25 September 1991. Photo: Neil Turner
On the day that an image library licensed one of my historic pictures for just a little under $6 to a well known publisher for use in print and on-line in perpetuity I have been thinking about the value of photography.
We all take pictures on our phones on a daily basis. It’s easy, it’s somewhere between cheap and free and because of that very few of us truly value many pictures. We all have sentimental and meaningful photographs that we have taken and those that have been shot of and with us but do they even have a monetary value? Rarely.
The ability of pictures to influence and even directly alter our mood or play with our aesthetic sensibilities and emotional states is inarguable. It should be those things that make the images that we produce, view and consume on an industrial scale that that give them their true value. I’ve made a living, a pretty decent living, for almost thirty-seven years from photography and I have been lucky enough to find clients (and an employer) who largely understand what the right pictures are actually worth. I’ve been commissioned to shoot many interesting, funny, sad, dramatic, terrifying and downright mundane things and I hope that it is my ability to produce the most eye-catching, informative and memorable images from them that has a real value.
I don’t actually remember the first time that I heard the phrase “pay it forward” but I know that it accurately summed-up something that was there in my mind from quite a young age. I had two parents who both loved to explain how to do things and both of them took enormous pleasure in “paying it forward”. Both of my older brothers either consciously or subconsciously echoed our parents attitudes as well. In fact, if you look around, it’s happening all of the time and it is to be appreciated and celebrated.
I can remember watching a film actually called Pay It Forward which came out in 2000 and that, despite it’s rather cheesy nature, it definitely helped to put a name to what I had already been doing for many years.
It’s hard to know where to start when talking about the changes that shooting with mirrorless cameras have made. In the absence of anything profound I think that I will start with something that has been said by others but which I need to express very strongly. So much so, I’m going to make it a quote:
“Canon got everything right when they introduced the EF to RF converter”
Why did I feel the need to say that in quite such strong terms? I hate changing systems. Back in the day (1995) when I swapped from Nikon F4S bodies to Canon EOS1Ns, and had to swap all of my lenses as well, it was tough. Nothing was familiar apart from the rolls of film I was slotting into them. Changing everything in one hit meant that I had to get my head around half a dozen different things all at once. This time around, swapping from Canon EF to RF I got to keep my familiar (and much loved) lenses whilst I got used to the new bodies and their wildly unfamiliar viewfinders. Eventually I will swap out all of the lenses too but there really is no hurry. The converters aren’t perfect but, looking back over the last few weeks, they have been such a help in making the transition.
When was the last time you finished a shoot, went through the edit and genuinely thought that you really couldn’t have done better?
My answer is that I cannot remember ever having that thought. I’ve come close and been really happy with what I have done many, many times but I can say with a reasonable degree of certainty that ‘complete satisfaction’ hasn’t featured in my work.
I have never taken a perfect picture and I have certainly never made one in post-production – but I’m OK with that.
This question was triggered by listening to an artist being interviewed on a radio programme who said that she had gone through something of a crisis of confidence having finished a piece and in that moment thinking that it was perfect. She talked about coming very quickly to hate the idea that she might never achieve that level of mastery of her craft again and that she may well have reached a professional peak at a relatively young age. That was something which her passion for what she did led her to develop a form of depression.
Anyone who knows me and anyone who has read this blog would probably say that I am keen on technology. I would agree – I’m a geek. Despite my love of the whole digital process there’s one thing about the way that we work these days that I am not so keen on.
What’s that then? I hear one or two people asking. Put very simply, I don’t get to meet or even chat with editorial clients any more. I know that the whole COVID-19 pandemic has put a mighty spanner in the works but even accounting for that I was disappointed and a little bit shocked to realise that I have never actually met any of the folks who have commissioned me to shoot editorial work since well before we went into the first lockdown. Some of that can be explained away by my being based a hundred miles from London where a sizeable proportion of them live and work but even accounting for that I find it really sad that I haven’t got to have a coffee with any of them or even shake the odd hand here and there.
Lots of things have come together in the last month or so to make me think a lot about my life as a ‘one-man-band’ in the worlds of editorial and corporate photography. The trigger for writing this blog was a survey being conducted by the company that supplies my accounting software. Like most surveys it didn’t ask the questions that I wanted to answer. The attraction of a free-prize-draw for those who took part made me complete it anyway. However, it did make me think about how (very) small businesses and the self-employed are treated by those with whom we do business.
The corporate side of my work is definitely better paid than the editorial but it comes with lots more preparation, admin and general hassle.
Neil Turner Photographer 