Thursday 23rd May at the wonderful Cherryduck Studios in Wapping.
For anyone who remembers that far back my www.dg28.com website started out as a vehicle for me to post updates about the work that I was doing along with some technique examples that I rather pompously called “photographer education”. Well, that was in 1999 and a couple of years later I started doing occasional workshops and lectures about my use of portable flash on location. I have done a lot of talks over the years including a couple on behalf of The BPPA to coincide with exhibitions that were held on the old SS Robin at Canary Wharf. SS Robin attendee Steven Frischling said
“He’s good folks… totally worth the price of admisssion, got off the plane and went right to work with what I learned from you within hours”.
(Steven had flown from Pennsylvania and was en route to Germany!) (more…)
Towards the end of last month I was excited about the arrival of the production version of Camera Bits new update to their excellent (and indispensable) workflow application Photo Mechanic. I have been using this version (with two updates and counting) for the last five weeks and I am about ready to say that I have settled into enough to put my early opinions down here in the blog.
It’s very good.
People say that they like short and concise reviews and that, ladies and gentlemen, was it. For those who prefer an expanded and more considered opinion I guess that I am going to have to write on because it hasn’t all been lovely. Camera Bits have been asking everyone for feedback and the fact that they have released two extra builds since the launch of version 6 five weeks ago tells me that they are working hard to make this the best version so far and free from faults and niggles.
This chart is for one “average” photo and represents a comparison for that picture as a guide. Closed image file sizes vary widely due to their content. The photo in question is an environmental portrait taken with a Canon EOS5D MkIV.
Sometimes I post blogs which describe how I do things and others are intended to be conversation starters and thought promoters. This one falls directly into both camps but it was originally written to start discussions.
How we deliver images to our clients is a subject that photographers can debate until the cows come home or until the technology changes and the debate has to start all over again. For the kind of work that I do most of the time (editorial, PR and corporate) there are a huge number of compromises to be made – most of which are dictated by a small number of factors:
Does the client have a digital asset management system?
Will the client want to do anything to the pictures before sending them out?
Who are the end users and what will they want?
Once you start to gather the answers to these questions you can start to discount a lot of options that, as photographers, we would like to see. Ninety-nine percent of the pictures that I deliver are in JPEG format. It isn’t the best format for quality but it is almost universally recognised and it offers the ability to compress the files. It makes sense to us to save our images at the highest quality available and to deliver the pictures in a way that allows for that quality to be maintained but a surprising number of clients simply don’t want or can’t handle that. A modern DSLR with a 24 megapixel chip produces very large files – even as JPEGs; Too large to safely email. Too large for them to be stored easily unless the client has a decent server or at least a method of storing (and retrieving) a lot of data. (more…)
The other day I was chatting to a young photographer and trying to explain why a consistent and logical workflow was so important. I confidently referred to my own (this) blog and the many years that I have been writing about photography in general and about workflow specifically. Much to my own embarrassment it took me a few minutes to find the posts that I was looking for. I made a note to come back and create some “greatest hits” lists of posts for various topics and this is the first one – workflow and Photo Mechanic. (more…)
When I returned to the world of freelancing ten years ago one of the biggest changes that I noticed was the arrival of the “style sheet”. Almost every commercial and PR client had a prepared guide that let you know what they wanted from a commissioned shoot and a few pointers of what they, or their end client, liked and didn’t like in their pictures. These ranged from really helpful pointers about what kind of clothing should be worn for portraits or whether or not images should have unfussy backgrounds through the obvious such as “images should be properly exposed” to the mildly bizarre “avoid any and all references to money”. I wish that I had kept them all – they would have provided me with a mixture of useful references and a good laugh.
Recently I have seen two rather odd things in style sheets provided to me by three totally unconnected clients. The first oddity appeared when talking to a PR company about an upcoming commission. They are based in London and the job was for an insurance company. Their style sheet featured three identical pictures and one completely identical paragraph to a style sheet supplied to me previously by a Manchester PR company. I cannot see a connection between the two PR companies and so you have to think that they are getting their style sheets from a single supplier or that they have both copied something from a third PR company. Either way, it explains why so much of the PR and corporate sector has come to look like a catalogue for a stock photography company. Bland people doing bland things with even lighting is a bit dull and I’m pretty sure that every single one of the photographers involved would have been capable of something way more interesting.
The second oddity came when a PR firm working for an educational establishment sent me a style sheet with one of my own photographs used in it. A picture that I created almost twenty years ago and which bore no resemblance to anything that I was being asked to do. When I asked them where they had obtained the images for their style sheet they told me that they had got them from Google Images over the years. Bizarre indeed. (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…)
I sat down to edit a set of pictures this morning and went through my normal routine before actually touching the RAW files:
Check for application updates
Restart the computer
All went well, I had a cup of coffee and then opened the set of pictures as a contact sheet in Photo Mechanic. I went through, added the relevant IPTC captions and then imported the selected images into Adobe Camera RAW and then I noticed that a new icon had appeared in the tools on the right hand side of the screen. A small ‘film strip’ had appeared in Camera RAW 10.3 and below that a new ‘treatment’ option was sitting there offering me the choice between Color (surely they mean Colour?) and Black & White with the choice of profile sitting there in a much more convenient place than it ever has been before.