My workflow has revolved around Photo Mechanic and Adobe Camera RAW for a lot of years now and, bit by bit, it has evolved along with those two key applications to become a slick and well-ordered professional process. Adobe have posted regular updates to their RAW converter pretty regularly and those updates have almost always been logical and very welcome. Occasionally they have made quite big changes and I have welcomed pretty much everything they’ve done. Until now.
The latest version, 12.3 wasn’t flagged-up in advance as being a major change and so I (stupidly) hit OK on the update without giving it too much thought. I was more than a little surprised when I opened my first set of RAW files to edit them because what I was seeing were a whole raft of changes that were, in my opinion, not needed and/or not wanted. (more…)
I have lost count of the number of times I have agreed the details of an assignment with a client only to find out that they want to add a few “little extras” on the day of the shoot. Sometimes it is a job where we agreed to do a dozen headshots only to find out that they’ve added another six or seven. It can be a school prospectus shoot which was meant to end with the school day where, over a cup of coffee, they casually add an after-school club that doesn’t start until after you were supposed to be off-site. In the most extreme case I can remember it was to do half of the job in central London and the rest of it a two-hour drive away on the outskirts of Coventry.
The military term “mission creep” sort of covers this except that most definitions use the word “unintentionally” whereas this kind of “job expansion” is pretty often entirely intentional. How you handle this regular occurrence says a lot about you as a photographer and can define your relationship with that client for years to come. What might seem as a harmless addition to the brief can leave you with extra work, less time to shoot parts of the original brief and can get you into a row with the client.
For me the worst part of mission creep is the almost inevitable additional time that will have to be spent in post production. It stands to reason that even if you can shoot extra pictures in the time given for the job there will be a greater number of images to be sorted, captioned, cropped and toned. The client almost always ends up getting what they perceive as more pictures for the same fee. (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…)
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…)
When I switched to Canon cameras from Nikon in 1995 the one thing that I missed from my old F4S cameras and my old SB25 flash units was the accuracy and reliability of the Nikon TTL flash. Canon, with all of their promises for the EOS1N and Speedlite 540EZ combination just couldn’t quite match what I had left behind. I have no idea how Nikon managed to get their off-the-film-plane metering to be so good but it was very good indeed.
Coincidentally, it was about this time that I started to use high quality battery powered lights. The Lumedynes that I took delivery of in 1996 changed my professional life and TTL flash became something that I used when I absolutely had to.
Fast forward to 1998 and the arrival of the first decent digital cameras we had (the Kodak DCS520/Canon D2000) and flash took a big backward step. (more…)
The old Lite-tite on the left and the Snap Tilthead on the right both with Canon 600EX II-RT Speedlites.
When, like me, you have been using a single product successfully for over twenty years it is normally out of a mixture of boredom and curiosity that you have to try out the next “new idea” when you see it. That happened to me a few weeks ago. Having owned and used several of the venerable Manfrotto 029 Lite-tite brackets for so many years I thought that I’d give their new Snap Tilthead with hotshoe a go. For my purposes they will do pretty much the same job: hold a Canon Speedlite flash on a stand with a folding umbrella on those jobs where using other lights isn’t so much of an option. I know that there are dozens of other brands out there but I’m a sucker for certain makes – (more…)