Over the last few months I have been devoting an awful lot of my time to building up an archive of my professional work from when I left college in 1986. There are plenty of gaps and there have been lots of surprises – images and commissions that I had long forgotten and it occurred to me that my Instagram feed was looking a bit sorry for itself and so I started to add portraits that had something of a back story. That was a couple of weeks ago and there will be photographs on that feed that regular readers of this blog will recognise but, equally, there will be some very unfamiliar portraits that haven’t seen the light of day in many, many years. (more…)
Here we are in day sixty-something of the UK Coronavirus lockdown and I’m still ploughing through my very old work and trying to knock it into a usable archive. There are a number of stages to the process and stage one has been to make a detailed catalogue of somewhere approaching three thousand rolls of negatives from dates on the negative sleeves married up with my old (Filofax) diaries and a few memories kicking around in my head. Stage one is now pretty much finished. There are a few gaps where I cannot work out the exact details of when and where pictures were taken and there are a lot of sheets of negatives missing where the films were processed in newspaper darkrooms and I never got them back.
What I have done as a first step is to create a spreadsheet with columns for the film number, date shot, client who commissioned the job or if it was a self-funded project, a generic caption for the whole sheet of negatives, specific frames where applicable and the digital filename range of files created. From there I can import any or all of that data into the IPTC metadata once I get to the captioning of those images. There will be some rolls of film that will never be touched and there are others which will be given a lot of attention. (more…)
A few weeks ago I was on a simple PR job alongside a small video crew and another photographer. Like most jobs we talked about what we needed, let the video team go first and then shot our pictures. As the day progressed the pattern was repeated until just after lunch the other photographer ran out of power for his camera. He was using a single Canon EOS5D MkIII and I was shooting with two EOS5D MkIVs so we had the same type of battery and I offered to lend him one of my spares. When asked how many spares I had I said that I had four in my camera bag and another four in the car along with a battery charger that would run in the car or on mains should I get desperate. He was amazed that one photographer could own so many and I was equally amazed that anyone doing this for a living wouldn’t. Since then I have been asking around and it turns out that I am quite unusual. (more…)
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…)
When I published my piece last month about the arrival of the Kodak DCS520 cameras I included an interesting portrait of Theresa May MP taken just over eighteen years ago. Several people – including some picture editors – got in touch and asked to see the whole shoot. It was the second time that month that I had photographed Mrs May which, given that I was working for a group of education titles, wasn’t that unusual back then. As always the interview overran and the time for pictures was severely curtailed. The inside of a Member of Parliament’s private office is rarely interesting and so I went tight with what little time I had. (more…)
On the 18th of November 1998 my working life changed. Forever. That was the day when I received my first professional digital camera that was solely for my use. The Kodak DCS520 was a Kodak/Canon hybrid camera (also known as the Canon D2000) based on the Canon EOS1N that had a 1.9 megapixel CCD sensor with a small LED display on the back and removable PCMCIA flash storage cards. It was a revolutionary piece of kit and it didn’t seem to matter that it had a 1.6x crop factor. Nor did it matter that it didn’t work properly with the 540EZ Speedlight which was the top-of-the range offering from Canon at the time. We didn’t even mind the shutter lag because the DCS520 was infinitely better than the previous DCS offerings and much more convenient than having to process and scan colour negative film. (more…)