Please accept my apologies. This post starts with a short rant.
Every time I read an opinion about which of the many utterly superb cameras that are on the market produces the best colours, my heart sinks. When the writer gives their opinion on the colours or the contrast that this or that model produces I know that I can safely ignore them but I also know that others listen. They often sound convincing because what they say has some small foothold in reality. I find it unbelievable but some people actually base their selection of equipment on how they perceive a camera model to render colours using the factory settings and often under conditions over which they have little control. Even worse; others actually allow the opinions of these short-sighted and wildly ill-informed folks to influence their purchasing decisions.
Ten years ago I bought an 11″ MacBook Air. It went everywhere with me because it was so portable, so useful and did the job that I needed it to do. Four years ago I tried really hard to find a way to use an iPad to do the same sort of on-location quick edits that the small laptop had been so good for but I never really made it work. I kept the rapidly ageing laptop in service for longer than I should have and carried my 2017 15″ MacBook Pro on more jobs that I would have wanted to. When Apple released the M1 powered 13″ laptops earlier this year I thought that I might finally have found a solution and the reports coming from other photographers about how good they were helped me make my mind up to invest in one.
From time-to-time I repost one of the fifty technique examples that were posted on the original dg28.com website between 1999 and 2008. I have timed this one to go with uploading this particular frame to my Instagram feed as one of the series of archive portraits that I’ve been putting there for well over five months.
The idea here is to have two separate lighting set-ups for one interview portrait without having to constantly move around the room adjusting lights. This interview was with a senior businessman who chaired a body that decided how much teachers’ pay rises will be each year. The reporter wasn’t all that comfortable with me shooting through the interview but it was what the picture editor wanted, so that’s what I did. This job required a bit of quick thinking so that I could get two different set-ups in place. (more…)
I’m pretty sure that everyone is fed up of hearing that work has dried up, incomes have suffered and how frustrating it is being a creative at the moment. I’d like to say that the work has started to flood in again but that wouldn’t be true. Happily a couple of clients have picked up the phone and booked some work and so I thought that I’d show one of the most recent bits of imperfect portraiture and talk a little bit about it.
The young man featured in this set of portraits is a Physiotherapy student in the final year of his degree and I was asked to go and shoot a (socially distanced and safe) portrait of him to go with a piece about Black History Month to accompany an article about people in the professions and how they have experienced racism and discrimination over the years. There has been an awful lot said and written about whether this kind of work should be shot by BAME photographers and I have an open mind about the subject but I felt that I’d do a good job and so I went along to meet him and we walked to a park very near where he lives in Hampshire and where he had been exercising whilst his gym was closed. (more…)
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…)
Interview portrait of Lady Helen Brook, founder of the Brook Advisory Centres which gave advice to young women about contraception starting in the in the 1960s, aged 85 at her home in north-west London. 05 May 1993 Photo: Neil Turner
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…)
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…)