Editorial

More about archiving

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…)

I need people in photographs

Children play football with an improvised ball in the Copperbelt of Zambia. ©Neil Turner/TSL.

Like most members of the photographic profession, the bottom has dropped out of my business and any and all photography bookings between the first week of March and the end of July have been postponed or cancelled. Not my fault, not my client’s faults either so I’m being pretty calm about it and getting used to being in lockdown. Lots of my news photographer friends are out there day after day coming up with fabulous picture to illustrate the only story that anyone is interested in – the Coronavirus Pandemic – and I applaud them warmly. That applause goes for the health workers, retailers who are at work, the emergency services, delivery drivers, refuse workers and every other key worker who is there doing their jobs to keep society ticking over and, more importantly, safe.

Again, like most members of the photographic profession, I am looking back through old images of mine to remind myself what it is about the job and making the pictures that I love so much. I’ve also been looking through some of the hundreds of photographic books that line the shelves in my home and it has taken almost no time at all to re-affirm what I already knew: (more…)

Mission Creep

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…)

Older than old school…

Equipment and my equipment choices tend to evolve pretty slowly. Way back in the 1980s I was using a lot of off-camera flash on location and that meant either owning and running a lot of extension cables with my Elinchrom mains powered units, buying (or renting) a Norman system or using some basic flashguns (the term speed light hadn’t really entered common usage by then, other than as part of a Nikon model name) to do the job. I came across the Lumedyne range (old school) in the mid 1990s, although they had been around for a while by then. Before that I spent many happy years with my cobbled-together battery powered flash kit which was based around the already long-in-the-tooth Vivitar 285 system. I call it a system because there was a ton of accessories that you could get for it and it had some common connections that meant you could pair it up with almost anything you wanted to.

I mention all of this because I stumbled across a pretty much complete Vivitar 285 kit when I was looking for something else in my many boxes of disused and “may-come-in-handy-one-day” kit. In the box were: (more…)

Tinkering with my folio

I spent a long time working as a photographer specialising in education and I spent as long as the rest of you in full-time education as a pupil and a student too. I think that those two facts combine to make me feel that “new year feeling” in September as the kids go back to school and the not-so-young ones go away to university. January is the new year of course and April sees the beginning of the financial year but September feels like to ‘work new year’ to me.

And it is at this time of year I start to think about getting out there with my folio looking for new and interesting work and, at the same time, I like to have at least a minor refresh with my on-line folio too. (more…)

LG 27″ Ultrafine 5K Monitor

I have been wanting to get a new monitor for a wile now. I waited for a few months to see if the new professional monitor that Apple were planning to release was going to be any good. They finally put flesh on the bones of the rumours this week and, I have to say, the monitor looks like it will be great. Great but at a very high price, great but not for a few months yet and great but it will be too big for my desk at home. I have had lots of monitors over the years and I have tried many more whilst installing them for friends and colleagues and so my decision to go with the LG Ultrafine 5K will probably surprise quite a few people.

The days when everything we did was aimed at print are gone. We have to produce images for a very wide range of uses these days and so I decided to go with a monitor that has excellent colour, brilliant flexibility and a simple (very Mac friendly) interface. This LG fits all of those requirements with ease. When these monitors first appeared in the Apple Store there were a lot of negative comments and I was pretty dismissive of them myself when I saw one. Over time I have grown to like them and now that Apple’s own professional monitor cannot tick my boxes I decided to place my order for the LG. (more…)

Location lighting half day workshop in London

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…)