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.
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…)
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…)
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…)