When I returned to the world of freelancing ten years ago one of the biggest changes that I noticed was the arrival of the “style sheet”. Almost every commercial and PR client had a prepared guide that let you know what they wanted from a commissioned shoot and a few pointers of what they, or their end client, liked and didn’t like in their pictures. These ranged from really helpful pointers about what kind of clothing should be worn for portraits or whether or not images should have unfussy backgrounds through the obvious such as “images should be properly exposed” to the mildly bizarre “avoid any and all references to money”. I wish that I had kept them all – they would have provided me with a mixture of useful references and a good laugh.
Recently I have seen two rather odd things in style sheets provided to me by three totally unconnected clients. The first oddity appeared when talking to a PR company about an upcoming commission. They are based in London and the job was for an insurance company. Their style sheet featured three identical pictures and one completely identical paragraph to a style sheet supplied to me previously by a Manchester PR company. I cannot see a connection between the two PR companies and so you have to think that they are getting their style sheets from a single supplier or that they have both copied something from a third PR company. Either way, it explains why so much of the PR and corporate sector has come to look like a catalogue for a stock photography company. Bland people doing bland things with even lighting is a bit dull and I’m pretty sure that every single one of the photographers involved would have been capable of something way more interesting.
The second oddity came when a PR firm working for an educational establishment sent me a style sheet with one of my own photographs used in it. A picture that I created almost twenty years ago and which bore no resemblance to anything that I was being asked to do. When I asked them where they had obtained the images for their style sheet they told me that they had got them from Google Images over the years. Bizarre indeed. (more…)
Screen grab from Transmit for iOS on my iPad showing a twelve image upload in action.
There are so many ways that I deliver images to various clients these days that I feel that I’m bound to leave something off of this list. The great news for users of the iPad or iPhone to do quick edits of their work is that every single option that I use on the desktop machine is also available on iOS devices;
FTP– I use Transmit on the iPad and iPhone. I also have FTP options inside FSN Pro and Shuttersnitch that can all do a good job but Transmit does it all better.
Email – adding large numbers of attachments on the iPad isn’t my favourite way to send pictures but it works.
Dropbox – The iOS Dropbox app means that I can easily add files to folders on the cloud service and send links to those folders before, during or after the job. It has a very simple interface and works really well.
WeTransfer – I wasn’t very happy when the WeTransfer iOS app went over to functioning as “Boards” – making it a very different user experience from the ever-so-simple desktop version but I’ve got used to it and it works really well.
Photoshelter – The professional image sharing platform has a dedicated iOS app which is fairly easy to use and very functional.
Third Light – This is a niche Digital Asset Management platform used by two of my corporate clients and the iOS app does its job well.
The Phottix 70cm collapsible beauty dish, adapted to fit an Elinchrom Ranger Quadra head.
Everyone knows about the fetish for camera bags shared by most photographers and anyone who has read this blog will know about my own personal one for card readers but there is a third one that has been exercising me of late. I have mentioned it quite a few times over the years and a particular need to have a repeatable set up has led me down this particular equipment rabbit hole once again.
I’m talking about lighting. I’m talking specifically about light modifiers. Those umbrellas, snoots, dishes, soft boxes and hybrid gadgets that you place on the fronts of your flash units in order to control and improve the light. (more…)
I have been cleaning up some of the behind the scenes stuff on my original dg28.com website and got side-tracked looking at some of the old technique posts (again). I really liked this one from July 2003 which was originally entitled “Choosing a Mood”. Anyway, here is the original post cut and pasted:
Every time you take a photograph you are saying something about what is in the image. It’s impossible to avoid a frozen frame being anything other than an interpretation of that moment so it becomes a mark of a good photographer to make sure that every element of the image (composition, subject matter and light) helps to paint a consistent story.
The mood required for every image – especially with portraits – is something that you have to consider very carefully.Some lighting guides will tell you that there is a lighting set up for each mood and that it is a simple matter of placing light A in position B and light C in position D to achieve this. I have to agree that there are some obvious starting points for many of the moods that I use, but there are many other factors that have to be taken into account when setting the scene. (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…)
A few weeks ago I bought some more Elinchrom Ranger Quadra kit and after a short while lugging my gear around in multiple bags and cases I decided that it was time to get myself one big case to take most or all of my Quadra gear. My rationale was that I am pulling one bag on wheels and carrying two or three others so why not make it one on wheels with the lighting and one smaller bag with cameras and lenses riding on top of it or over my shoulder as required? There’s quite a bit of choice on the market but all of my experience with Think Tank bags told me to start my search there. They make lots of rolling bags but only three specifically designed to lug large amounts of kit. My benchmark was that I had to be able to get at least two of my Manfrotto 156 stands plus a couple of Manfrotto 001s in there along with two or three packs, three or four heads, spare batteries, cables, light modifiers and plenty of accessories.
I had previously seen a colleagues Location Manager 40 case and so I wanted to check out the Logistics Manager 30 because on paper it appeared to be just about perfect. The internal dimensions were listed at 70cm length. (more…)
I had a phone call call this morning from a potential client who had found me via a web search. That doesn’t happen very often and when it does the calls are normally from people trying to sell me something rather than commission me to do some work for them. The very pleasant lady who had called asked me if I did ‘corporate head shots’ and when I replied that I do and that I have done lots of them over the years she asked why there were none on my website. Wow… she’s correct. There are no easy to find samples of one of the most basic and important parts of my professional work on any of my folio sites.
During the call I promised to stick fifty varied images into a gallery and send her the link. I also explained that head shots weren’t the sole preserve of the corporate world and that some other sectors used them well and that the gallery that I’d prepare would have teachers and actors and other professionals too. (more…)