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.(more…)
Working with teams of photographers on big sports projects is one of my main sources of income these days. Get a bunch of photographers together and they will almost inevitably start to tell stories about what they’ve done and who they’ve met.
Recently a colleague mentioned my Instagram project from last year and how he had enjoyed seeing my early work. That lead to a discussion about how lucky we are to go places and to see things that the general public can’t or, at least can’t without spending a lot of money.
For me the places come second to the people.(more…)
A little over three and a half years ago I made a video showing users how to do a simple set-up to transmit images directly from the Canon EOS 5D MkIV camera using the built-in FTP feature. Recently a chap who saw that video asked if I could do the same with the EOS R5. At that time I didn’t have access to an R5 so I made a note to get around to it ‘one day’.
Last week I needed to get my hands on one to make sure that it was able to transmit into a server that some of the photographers that I work with use. Thanks to Canon UK and CPS (Canon Professional Services) I have had the camera for a few days, ironed out any issues we had and so I thought that I’d go ahead and make a quick walk-through tutorial and comparison video.
When I went freelance again in the summer of 2008 I knew that having a strong web-based portfolio was going to be important. I had already been publishing websites for over nine years by then so, on day one, I published something that I thought looked good and which was entirely built by me using Dreamweaver. A few days later I made some substantial changes following feedback from friends, colleagues and a couple of clients. For the next six years I made major design updates at least once a year until I switched to Pixelrights in 2014. Between that point and today I had only done one major overhaul because their system offered exactly what I needed and so it feels rather sad to have had to migrate neilturnerphotographer.com to the Adobe Portfolio platform. Welcome to version 9.0 of my folio.
The move has happened because I wanted speed and features that Pixelrights don’t currently offer. I have kept the old site sitting there in the background just in case they leapfrog Adobe again allowing me to swap back. I looked at so many others before opting for the Adobe option and I feel happy that I have the best one for me at this time. It won’t suit others – especially those who have a need for online sales or storage. For me, this is just a shop window and, in that limited way, it really looks like it is going to work. (more…)
After six months and 180 portraits posted to Instagram and Facebook I find myself at a point where I’ve shown enough archive imperfect portraits for now. It’s nearly Christmas and it feels like the right time to hit the pause button on, what has been, a very enjoyable diversion from the woes of the COVID-19 pandemic, lockdowns, restrictions and the lack of new work on offer.
As I sit here and contemplate what has been good, bad and indifferent about posting so many of my favourites from 1988 to 2008 the temptation to perform some sort of statistical analysis has been quite strong and the parallel temptation to draw conclusions from the feedback has been stronger still. For now I am going to settle for some general impressions and some feelings that have struck me during the whole process so here’s a bullet-pointed list of some of them: (more…)
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…)
When I posted a frame from this set on my Instagram feed it attracted a few comments and an email from a colleague asking to see the contact sheet for it. I’m only too happy to oblige so here it is – a sixteen image edit from the job. The words that I posted with it on Instagram were these:
I cannot remember photographing anyone who was more accommodating, nicer to be around and generally more cheerful than television presenter and educator Johnny Ball. In January 2008 when I photographed him in his back garden in Farnham Common, Berkshire it was cold and a little bit damp but we both wanted to work outside and so, after a brief tour of the garden, we chose two spots to shoot pictures. This location was crying out for a big shadow so I used a single battery power flash to light him and create the shadow. He was laughing and chatting right through the twenty or so minutes we were shooting pictures before retreating indoors for coffee and warmth. (more…)
When I have been posting archive portraits on Instagram and Facebook I have been including a few memories of each job. On more than one occasion I have commented that it was a tough job picking a single frame from a shoot and one of my colleagues contacted me when I posted a frame of the late Dennis Healey to ask me to post a wider selection from that job. I thought that it would be best to show the whole edit as it was sent to the magazine in the form of a ‘contact sheet’. (more…)