UK

Moody technique post from the old website

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:

©Neil Turner/TSL. July 2003. English, Media Studies and Philosophy teacher in a north London comprehensive school.

©Neil Turner/TSL. July 2003. English, Media Studies and Philosophy teacher in a north London comprehensive school.

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.

Even a short list of variables such as time of day, age of subject, subjects clothing and location mean that there can be no such thing as a standard lighting rig. This portrait of a teacher who feels that he wasn’t prepared during his training for the attitude of pupils needed a lot of thought.

We met at his home in a pleasant London suburb and I was determined to give the whole portrait a real inner city feel. I asked him if there were any dark alleys or heavily graffitied walls near his home but he couldn’t think of any. We got back into my car and went in search of a location, being very careful not to identify the location in the photographs. We found this shady wall with a small amount of graffiti and parked the car. It was an overcast, if bright, late morning by this time so I decided to add to the “street” atmosphere by using a strong side light.

My subject was just about the same height as the wall so I decided that he needed to be crouching or sitting down. I set up a single Lumedyne 200 w/s (joule) pack and head without either an umbrella or soft box on a stand at about sixty degrees from the lens axis and about ten degrees above eyeline. The flash was set to maximum power at a range of seven feet (2.1 metres) which, combined with a 1/250th shutter speed, made the available light unimportant. The aperture was f11 at 200 ISO and I shot a few frames with just the subject and the wall immediately around him. When I consulted my LCD screen I liked the shadow and decided to include it more obviously in the composition.

My subject appeared more relaxed looking out of camera so I asked him to fix his eyes on a point in the distance between me and the flash. I also asked him to rest his head in his hand and this gave the shadow a better defined shape. I shot a few more frames and then changed the composition to include some of the grey sky. The sky at 1/250th at f11 was very dark so I changed the shutter speed to 1/125th and the sky was a better tone.

I shot quite a few variations after this, including some safe images without the obvious flash but this was my favourite frame when I came to do the edit an hour or so later. The mood was about right, it conveys the slightly dark theme of the article and screams “street” at you. I’m very pleased with end result, although this wasn’t the frame chosen for the paper!

Technical Note: Canon EOS1D with Canon EF 16-35 f2.8L lens. 1/250th of a second at f9.5 with Lumedyne Signature Series flash.

Seven things to agree on before taking a commission

© Neil Turner, October 2014. Production of John Foster's Shot At Dawn in the Council Chamber at Bournemouth Town Hall.

© Neil Turner, October 2014. Production of John Foster’s Shot At Dawn in the Council Chamber at Bournemouth Town Hall.

Quite a lot the posts that I’ve uploaded to this blog in the last few months have been related to the business side of photography. For those who want more of the old dg28 – your time is coming soon. In the meantime I wanted to post my thoughts on what you should agree with your client before undertaking a commission. This is taken directly from my own outline terms and conditions which are posted on my website. I have absolutely no objection to any photographer copying and/or adapting these seven points for use in their own terms and conditions because, in my opinion, the more of us who do this the more likely it is that potential clients will be used to the concepts and it will require less pushing to get them to negotiate.

Terms and Conditions of supply – commissioned photography

INTRODUCTION – The following seven sections represent the basis under which I undertake photographic assignments and commissions for commercial, public relations and editorial photography. They are intended as a background document to which specific or varied terms can be added or amended.

There are, of course, many pieces of legislation that will have an effect on how my relationship with clients works, not the least of which is the Copyright, Designs and Patents Act 1988.

I really don’t want to scare clients and so I have worded them as simply as I can and I’m always happy to discuss and explain how my terms and conditions apply to you.

  • COPYRIGHT – Unless agreed in advance and in writing I do not assign copyright to any clients or third parties. Please be aware that buying the copyright is far more expensive than buying an extensive and wide-ranging license.
  • LICENSES GRANTED – As a client, you would be granted a license to reproduce and/or distribute the photographs. All licenses have geographical, time, media and usage restrictions. My policy is to negotiate a license that meets your needs and represents the best value for money for you and/or your client. Use of the photographs outside the terms of the license granted would be a breach of copyright.
  • LICENSE EXTENSION OPTIONS – If, having agreed a set of license conditions you subsequently realise that you need wider use of the photographs I am always happy to negotiate a license extension. Whilst the cost of buying extensions will be greater than that of buying the right license in the first place, you will find that my rates are very competitive.
  • DELIVERY METHOD AND DEADLINES – As part of the commission we will agree how, when and where the photographs will be delivered. Options include web galleries, CDs and DVDs, FTP, email and on USB flash drives. Photographs will be supplied in the agreed format within the agreed deadline. Copies of all files will be retained in line with industry best practice and any subsequent re-issue of any or all of the image files will be subject to a charge equal to the actual cost of producing and delivering them plus a 20% service charge.
  • INVOICING AND PAYMENT – Fees and costs will be negotiated and agreed before the commission takes place. Should the details of the commission change then alterations to the costs will be agreed as soon as possible. New clients will be asked for a purchase order or a letter confirming the commission, agreed fees and costs as well as acceptance of my terms and conditions in advance. Once the commission has been completed I will send an invoice to you with payment terms and methods outlined. The grant of license will only come into force once payment has been made in full. VAT will be charged where the law requires. If the client postpones or cancels the commission within 72 hours of the start time I reserve the right to charge 50% of the agreed fees. Cancellations or postponements within 24 hours of the start time may be charged at 100% of the agreed fees.
  • THE LIMIT OF MY LIABILITY – As a professional photographer I take great care and pride in my work and in my relationship with clients and the subjects of my photography. I cannot, however, accept liability for unexpected events including: poor weather, industrial disputes, sickness or injury, equipment malfunction, model release disputes, property release disputes and other actions or accidents that are outside my control and that cannot be reasonably predicted. Please note that any mains powered equipment that I use will be PAT tested, that I carry £5 million of Public Liabilities insurance and that my photographic equipment is regularly tested and serviced. Should you require any specialist insurance to be taken out for your project, the cost will be included in the fees. Back up copies of your images will be stored using reliable methods but I cannot accept liability for systems failures.
  • DISPUTE RESOLUTION – If, for any reason, you have any queries about the service that I have provided I will be happy to discuss your concerns. Photography is a creative activity and I accept commissions on the basis that you are buying my skills and that you trust me to apply those skills in accordance with our discussions and verbal agreements. Written confirmation of commissions should always include any “must-have” picture requirements and, where technically and creatively possible, I will fulfill your requests. If I consider any of your requirements to be unfeasible or if any of them become so during the shoot itself I will point them out at the first possible opportunity and offer solutions.

None of this rocket science and none of it would be form a great contract in isolation but we have seven things to think about and a rock solid basis upon which to build a working relationship with a new client.

Hands and portraits

John Redwood MP, photographed during an interview in January 1994. © Neil Turner/Insight.

John Redwood MP, photographed during an interview in January 1994. © Neil Turner/Insight.

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:

What do you do with hands in editorial style portraits?

Almost every time that I shoot a portrait I try to give the client/editor as much choice as I can. Tight head and shoulders only portraits are one thing but what about wider compositions where the subject’s arms and hands start to feature? How should I get people, who don’t do it naturally, to pose? I quite like to keep some pictures as tight as I can and so folded arms are really useful because they bring the hands and arms higher up the body allowing me to frame the photographs that bit tighter. Nine times out of every ten that you ask someone to fold their arms you end up having a conversation about body language and lots of corporate types have been told by their PR people that folded arms look defensive. If only all things were that simple: folded arms bad/hands in pockets good just doesn’t work in photography. Folded arms in pictures can appear defensive but they can also appear as positives – they can be friendly, strong, loving, confident, feeling cold and so many other things. On the negative side they can appear aggressive, angry, lacking in confidence and forced. If you put “body language folded arms” into your favourite search engine you’ll get a few thousand articles written from a few hundred different perspectives telling you that folded arms can mean a number of different things and that context matters. Like so many things in life, it is a matter of judgement and skill and in the photographic portrait it is definitely a matter of getting the relationship between the folded arms, the composition and the facial expression right.

I can understand why PR people are wary of folded arms because they can go hideously wrong but you should never rule out a fantastic photographic tool just because it can be misused.

What about hands in pockets?

I’ve already mentioned hands in pockets. This, by the very fact that the hands are further away from the face, gives a wider composition and some people look great when relaxing hands in pockets whilst others look awkward. That’s where the skill of the portraitist comes into its own; working out who does what well and getting them to trust your judgement when photographing them that way. The difference between lazy and relaxed isn’t that great and you need to train yourself to distinguish between the two.

Over the last twelve months I have been asked to shoot a lot of pictures where the subject has their hand on their chin/lips/ears/hair (mirroring one of the least appealing ‘selfie’ trends appearing all over social media) or where they are cupping their face with their elbows on a table or the back of a chair. It isn’t something I would naturally ask someone to do but if they naturally do it themselves then I will often work with it and see if it makes the picture. Sometimes it comes off but it mostly looks contrived and, quite frankly, a bit naff. Did I say a bit naff? I meant a lot naff.

What else can you do?

One of the most useful ways to shoot portraits is to do it when the subject is talking to you or to someone else and gets a bit animated. Hands suddenly move away from being a potential problem to be a massive asset. Again you have to be a bit careful about what kind of gesture because we all know that pointing fingers, waving two fingers or forming a fist can be misinterpreted very quickly but, if you are in the business of portraying someone as they really are then their subconscious hand movements are a very useful way of getting there quickly.

Jacqueline Wilson receives up to 400 letters from young readers each week and does her best to answer as many of them personally as she can. © Neil Turner/TSL

Jacqueline Wilson receives up to 400 letters from young readers each week and does her best to answer as many of them personally as she can. © Neil Turner/TSL

Back in the mid 1990s I even shot just people’s hands on several occasions. Lots of people were exploring the same idea and several photographers did it far more assiduously and successfully than me. It is, however a great exercise for two reasons: the first is that it gets you notice that people have character in bits of their body other than their faces and the second is that shooting their hands can help to relax more nervous subjects.

Of course you can get the subject to clasp their hands gently on front of them or behind their backs. Hands on hips works about 2% of the time and almost always requires a smile

You may have noticed that I’ve used words like useful and often and sometimes a lot in this short post. That’s deliberate because there really are very few hard and fast rules in good portraiture. Getting people’s hands into the frame is something that I love to do (not a January 2017 revelation) and portraying people as themselves is a primary goal (probably a January 1987 thought). Great portraits rely on a number of factors working together and getting something that is a lot stronger than the sum of its parts.

My January 2017 goal for the year is to get better at the way hands appear in my portraits. I’m not going to shy away from folded arms, hands on hips or anything else but I’m not going to ask anyone to touch their lips or in any other way pose as if they were a teenager doing a selfie that they’ll regret in six months time.

Want to see more? My portraits portfolio can be seen here.

Canon’s flash evolution

When I switched to Canon cameras from Nikon in 1995 the one thing that I missed from my old F4S cameras and my old SB25 flash units was the accuracy and reliability of the Nikon TTL flash. Canon, with all of their promises for the EOS1N and Speedlite 540EZ combination just couldn’t quite match what I had left behind. I have no idea how Nikon managed to get their off-the-film-plane metering to be so good but it was very good indeed.

Coincidentally, it was about this time that I started to use high quality battery powered lights. The Lumedynes that I took delivery of in 1996 changed my professional life and TTL flash became something that I used when I absolutely had to.

Fast forward to 1998 and the arrival of the first decent digital cameras we had (the Kodak DCS520/Canon D2000) and flash took a big backward step. There was no ‘film plane’ for the cameras to meter from and we had to dig out old Vivitar and Metz flash units with old fashioned auto settings just to get somewhere near where we needed to be with our exposures. Canon introduced the 380EX flash which helped but it was basic and relatively low powered with no swivel head and working with them wasn’t a patch on shooting with the pre-digital Canons, let alone the film based Nikons.

Time passed and with every new camera and every new flash unit things got a tiny bit better but I have never felt as comfortable or as confident with TTL flash on digital Canons as I did with film Nikons. There were work-arounds – I used flash exposure compensation at the same time as reviewing the LCD screen and using some pretty good guesswork which, when used with RAW files, meant that we were always able to do the job but it was never without effort in the way that you used to be able to shoot flash with the far less forgiving transparency film.

That was until now. Strike up the band. Hang out the bunting. Canon have, in my opinion, finally done it. They have a camera and flash combination that handles TTL as well as anything that I’ve ever used professionally. A few weeks and a few jobs with the new Speedlite 600EX II RT on my EOS5D MkIV cameras have convinced me that twenty plus years of being unsure with on-camera flash are over. Congratulations to everyone at Canon involved in this evolutionary process – well done.

Footnote: I have owned and used 220EX, 380EX, 420EX, 430 EX II, 430 EX III RT, 540EZ, 550EX, 580EX II, 600 EX RT Speedlites before arriving at the 600 EX II RT. I’ve had the ST-E2 and ST-E3 RT transmitters and any number of external flash packs and light modifiers. The joys of being a photographer – no wonder so many of colleagues swear by ambient light.

Manfrotto umbrella bracket challenge

Photo: Neil Turner

The old Lite-tite on the left and the Snap Tilthead on the right both with Canon 600EX II-RT Speedlites.

When, like me, you have been using a single product successfully for over twenty years it is normally out of a mixture of boredom and curiosity that you have to try out the next “new idea” when you see it. That happened to me a few weeks ago. Having owned and used several of the venerable Manfrotto 029 Lite-tite brackets for so many years I thought that I’d give their new Snap Tilthead with hotshoe a go. For my purposes they will do pretty much the same job: hold a Canon Speedlite flash on a stand with a folding umbrella on those jobs where using other lights isn’t so much of an option. I know that there are dozens of other brands out there but I’m a sucker for certain makes – ones that have served me very well for such a long time.

The more that I have used the new bracket, the more that I have realised that it is very different. Before you take it out of the box you realise that there’s no lever sticking out, no large plastic knob to tighten it onto the stand and that it has a coldshoe built-in. They both have a hole through them to slot an umbrella or other light modifier. In order to compare the two I’m going to start with that built-in shoe.

One of the major gripes with the old Lite-tite is that you had to but a separate shoe that attached using the brass post that was supplied. When I bought my first one I was using Metz flashes which didn’t attach with a shoe and therefore it was fine. From there I moved to using them with Lumedyne flash heads which, again, didn’t attach via a shoe. It was only when I started to work with speedlights that I really noticed. The idea of a shoe attaching via a brass thread and relying on being tightened to stop it spinning has annoyed me for years and the built-in shoe that doesn’t spin on the new bracket appeals to me – and so far, so good. It is easy to use and very secure so that’s a thumbs-up. The metal-to-metal contact is less exciting but it hasn’t caused any issues… yet. A point to the new bracket.

Moving down there is the umbrella slot. On the old bracket this is angled so that the flash points more accurately into the centre of the umbrella (if you attach everything the right way around). On the new one it appears to be straight which means that it never helps with the angling of the flash and so you need to use the dip on the speedlight (if it has one) to better target the light into the modifier. Of course this means that you can’t get it wrong but, for me, this is a point to the original.

Altering the tilt has always been a question of loosening the substantial handle and making sure that the whole thing doesn’t tip (easily done with a big flash and a big umbrella). The build quality of the Lite-tite has meant that they have lasted for a long time – even if you tighten the handle a lot. There is a small round knob on the new one and there is some sort of tensioning mechanism that stops the whole thing tipping. It doesn’t feel as if you could over-tighten this one and the only issue that I have is that it may not have the longevity of its older sibling. A tentative point to the newcomer.

The next point is where it attaches to the stand. There is a simple metal clip that tightens down onto the top of the stand on the new one which initially feels like a big improvement over the substantial threaded knob on the old one. That knob could always be loosened and used as a twist for the light which isn’t really that easy to do with the new one so, once again, you have to play off a bit of functionality against slimline design. The point here just goes to the added functionality of the older model.

Two points each so far. The slimline design of the newer model is very welcome but Manfrotto have, yet again, added a pointless large red logo onto one of their products to annoy me. The victory by the tiniest of margins goes to the new bracket because there’s no way that the flash can twist, because the mechanism that stops it tipping so easily is a welcome plus and because it is smaller and slimmer. That having been said the old one is tougher, better built and far more versatile if you use accessories that don’t use a shoe. I’ve got both now so let’s see if my opinion changes after the now obligatory 32 months.

Photo: Neil Turner

Not a bad Christmas present…

Whilst I was out…

Whilst I was out shooting some pictures for the EOS5D Mark IV Update I shot a small set of pictures that reminded me that it is almost inevitable that you find interesting human stories whenever you are out shooting pictures. I met and chatted to a former Royal Marine who had donned his green beret and his medals to come along at the eleventh hour to honour one of his relatives –  a Royal Marine Musician – who died when the ship he was on, HMS Hood, was sunk in 1941.

A moving gesture from a man who had himself served for over 27 years for a relative and fellow Marine who he had never met.

Mark Tapping who served 27 years in the Royal Marines places a framed photograph of his relative Royal Marine Musician Albert Pike who died when HMS Hood was sunk on the 24th of May 1941. Armistice Day at the War Memorial in Bournemouth 11 November 2016. Bournemouth, United Kingdom. Photo: Neil Turner

Mark Tapping who served 27 years in the Royal Marines places a framed photograph of his relative Royal Marine Musician Albert Pike who died when HMS Hood was sunk on the 24th of May 1941 on the memorial. Armistice Day at the War Memorial in Bournemouth
11 November 2016. Bournemouth, United Kingdom.
Photo: Neil Turner

 

Lightweight lighting

portralite_both

Front & rear views of the Elinchrom Portalite pressed into action.

Anyone who follows this blog knows how much I like using the Elinchrom Ranger Quadra system for a lot of my work. Next week I have a job coming up where I need to be able to pack light and rush around and I have been perfecting using the Canon radio slave system so that I can just use my Speedlights and a couple of tiny stands on the job. Whilst playing around I thought that I’d see how easily I could attach an old Elinchrom Portalite softbox to the Canon and the answer was “frightningly easily”. The Canon Speedlight 600EX II-RT comes with a diffuser cap and just popping that onto the flash after the flash tube section had been pushed through the plastic Quadra mount held the softbox rather well. I could easily add some foam tape or some velcro but this will stay in place unless I shake it around. It’s a bit smaller than I’d like a softbox to be but it is supremely light and so I’ll just have to get it that bit closer to the subject.

The Portalite folds up really small too and so I have another choice when I’m shooting. I will probably use a Westcott double folding umbrella most of the time but it really does pay to have options. Best of both modifiers work absolutely brilliantly with the Canon wireless remote set up with the ST-E3-RT transmitter and the RT flash. From testing today the recycle times on the 600EX II-RT are better than any Speedlight that I’ve ever used before and because of that I’m more than happy to work this way for this specific job.