work

Celebrating 40 years as a working photographer
A snippet from my 1986 Filofax diary showing the details of the job that went on to be my first colour magazine front page.

This snippet from my 1986 Filofax diary reminds me of a few things about my early career as a photographer:

  1. I didn’t copy many of the details from the written job sheets into my diary. Mistake
  2. I didn’t keep a stock of film to hand and had to pop into the office to collect some rolls of transparency (trannie) film. Another mistake
  3. Trying to get paid was a regular note in the diary for that year and most of 1987. This note referred to a job I had shot for a law firm a month previously
  4. I have no memory of who Bill Piper is or was

I left college with a Higher National Diploma in Advertising and Editorial Photography in June 1986 and I had worked as an assistant for a couple of photographers whilst on the course. I continued to get the odd few days work from them until early September 1986 when I landed a three month contract to cover for one of the staff photographers at Haymarket Publishing who was off on maternity leave. For all sorts of reasons I also got to spend quite a bit of time working in the darkroom there but that was also fine because there was no better way to learn than printing the pictures of more experienced colleagues.

On Tuesday 16th of September 1986 I was sent to take some specific photographs at the London Stock Exchange. It was shortly before the “Big Bang” – the historic day when a high percentage of the share trades done moved from the iconic trading floor to electronic systems. My brief was to get a general view of the trading floor in colour from an observation window overlooking a section of it.

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Another quiet August

Next month I will be celebrating my fortieth anniversary of working as a photographer. For almost every one of the thirty-nine Augusts that I have been in the business I have either been very quiet or have had to fill my time with photography work that doesn’t necessarily involve taking pictures. The bar chart above shows how much I have worked in the month over the years since I have been back in the world of freelancing. The table clearly shows a few anomalies and the main points of those are:

  • 2012: Working on the 2012 Olympic and Paralympic Games as part of the photo management team
  • 2014: The first year where I made some of my income working as a photo-editor on sports projects
  • 2017: Laid up after some serious back surgery – so no work of any kind
  • 2020: Despite the covid lockdowns I did do some editing and some consultancy
  • 2021: The delayed Tokyo Paralympic Games
  • 2022: Lambeth Conference
  • 2024: Paris Paralympic Games

Some good years and plenty of flat and relatively uninteresting years have passed and August has become a month of trying not to worry about keeping busy whilst enjoying some time off – which is a lot easier when you live pretty near the beach. Of course it isn’t just August; the latter half of July and the first week in September are often much the same.

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Old dog, new tricks
Photo ©Neil Turner, February 2023

Hands up if you read the release notes when you go to update a piece of software. Anyone? Just me?

My actual answer is “occasionally moving towards regularly”. In photographic terms I am most definitely an old dog and whilst I wouldn’t say that I enjoy learning new tricks I definitely benefit from quite a few of them. I write about them on here from time-to-time as well.

This blog post was triggered because I actually took the time to read the blurb for the two main bits of software that I use day in and day out: Photo Mechanic and Adobe Camera RAW within Adobe Photoshop. Neither update was spectacular but my rabbit hole tendencies made me go back and see what else I had missed in previous updates and I think that I found one or two gems that will be very useful going forward. I’m not going to go through and list everything but I thought that it would be useful to mention a few.

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Trying new things
The Sarum Lights exhibition at Salisbury Cathedral. November 2025. © Neil Turner

Whilst doodling around on the internet the other day I was looking at a few reels on Instagram. Now it probably won’t come as much of a surprise that that my Instagram feed is filled up with great photographers and so it will equally make sense that the all-powerful algorithm serves me up photography related content most of the time. One of the reels was from a relatively young and relatively inexperienced photographer proclaiming that he had discovered a new technique. It went on to show a technique that is, to me, as old as the hills. Dragging the shutter to create a deliberate blur.

I was just about to type something that gently and constructively pointed out that this wasn’t anything new and that an old hand like me rarely (if ever) sees anything that’s truly new when I decided to see what other viewers of the reel had commented first. Sure enough, there was a small number of constructive and supportive comments but the vast majority of them were not even remotely constructive and way too many were downright dismissive. I breathed a huge sigh of relief that I hadn’t been that person – the one who sought to boost their own sense of self-importance by squashing the joy and enthusiasm of someone who had discovered a potentially exciting technique that was new to them.

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RAMS for Photographers: Health and Safety Essentials
What would the risk assessment look like for this legal agricultural stubble burn? ©Neil Turner. August 1992

I doubt that I am being remotely controversial when I say that no photographer wants to do more paperwork than is absolutely necessary. Time spent filling out forms, dotting the i’s and crossing the t’s feels wrong – especially when your work and your passion is all about the creative process.

The regularity with which I have to complete RAMS (Risk Assessment and Method Statement) forms and declarations has grown. Conversations with colleagues appear to confirm that this is happening right across the photography industry.

During my first spell as freelance photographer (1986-1994) most of my work was editorial and when I did one of the few advertising and corporate jobs that I was offered, the subject of RAMS was never mentioned. Back then nobody asked about public liabilities insurance either.

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Less is more… until it isn’t

Every photographer and every artist you will ever meet has opinions about composition. A mere thirty-eight years into my career and some forty-six years after picking up a decent camera for the first time I have some too. 

The other day I was involved in a very interesting conversation that was partly triggered by the recent portrait of King Charles III by Jonathan Yeo. The man that I had photographed and with whom I was chatting had a wonderful knowledge of painted and photographic portraits going back hundreds of years and we discussed what used to be included in portraits for symbolic reasons and what we now exclude from them for aesthetic ones. I’m sure that it has been around for years and has been claimed by many others but I came up with a phrase that sums up my approach to composing my work… 

Less is more… until it isn’t.

In almost all creative pursuits end results that appear to be simple have an elegance and a beauty that appeals to most people without them necessarily knowing (or caring) why. To create something complex that has impact takes a very different and very real skill.

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High ISO fun and games
Some quick tests using different workflows with a low light high-ISO image. ©Neil Turner October 2023

For a very long time I have been an advocate of shooting RAW files and processing them through Adobe Camera RAW. Recently I have been shooting a lot of pictures in dark spaces with poor light and have been regularly using ISOs of 6400 and above. What has shocked me is that my normal workflows have been producing results that I find a bit grainy – even with the superb high-ISO capabilities of the latest Canon R series cameras.

Having edited some of the live jpegs transmitted during events it has become apparent to me that I need to get stuck into some of the latest noise reduction options as well as having a better look at what in-camera processing can do.

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Eight days in Rome and the South Caucasus
St Peter’s Basilica with three Cardinals and no crowds ahead of an Ecumenical Prayer Vigil in St Peter’s Square. Photo: Neil Turner for Lambeth Palace. 30 September 2023

A couple of days ago I returned from a bit of whirlwind tour to Rome, Azerbaijan, Georgia and Armenia accompanying The Archbishop of Canterbury and his team on a trip where they met politicians, faith leaders, members of the Anglican Communion, internally displaced persons and refugees across those four different countries in a mere eight days. Lots of flights (six in total), lots of being driven around and a few opportunities to shoot meaningful images.

Inevitably a large percentage of my pictures were just recording who met who in which grand surroundings they happened to be in. We met His Holiness Pope Francis at The Vatican and then witnessed two very grand occasions in St Peter’s Square. We travelled to Baku in Azerbaijan where several meetings took place including one at the British Ambassador’s residence with a range of faith leaders. From there to Tbilisi in Georgia and a packed couple of days. The first was meetings with Orthodox, Catholic and Anglican leaders as well as visiting the Peace Cathedral with its adjoining Church, Synagogue and Mosque before going to Gori and the administrative boundary line between South Ossetia and the rest of Georgia.

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