The last few weeks have been difficult and it is about to get a whole lot tougher! What now?
During February I flew to Los Angeles to cover The Oscars and then to Berlin to cover Berlinale (The Berlin Film Festival). I then used a loan GFX50R on a photoshoot for a band. I had also covered the March4Women on International Women’s day and the 50th Mark Kermode in 3D at the BFI. I had planned that the next 5 or 6 posts were to be about these trips, shoots and the camera but events have overtaken us somewhat and I feel that maybe there are other, more pressing, words to be written. (The other posts will follow).
Like (almost) every other photographer I have seen my work diary empty, rather rapidly it must be said and I now have nothing booked. Obviously this crisis will come to an end and photographs/photographers will be needed again, hopefully the portrait bookings I had will re-book and there is the glimmer that Festival de Cannes will be moved to the summer (oh damn 2 weeks in the French Riviera in the Summer!) As I said above, but what NOW?
As a press photographer the obvious thing is to go out and report on the carnage. The Shops, the queues, the goods shortages but then there are so many doing that.
I want to take a different tack. So many photographers have written on Social Media in despair, with no income what can they do? I want to suggest some different ideas to keep ourselves occupied and whilst these ideas may not solve the immediate financial problems, they will at least help with the future.
First up – don’t sit doing nothing worrying. “Satan finds some mischief still for idle Hands to do” – as I see it the less we do the more we worry and these are worrying times.
The world will without doubt change, work will without doubt change. I personally cannot see it becoming a financially stronger world but maybe as people start to realise what actually matters to them. My hope is it will become a culturally stronger world.
Try to put that aside. Use your creative talents to add to (what I hope to be) this culturally stronger world. There are so many things we, as photographers can be doing right now, to strengthen our position for when the crisis does end. There are so many other things to photograph than shelves devoid of toilet rolls. Need Ideas?
For how long have you put off updating your website? Now is the time!
Don’t understand social media? Learn!
Lots of old images that are just languishing on your disk? Edit & Upload them to a stock library!
Think video maybe the way forward? Time to learn to light, shoot and edit video!
A quick note on the stock library idea: I know not everyone is a fan of libraries or agencies but at the moment, each month I get regular income from images I have shot over the past 12 years, this income will help hugely during the next few months.
The thing is, right now time is the one thing we have plenty of, so don’t rush these jobs, take your time, vary your day, tackle a task then get an old (or new) photo book down for inspiration. Then move on to the next small task. There is no rush the moment!
I’m doing all of these things but I am also doing a personal project: We as photographers always point our cameras out, at others and we defend ferociously our right to do so in public. So during this time I am pointing it inwards, documenting our home life, how we are living, what changes we are having to make to get through this. There is so much to document!
It’s not a vanity project, its warts and all!
I’m sure every photographer, if they think about it, can find something at home to photograph to make a project, either inside or in the garden. Home-working, family, there are so many subjects.
Don’t be idle and send me your links, ideas and work.. In times of crisis it helps to talk to others … Stay Strong!
At last! Its been a long while coming but finally we can import images directly from a camera/card into Lightroom Mobile on an iPad!
Apple’s iOS13 update opened up the Files application, allowing users to access data on external devices such as USB sticks, Hard Drives and of course Cameras/Cards. It took Adobe a little while to catch up but during December, Lightroom Mobile 5.1 was released which added the ability to browse locations in files.
Much of the information I have seen online says that it is possible to access the card directly from the import button after inserting it however I have not found that to be the best way to work. My workflow is to import the images directly into an Album for the project.
Selecting from the Album Options … I Add Photos and select From Files. This enables the location to be selected, normally the Untitled USB device, browsing down to a lower folder. Once all the images to be added have been selected, click Open.
Lightroom then looks as though nothing is happening but take a look at the cloud icon where the sync progress is displayed…
It takes a while to prepare the import and then, one by one, they start appearing!
It’s a very simple process, one that is not the most obvious way of importing the images but it makes a huge difference to the iPad workflow, now mimicking more closely typical laptop workflows.
It means less reliance of the iOS native photos app and less housekeeping required on the iPad. In fact with the other updates in the latest Lightroom Mobile (major changes to the Export function , which I will detail in the next post), the photos app may be bypassed completely. Stay tuned!
I am just back from 3 weeks of party political events, photographing the autumn conferences of our largest political parties; starting with the Liberal Democrats in Bournemouth, moving on to Labour in Brighton before finishing up with the Conservatives in Manchester.
It’s a gradual build up of importance culminating in the Prime Ministers speech – arguably the most important event of the 3 weeks (especially this year with BREXIT and the stories circulating about our Prime Minister Boris Johnson).
I headed up to Manchester having the 200mm/F2 Fujion lens on hire again, along with the 1.4TC (giving the equivalent of 300mm/F2 and 420mm/F2.8 on my Fuji X-T2 bodies). Added to that I took my normal supply of 3 x X-T2, the 14mm/F2.8, 27mm/F2.8 pancake, 90mm/F2 and the 50-140/F2.8 (just in case but the plan was not to use it).
On the morning of the PM’s speech, we arrive early for a briefing that informs us of the plan for the speech; entrance, exit, timings, security arrangements (where we can stand, where not) etc.
With the stories circulating about the PM it was clear that “the picture” of the day would be Boris and Carrie (his girlfriend) leaving at the end of the speech. However the briefing made it clear that getting this image clearly would be very difficult and as the pool photographer would get it perfectly, it was not worth worrying about.
So I formulated a plan..
I would start at the rear at the top of the stadium seating to photograph the PM as he enters, I would then bit by bit move around the rear of the hall, over the stadium seating at the other end before working round to the rear quarter, photographing Boris “conducting” his troops before working my way back to the original position for his exit.
Arriving in the hall before a good while before the speech I was pleased that as I suspected, most of the photographers covering the event had opted for the central positions to shoot the “traditional” speaker image. I was happy to be sitting up at the back near the entrance alone, hoping the others had missed a trick and that my plan was not totally unworkable.
Waiting, I shot a few images of party members around me and the general atmosphere. Then the moment arrived, the PM walked in alone down a dark part of the hall below me to greet members down the bottom of my seating area.
My plan with the blog post now was to show two totally out of focus images showing that we all make mistakes totally contrary to how we are supposed to portray ourselves online. However going back through the images I have found one that was in fact useable, one that I missed in the heat of the moment editing on the day…
Starting with establishing shots on the 200, 90 and 14….
Then adding the TC on the 200 (giving an equivalence of 420/F2.8) before moving down the back and shooting through spaces between the seating. A quick nod with one of the PM’s security detail to confirm all was ok with the location (next to him) , staying there for 5 minutes or so before moving on to the next location …
Having been briefed that the speech would be 40-45 minutes I allowed myself approximately 5 minutes in each location before moving on, getting the the far point on time for the “conducting” shot, before returning via the same method to my original position.
Once back, I was joined by one other photographer in this position for the exit but as there were about 8 positions reserved for us there was plenty of room. Planning for a “melee” image as the PM leaves, I removed the TC….
In all, photographing the speech and editing took about 6 and a half hours; from entering the hall at 8am for the briefing , planning, re-entering the hall at 10:30am through to leaving it at about 12:45 and then finishing my edit with all images with the agency by about 2:30pm. All for a set of photographs that I knew were unlikely to make the front page the next day because, as I said, the story was Boris and Carrie.
Not every paper went with the pooled “couple” image.. but most did…
In a world where it seems everyone wants to leave the “rat race” and become a “creative” of some kind, why does it seem so guilty to admit it?
“Hi I’m Julie and I’m a photographer” – almost sounds like something that should be said at “Photographers anonymous” . Well I am and after a few months of struggling I am happy to admit it again, to myself and others.
Note: It’s often said that press photographers should not be creative but thats just rubbish, there are times to be creative and times not to be creative in this job, the key is knowing when.
I had become jaded with my work, with the situations I found myself in, with the images I created. The fact is it’s easy to blame the situation, the lack of control (in public places or arranged photocalls), the light, the kit (oh how often do we hear “if only I had xxxxxxx”) but the fact is, what we produce is never the fault of the kit, of the situation, of the lack of control.
What we produce is always a product of the decisions we make given the situation we find ourselves in. They may not be the images we planned, or want but we always have a choice how we shoot something, how we approach it, our attitude and our commitment.
I was recently introduced to the concept of “Hell Yeah or No”. Put simply it means 100% commitment. When presented with an opportunity, decide “Can I give this 100%?”. If not then say no! Once there, commit to the job, no matter what the situation, too controlled? poor light? bad positioning? poor location? If they are things you can control then take ownership. If not, make the best images you can.. 100%..
Take the 3 dance images above. When I had the notice that this photocall was available, I checked my diary, found I was in town and had time. It was obvious that it should make nice images, I was not sure what they would be as you never know how a production is staged until you see it, all I could be sure was that the light would be “interesting”. Upon arrival it was suggested it was “a bit dark”. I had sort of surmised this before and although I did not take a tripod I did carry my 35/1.4 , 56/1.2 & 90/2.0 giving me the best chance in low light. From then on it was a case of using what I had, making the most of the light and making the most interesting images I could. Some I shot with intentional blur, some I froze the movement.
The key was though, I did not think “this is too dark”, I just committed 100% to what was in front of me. Looking back now (and listening to others) it’s obvious, if I (you) don’t commit 100% to what I (you) are shooting, how can I (you) produce the best images possible?
“Hi, I’m Julie, I’m a creative and I am always going to create the best images I can”