Professional Documents
Culture Documents
by Andrew Smith
In the temporary absence of a proper introduction Ill tell you briefly what this book is intended to be: It is an honest discussion of how I work as a full-time photographer. I cant promise that it will help your own career, or that it will help you take better photos, and I certainly cant promise that it will help you to make more money. All I can promise is that everything I tell you will be truthful, unpretentious and sincere. It might be wrong, but I believe it is right.
About me...
Im a small-time photographer. I earn a modest amount of money doing newspaper photos, portraits and some commercial work. My job is not particularly glamorous and, for most people, would not be at all exciting, but I love it. So thats whose advice youre reading.
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Concept
The booking for this session came with a rare luxury: An existing photo of the three subjects. Immediately I could see that the anchor point for my portrait should be the girls striking blonde hair, and this in turn helped me to quickly decide on the black background, the dark clothing and the lighting design. Figure 1.1 shows how the original concept was executed successfully, producing a strong traditional portrait. Towards the end of the session I suggested trying an alternative composition. I had recently seen a dramatic portrait of the Queen and the Duke of Edinburgh, created by Lord Lichfield, in which the two subjects were positioned next to each other, lit from the front, and then photographed from the side. I wanted to try my own version of this composition but with posing for the subjects. After all, the photo had been commissioned by their mother and she would be more interested in seeing their faces rather than any clever lighting. I remembered the Lichfield portrait as being black and white, and had always intended my family portrait to be presented in that way. But as I write this I have just gone back and looked at the Lichfield image again, and seen that it was in fact colour. What a good illustration of how much impact a strong composition can have on the viewer! 2 TECHNIQUE
Figure 1.1: The original concept took advantage of the girls striking blonde hair as an anchor point for the image.
Lighting
Due to the composition of the image it required an extraordinarily deep field of focus, and I was shooting at a focal length of 110-mm so I had to use an aperture of f/22. With an ISO speed of 100 this became one of the most light-hungry images I had ever created. The light was supplied by a 1000-watt strobe at full power with a 100-cm softbox positioned just a couple of feet in front of the subjects. When I took the first test shot and the flash fired, all three members of my carefully-arranged group took a step back! As I was using a black background I also needed to put some light around the back of the group for separation. A set of barn doors was used on the rear strobe to prevent light from flooding the camera lens.
Figure 1.2: Softbox in front of the subjects, bare flash behind the subjects with barn doors.
Processing
Your initial goal in processing may be one of aesthetic fixes such as removing blemishes or tidying up some distracting stray hairs. But ultimately you are aiming to give someone an immaculate photograph of themself that they will accept as being true to how they really look. Maybe it is essential for the portrait photographer to expertly wield the clone tool, the healing brush, surface blur and layer masks for skin softening, and all of those techniques and more were used extensively on this image. But equally important is knowing when to leave the image alone. Perfection is not natural. Nobody imagines themself as perfect. But our minds eye self-portrait doesnt include the faults. Give someone a photo of themself with all of their flaws fixed and theyll accept it as true. But give them a photo with perfectly smooth skin, for example, and theyll know its fake. Commercial photographic portraiture has the opposite goal of traditional painted portraits. A painter wants to reveal something of a persons soul. But a photographer is hired to produce an image that is essentially a blank canvas. The viewer fills in the details later. People frequently tell me that they want informal, almost candid images of their loved ones. And they really believe that they do. But the posed formal photos always sell the best. They have less life in them, so the viewer can imagine the life for themselves, however they want. And therein lies the secret of this photograph: It has its single strong element the composition but at the same time it is quite bland. There is nothing not to like, so people are able to love it.
Figure 1.4: Stray hairs needed to be digitally removed. Here several bright strands of the girls hair had to be removed while being careful to preserve her eyelashes, as well as the texture and shading of her brothers skin.
Figure 1.3: The photo was shot in raw format using a hi-res digital camera. This allowed maximum scope for conversion to black and white, tone adjustments and selective sharpening with minimal loss of quality.
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This page from top to bottom: Figure 2.2: Archipelago Figure 2.3: Dawn of Winter at Cadboll Point Figure 2.4: Rocks & Water Study in Blue
Silence is golden
All of the photos on these two pages have been widely praised by other photographers. All have been framed and prominently displayed in a busy caf in a popular holiday area. And all have received very positive comments from many locals and tourists. None of them have sold. Meanwhile my landscape photos that do sell always go very quietly. Consistently the people who buy them cant explain why they like them. They dont need to. The moral of all this is that youll receive two kinds of compliment: Vocal and cash. The vocals are warm and snuggly but unreliable. Base your commercial decisions on the cold hard cash. It always tells the truth.
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It was mid-January and I had just done a depressingly poor job of photographing the Highland 2007 Year of Culture launch night for the BBC Scotland web site. The spectacular evening of music, fireworks, street performers and giant inflatable monsters had attracted upwards of twenty other accredited photographers from all of the local agencies and newspapers, so I had decided to break away from the reserved media spots and look for the pictures that nobody else would get. As an amateur you want to get into the media areas. As a pro you often want to get out of them. Public areas are sometimes better. This calculated gamble didn't pay off and I missed several of the main events. A giant Loch Ness Monster paraded through the streets of Inverness and I didn't even see it, never mind capture it on camera. 6 TECHNIQUE
Figure 3.1: The aerial ballet troupe Transe Express performed high above Inverness during the launch of the Highland 2007 Year of Culture.
That weekend I had some serious questions to ask myself, but they all boiled down to one thing: Was I in the right business? I could make feeble excuses about scheduling errors by the event organisers; I could blame over-zealous security staff who wrongly blocked access to preplanned locations; but such hurdles come as standard in this job. The truth was that I simply didn't get the photos and that was my fault. Fact. Monday rolled around. No doubt still basking in the publicity of the well-received launch night, the Highland 2007 organisers played their trump card: They announced that Elton John would conclude his Rocket Man tour in the Highlands, a major coup for the region. The population of the entire north of Scotland is less than most small cities so we aren't exactly a prime destination for world-class stadium artists!
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It took a while, but eventually I managed to syphon a smidgen of information about the pass for the Elton John concert: My application had been received but it would not be processed until two weeks before the concert. To cushion the inevitable disappointment I took this to mean that it would be refused at the last minute. And sure enough, the first week of July came and went. Elton was five days away and, again, nobody was talking to me. More e-mails into the void. More calls not returned. More empty assurances from people who were clearly in no position to make them. Then an e-mail arrived from a different PR company: My pass would be confirmed as soon as possible. A follow-up e-mail asked who I would be doing the pictures for. Some photographers love to big themselves up to be more than they are. I never do, and I would advise others that honesty is the best policy. So I explained that this concert was a huge opportunity for me to cover a major event and I had asked the BBC if I could do the photos for them. I also stated that I would behave professionally, I wouldn't cause any problems for security, I had the appropriate public liability insurance, and I knew that the photos could only be used for news/editorial purposes, no commercial sales. The reply came: "Fine." That was it, just one word. Then a phone call explaining that my pass would be waiting for me at the box office.
Then it was time for us to be puppy-walked down to the stage. I think we had three security people with us, all of whom had different ideas of when and where we could go. One of them gave the nod for us to get on with it and I didn't need telling twice: I installed myself in the perfect position to get a good view of where Elton would be seated at the piano.
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I had decided by this point that I wouldn't do crowd shots. I'd have liked to, but I wasn't going to risk losing my vantage point. The only shots that really mattered were the ones of Elton: Get one good pic of Elton and I had done the job right; get a Pulitzer-winning crowd shot but miss Elton and I would have failed. I did briefly stray a few feet away and quickly took a succession of photos in a circle, a weak attempt at making a 360-degree panorama of the stadium. Then I scurried back into position. By now I was more nervous than when I first photographed a wedding. Realising how unexpectedly nervous I was made me more nervous. It took me two minutes to meter the piano: I was convinced that the perfect histogram was somehow wrong.
Figure 3.5: Not what you want to see when you check your first images: Terribly over-exposed, probably even beyond the point that it could be saved.
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The rest of the shoot is mostly a blur, although thankfully the pictures weren't. For some reason I moved from my vantage point and got some nice frames from a more side-on angle, and then I moved back to where I had started. One guy moved to let me back in. Moments later I ducked down to let him get a shot over my head. I was impressed that all of the photographers, about ten of us in an area maybe six feet square, were mindful of what each other was doing and we worked well as a group. I've never been an Elton John fan. Haven't even heard much of his music. But at one point he turned to one of the photographers next to me and gave him a stern look, which gradually melted to a smile and then a cool-looking, playful snarl. I immediately liked Elton John. The guy has style and charisma exploding out of him. The first song ended and Elton leapt up to stand on his piano stool with one foot on the piano. I switched to my centre focus point, zoomed out and motored it. Then a security guard gave me a light punch in the ribs and it was time to leave. I think the security guys made a point of walking us out as slowly as possible, which was good of them.
Figure 3.7: Snarl or a smile? I dont know but it made a good photo.
Time to transmit
While 18,000 people danced away the perfect summer evening I went back to the hotel, only to find that the wireless network wasn't working. I headed across town to another hotel and by the time Sir Elton was about halfway through his set I had seven photos processed and sent off to the BBC, and to an editor at Getty who I had asked to take a look at them with future commissions in mind.
Figure 3.8: Fun photos of local people are always a good bet with newspapers.
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Metering and focusing for concert, theatre and other stage performances
With the wide variety of stage lighting conditions you may think it would be impossible to offer any useful guide to metering and focusing for photographs of people on stage. But there are some fundamental techniques that will serve you well for all kinds of live performance. Stage lighting is almost guaranteed to confuse your cameras automatic metering as it wont know how to cope with the brightly lit performers against a dark background, possibly with strong back-lighting. You will likely end up with performers over-exposed as your cameras exposure algorithm tries to compensate for the many dark areas in the frame. So for stage photography it is essential to use manual exposure, and a spot meter is invaluable. This will allow you to meter the performers face and adjust the exposure accordingly. Some cameras have spot meters built in or you can buy light meters with spot capabilities. You also need to have some basic knowledge of the zone system. Now, the mere mention of the zone system can be scary for some people but it is not nearly as complicated as you may believe. Two minutes from now youll understand it... All you need to know is which zone your spot meter is calibrated to (zone 5 is the standard) and which zones different skin tones belong in. For example, the average white skin tones belong in zone 6. When you take a zone 5 spot reading of white skin the resulting image would be under-exposed by 1-stop, so you need to adjust the reading to over-expose by 1-stop, putting the skin tones in zone 6. Thats it! If you understand that last paragraph then you now know how to spot meter white people under any lighting conditions. Dark skin goes in zone 4 or zone 3 for very dark skin. So for black people you take your spot meter reading and then under-expose accordingly. There, now you know how to spot meter everyone. Easy. Focus can be an artistic choice but generally youll want to get the performers face in focus, and specifically their eyes. Many modern cameras have 7, 9 or 11 user-selectable focus points, and some have as many as 45 points. So compose your frame, select the focus point closest to the subjects eyes, and let the camera focus. This is much more accurate than focusing with the centre point and then re-composing the shot. When photographing performers you will usually be working with a telephoto lens so re-composing by even a few degrees can be enough to shift the plane of sharp focus away from their eyes and from the rest of their face. Plus, of course, in the time it takes for you to re-compose your shot, the performer may have moved!
Figure 3.9: Automatic metering would struggle with this scene due to the black background and bright lights. But by using manual exposure settings based on a spot meter reading of Eltons skin tones, the exposure is correct.
Figure 3.10: The zone system divides all visible tones into 11 zones numbered from 0 (pure black) to 10 (pure white). Each zone covers one f-stop. Your camera will be able to record approximately 5 zones in each exposure and spot metering is the easiest way to tell the camera which 5 you want.
Figure 3.11: If the camera was allowed to decide where to focus then it would choose a high-contrast area such as the cross of the music stand or part of the harp. By selecting a focus point it was possible to focus on the musicians eyes.
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Figure 4.6: Main photo: Bare strobe with silver reflector to frame left. Sun to frame right. Both on full power!
Figure 4.7: Harry Potter launch night: Bare strobe to frame left, strobe with CTO (orange) gel to frame right.
So suppose I do become famous and someone holds up that black and white photo of the girl in front of the wooden fence, and proclaims it as my masterpiece. Of course that would be a hug for the ego, in the sense that its always nice to hear kind words said about your work, but it would also mean absolutely nothing. Figures 4.2 and 4.3 from the same shoot turned out how I envisioned them an hour before I tripped the shutter so praise for those would mean something. But praise for an image that is accidentally good? Thats not a compliment! Ill take a small success over an accidental masterpiece any day. To grow as photographers we must keep in mind that luck cannot be repeated, and luck is often a factor in why people like a particular photograph so much. If you rate your images according to other peoples opinions of them then the first photo you ever take could be the best photo you ever take. Hows that for a depressing thought?
Figure 4.8: Chefs: Bare strobe to frame right, strobe with CTO (orange) gel to frame left behind group.
So accept the compliments graciously, but be guided by your own opinion of your work based on how close it is to your intentions.
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For a family portrait in this country house, two of the first words in the brief were quick and simple. All those words mean in real terms is that the client doesnt want to stand around for very long. You take the booking with the knowledge that youll still do the usual ground-work, and thus you charge the usual price. Dont cut your margin. On the day of the shoot I appraised four locations and lit two of them so the family had the choice of an inside or outside photo. Or they could have had both if they wanted. It only took a minute to do the photo but it wouldnt have happened without the previous couple of hours.
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Figure 6.1: Bare flash on a light stand to frame left behind shooting position. Flash with CTO (orange) gel on the floor behind the children.
Figure 7.1: (Above) The papers choice from the first professional football game I was commissioned to cover.
Figure 7.2: (Below) Some of the other photos I submitted from the game.
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Figure 7.3: Netcam shots dont need to be done with a wide angle lens. This one was shot at around 100-mm.
Figure 7.4: Not many photographers take football photos from inside the goal but at amateur games you can get away with almost anything. This image was the result of trying various angles while photographing a prolonged penalty shoot-out. I got dozens of unusable photos but everything came together perfectly for this one.
Figure 7.5: Strange colouring, the players are too dark and it isnt obvious who scored. But where I live Im the only photographer who does netcam shots so they are still new and that goes a long way in getting published.
Fast telephoto lenses are nice but you can probably earn money in sports photography with whatever equipment you already have. Figure 7.8 used a fast telephoto lens but every other photo was taken with a wide angle lens or a mid-range zoom. The netcam shots didnt use remotes, they were all hand-held. Newspapers do value originality. Every time Ive tried a new technique, the resulting photo has been published. Every time.
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Figure 7.7: Stadium terraces are the ideal backgrounds but it could be years before you shoot stadium games.
Figure 7.6: The newspaper didnt have a reporter covering this match so even the best traditional action shot may have been left unused. But the unique angle of this photo made enough of an impact that the paper ran it without a match report and even dedicated space on the back page to writing about the photo itself, explaining how it was accomplished. The technique was simple enough: I pre-focused a wide angle lens and then held the camera as high as possible on a 6-foot monopod. I aimed as best I could whenever the action came close, and triggered the camera with a set of Pocket Wizard radio triggers. I worked this way for the whole game and although I got a few other shots that werent too bad, this was the only one that I considered useable. It may seem excessive to commit an entire game to trying a new technique, to get only one good image, but I would prefer to get one good original image and have it published instead of dozens of great traditional shots that dont make it into the paper.
Figure 7.8: (Above) If you can shoot from an elevated position then you can use the pitch itself as a background. Figure 7.9: (Below) Alternatively a low angle can produce a more majestic image with a stronger sense of drama.
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