Early Dawn Industrial Photography on the River Tees in Stockton

In the course of my career as a North East Commercial and PR photographer I’m used to working odd hours to get the right pictures, and a commission to photograph some maintenance activities on the River Tees between 1am and 3am whetted my appetite for some night time photography.

The job involved taking night shots of a huge crane on top of the Tees Barrage on Navigation Way, in Stockton on Tees. This was part of some planned maintenance by the organisation responsible for the barrage, the Canal and River Trust, which is based in Little Venice, London.

Tees Barrage was the largest civil engineering project in the UK when it was built 20 years ago, and controls the flow of the river, preventing flooding in the surrounding area. It also controls the flow of water to the Tees Barrage Water Centre, which is a popular spot for white water rafting, sailing, rowing, powerboat racing and other water sports.

The Trust needed the crane in place to lower a huge temporary dam into the river so the water could be pumped out to allow access to staff carrying out vital maintenance work to the four huge 50 tonne 'fish belly' flood gates. The work was being done at night to cause minimum disruption to the flow of traffic and to the David Lloyd Health Club, the pub and other businesses in the immediate area, hence the night time photoshoot.

The large crane against the backdrop of the night sky made for a range of dramatic pictures and as the sun started to come up on a beautiful July morning, the soft pinks and blues of the dawn melted into some stunning colours as the area started to come back to life.

I was pleased to see the industrial pictures distributed by the Press Association and picked up by regional newspapers such as the Middlesbrough Gazette, make national titles such as the Guardian, and get used in BBC and ITV website news items.

The Dave Charnley Photography byline on the photos led to a crane company getting in touch about future industrial photography commissions, saying they worked with a lot of photographers but ‘hadn’t seen many like you, who’ve got it’, which was very flattering.

The Tees Barrage is an impressive feat of engineering which took four years to build and contains 650 tonnes of steel, and it was a privilege to see it up close and from a viewpoint most people would never see. If you missed the special open day in August for the public, keep an eye on the Canal and River Trust’s website at www.canalandrivertrust.org.uk for next year’s maintenance schedule and you just might get the rare chance to go down 40ft and walk on the bed of the River Tees – a tale to tell the grandchildren, for sure.

Leeds Event Photographer | Teach First Summer Conference in West Yorkshire

The brilliant Teach First organisation aims to address educational inequality in the UK by training and supporting young people to help them become brilliant teachers. My latest job was in Leeds, to do the conference photography for the welcome ceremony at its 13th annual residential training event, Summer Institute, followed a commission earlier this year to track a young Teach First teacher at Thorn Academy in Cardiff and relate a day in her life through pictures. 

The Summer Institute’s Impact Conference is the UK’s largest and most ambitious teacher training event and hosts over 3,000 delegates including Teach First 2014 and 2015 participants, university tutors and school and business leaders. The last two years have seen the event contribute a £5.5m investment to the city of Leeds.

In my work as a North East commercial photographer I work across a patch from Yorkshire up to Northumberland and Leeds is just a short car ride away from my Stockton on Tees base. I arrived early at the venue, Leeds Beckett University, introduced myself to the client contact for the day and did the all-important task of checking the brief hadn’t changed since the booking was made. Clients sometimes surprise me with a change of speaker or running order, and I like to make sure I’m fully up to speed with any new developments before I unpack my camera gear.

The audience was enthralled by a range of speakers, including Teach First’s Founder and CEO, Brett Wigdortz OBE; John Lloyd, the television producer behind Blackadder and QI; and Nicky Morgan MP, Secretary of State for Education.

My brief was to capture the engaging spirit of the launch of the two-week event, with shots of the speakers and audience. Speaker Dave Bunting is an experienced Everest guide and gave a particularly interesting presentation about teamwork and building relationships and trust, all vital skills that teachers will need as they progress their career.

I had taken several camera bodies and some fast lenses so I could work at slow speeds to cope with the dark lighting conditions in the hall, and get a mixture of crowd and individual shots. I’m always looking to add longevity to a photoshoot and as the delegates filed out of the auditorium I used the light flooding in through the open doors to get some generic ‘leaving’ shots that will come in useful to promote next year’s conference – a kind of ‘it’s been great, see you next year’ theme.

Set just off Woodside Lane in the heart of Leeds and close to the First Direct Arena, the campus has some great outdoor spaces for group shots and I even had a bit of fun taking pictures of people taking the obligatory selfies that are now part of every occasion.  

The students were a good-natured group and keen to join in the fun. And of course no student photos would be complete without a picture of everyone cheering so I was happy to add that one to the portfolio.  

Around 1700 delegates were at the welcome ceremony, and everyone left feeling invigorated and inspired. I was glad to have played my part in recording an event set to continue the good work of Teach First and to further its aim to combat educational inequality.

North East Creative Photographer | Corporate Photography Neednt Mean Dull

With a dash of creativity, corporate photography needn’t mean dull, stereotypical shots. I often start by thinking about where the pictures will be used. An annual report or press interview shot can require a very different feel to those used on the web or in e-DMs (e-mailshots).

Another consideration is whether to shoot in landscape or portrait. An upright shot would be no use for a web banner, although if I’ve done my job the designer can often use part of a landscape picture by cropping it. Some pictures are ideal for converting into gritty black and white shots, for a band or fashion marketing for example.

Whether I’m doing exhibition photography at the Harrogate International Conference Centre, arts photography at the Sage Gateshead on the banks of the Tyne or a networking event at a small venue I try to use my years of experience to bring something fresh to a picture, illustrating something like a speaker on stage quite simply, but in a different and engaging way.

From a designers point of view I also put some thought into how they might want to use the pictures in page layouts, and often include some space around the subject so the picture can be overlaid with words if necessary. For instance the shot where someone is reflected in the table surface would be ideal. This is a good example of a multi-purpose shot, with its fresh blue colouring and light feel making it ideal for a summer newsletter, even though it was actually shot in winter. 

Although I always carry a portable lighting set, the light conditions I’m presented with when I arrive at an event can deliver a very different look, as evidenced in the back shot taken in a dark room with the Evolution branding highlighted on the wall.

The picture taken through some vertical blinds was a group of people looking round a new building, and because I was careful to frame this visually very pleasing shot you wouldn’t know the building wasn’t finished. It’s a generic shot with many potential uses. 

At the MIMA gallery in Middlesbrough the spotlighted framed piece with vienneted edges created a striking shot that showcased the artist’s work. You could even have some fun with this style, using a client’s own picture in the same frame.  

Taking creative corporate photographs is not about getting the tight, bright shot of PR photography that newspaper and magazine picture desk editors want. For instance the shot taken from behind the man facing out towards the crowd at a Middlesbrough Business Forum event gave the viewer a bird’s eye view of proceedings and while it probably wouldn’t be used to illustrate a news story, it’s perfect for a range of other purposes and I’ve seen it used several times. 

My aim is always to take a thoughtful look behind the actual event and spot picture opportunities as I work. For example the shot of Ranulph Fiennes’ name badge was taken as part of a set to cover a talk at Crathorne Hall in North Yorkshire, for a petrochemical company based in Aberdeen.

I’m really pleased when I get comments from client and designers, who appreciate pictures that give them flexibility of use and I like to think the reason I get so many enquiries coming in from new and existing clients looking for creative corporate photography is that people can see how my pictures have a lot of mileage in them.

A professional photographer must be able to read each client, they are all different and have different expectations from a photography shoot so it’s important to add value to every single job I do.

North East Commercial Photographer | Middlesbrough Creative Marketing Agency The Creative Alchemist

I am asked to do commercial photography for many North East PR and marketing agencies, and I was pleased when long-time contact and managing director Lisa Holt chose me to take the photographs to publicise her new company, Teesside-based The Creative Alchemist.

Based at the Boho One building in Middlesbrough, Lisa needed photos to help launch her new brand across the web and in a range of marketing materials, designed to put the company on the map. Experienced marketers who know the value of strong imagery are a pleasure to work with and the team had brought along a change of clothes so we could create a portfolio of images that would give maximum variety and longevity.

The company’s strong and memorable brand identity runs through the stylish offices and includes a bright yellow wall that from a PR and marketing photographer’s point of view was an absolute gift for the interior shots.

Playing to the brand’s strengths I spent some time documenting a creative planning meeting, as the team forgot about the camera and became engrossed in creating the best solution for their client. 

The same room had a series of framed images on the wall which proved useful reflectors from which to bounce images off. I was working closely with designer Kerry helping me highlight key areas like the frames, seating and the modular bookcases, giving me a chance to create frames by shooting through them from the back.  

As we moved outside the weather was kind to us and not too sunny. Although you wouldn’t think it, sunlight can be very harsh to work with, in contrast to a slightly cloudy day with its softer light.

We did a mixture of exterior shots using the building as a backdrop. It’s a joy to photograph at Boho One as it’s the flagship building of Middlesbrough’s new exciting Boho Zone, which forms the digital, creative and business hub of the Tees Valley. 

Designed by xsite architecture, the £9m building stands on Bridge Street West in central Middlesbrough and presents great opportunities for commercial photography, with its mixture of textures and colours plus branded doors, windows and interior partitions.   

Doing some of the commercial portraits outside gave me the chance to incorporate some greenery into the shots too, and a use a bright red wall and grey clapperboard cladding to add some background contrast.  

I like to approach corporate portraiture slightly differently, preferring to get people to look sometimes away from the camera to achieve a more thoughtful shot that captures the personality of the subject.

Some of the pictures were done on a covered walkway, and as with most photography shoots there were some comical moments. These occurred when the girls’ high heels were occasionally getting stuck in the wooden floor slats, generating some genuine laughter.

The Creative Alchemist crew were a fantastic team to work with and I hope their very real passion and positivity shines through their new image library and helps them grow their client portfolio across the North East.

The Creative Alchemist Website Link

Equipment Investment | Canon Camera Kit and Elinchrom Studio Lights

I started my career as a North East freelance photographer with a basic kit consisting of a couple of lenses and a Canon 20D camera.Over the last 8 years I have developed my skills working in many sectors including Editorial, PR, Commercial, Architecture, Portraits, Sport, Education, Corporate and Industrial Photography across the North East and Yorkshire area. Therefore over the years I've built up a extensive professional camera kit, now helping me produce the best possible pictures for clients ranging from advertising and PR agencies to industrial plants and local authorities. 

After cameras and lenses, studio lights are the next most important kit. A location magazine photography shoot might take 1-3 hours in total, to set up the right lighting and create the right look and feel – sometimes it could be a simple white or plain background for maximum flexibility. 

I often have to work quickly and effectively so I’ve fine tuned the kit that I use. I have a set of four lightweight portable Elinchrom lights, usually only using three of them, but carry a spare in case of emergencies. I’m often faced with fluorescent light issues which is a nightmare to work with as it gives a yellow cast and a flicker that totally ruins the images especially on the Canon 5D III. I invested in a powerful 1000w and 500w kit that can light up even the biggest of spaces, such as a games hall or a large gym beautifully. This helps me to strike the medium between needing good light and not wanting to battle with the mixed colour balance. 

I have 10 Canon lenses in my collection, from a 11mm extreme wide angle, tele-convertors to a 300mm F2.8 IS lens, giving me optimum flexibility and quality for sport, commercial or architecture work. One of my favourite and my least expensive lens is the 85mm F1.8 portrait lens that delivers fantastic quality portraits. I used the Canon 100mm F2.8 IS lens for commissions such as a recent Teesside photography job to document a jewellery exhibition at the Middlesbrough Institute of Modern Art (MIMA).   

The key to creating the right set of camera kit is to build a collection that allows the photographer to work fast without sacrificing quality. I have two camera bodies, a Canon 5D Mk III which delivers high quality performance in very low light.

I eagerly awaited the launch of the new Canon 5DS this year, but it’s proved a big disappointment for me! Canon have gone for increasing the megapixels rather than boosting low light capacity or other elements that professional photographers look for and since the quality remains really the same as the previous model I don’t see any benefit in spending £6600 on two new cameras. The changes seem to be aimed at landscape photographers rather than documentary and PR photographers.

My camera kit is versatile enough to produce pictures with a wide range of types and uses, and at quality levels good enough for large format work such as billboards, and for event photography ranging from indoor awards ceremonies and outdoor sporting occasions through to royal visits and night-time ‘fire and ice’ winter festivals.  

Continuous investment pays off as in most walks of life, but of course it’s not always about the gear, it’s about how you use it (cliche I know). Even a £300 camera can produce great quality pictures in the right hands and in good light. There can be an element of snobbery about what camera kit someone is using, but when you cover many jobs a week you want it to work well and not let you down. 

These days I’m not afraid to admit that I can get excited about camera bags than technical kit. Being able fit all the cameras, lenses, lights and other paraphernalia into two lightweight bags makes me one very happy commercial photographer.