In view of all the
photography jobs needing pin-sharp close ups in venues where it is hard to get
close the subject, I’ve recently invested in a fantastic high performance telephoto lens, a Canon 300mm f2.8L IS. The optics are stunning, the quality of pictures is breathtaking in their crispness,
helped by an image stabiliser minimising camera shake keeping the focus staying rock solid, even in
low light conditions.
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| Redcar Sea Front |
Along the way in my 30-year
background in press and commercial photography I’ve picked up the North East Sports Photographer of the Year and photographed a series of national and
international rugby and football matches. My new lens will make specialised jobs
like this, where I need to get close up shots while standing yards away, much
easier.
I’ll predominantly use it to
photograph events such as this year’s Nova Great North Run, where I'm officially booked or the River Rat
Race as these are fast-paced events where you have one chance to get the
perfect shot. I photographed Mo Farrah at a Great North Run two years ago, but I
suspect even the ‘gentleman of running’ is unlikely to go back and do a stretch
again for photographic purposes if someone turns up without the right kit for
the job.
Because the new lens in
effect knocks the background out of focus, I’m looking forward to using it for
commercial photography and nature shots too. I’m really enthusiastic
about its uses - horse racing at Gosforth Park, motorsport events at Croft
Circuit in Darlington, activity shots for outdoor brands such as Berghaus and Go Outdoors –
the list of potential jobs it can cope brilliantly with is endless.
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| Redcar Trunk Road |
Successful outdoor
photography can dependent on the weather, and can involve several
visits to a location to get the right conditions. I don’t know whether I’m pleased or not that my new sports
lens can shoot in appalling weather and still generate stunning images. I
foresee some cold, wet winter shoots this year, but as long as I get the shot,
I’ll be happy with that.
Year after year camera
equipment gets smarter and faster – although sadly, the cost never seems to go
down at the same rate - and I’m pleased that I’ve made continuous investments so
that whatever type of photography I’m doing, whether it’s a commercial photography job in North Yorkshire,
outdoor events or a large business award event in Harrogate, I’ve got the right range of camera
equipment for the job.
Combined with my compact studio
lights and kit, I’ve got everything I need and it can all be carried
on the go from job to job too.
The end result is that no
job is impossible – try me!
For my commercial head shot photography sessions around the North East and Yorkshire I start by identifying what
particular look and feel the client wants to achieve, and secondly how they
want to use the pictures. For instance the commercial portraits for an annual report for a law firm will be very different to that of a digital design company’s
social media feeds like Facebook, LinkedIn or Twitter. The client might need different portrait photography for certain people too.
I might photograph the Chief Executive
looking solemn if the brief is a photo to go out with a news release involving poor
financial results, but take the
same shot with different lighting and add some movement and energy for a piece
about the company’s charity support.
If I’m working with a new
client I do some research on their website and in the press to give me a feel
for the style of images it prefers. A US-based pharmaceutical business may want
a very polished and corporate look, while a UK call centre wants its pictures to
give a warm, inviting impression, and a graphic design company prefers to give
off a creative, edgy vibe.
Where senior executive portraits are concerned I’m always conscious that they are busy people, so it’s
important to get the job done quickly but still return the shot that meets the
brief. Whether I’m working with the board of directors or a young subject on
work experience I’m always confident and relaxed, I’ve been doing this for three
decades and my background as a press photographer based in Middlesborough and Scotland, gave me the ability to work
quickly and under pressure comes in very handy.
The shot I’m looking for
will often dictate the angle I use for commercial portrait photography, as this
can change its whole feel. I might
give the shot a slight tilt, or shoot the subject from below. Or if I’m looking
for a warm, less authoritative look I might photograph the subject from above. Business people don’t want
to have to travel to visit a portrait studio, so I’ve put together a portable,
flexible range of camera kit that gives me all the tools of a studio, in a
small amount of equipment. I call it my studio in a box and means I have
everything with me if I decide to use a telephoto portrait lens or Lastolite light
reflectors to add atmosphere and contrast to a shot.
Sometimes I meet the client
beforehand to discuss the job, or we speak on the phone so I get a feel for
what they want to achieve from the commercial head shot portrait session. I
often visit a locations before the photo shoot too with perfect locations on our doorstep - say an industrial background of Billingham, North Yorkshire Moors landscapes or maybe Durham city retail centre getting
across what the business does. For example if I’m photographing the chief executive of a car parts manufacturing business the client will probably want
me to do those pictures on the production line, and for the managing director
of a fitness gym I’d be looking for shots in a busy studio with people
exercising in the background.
