Tees Valley 'Less Fuss By Bus' Campaign Photography

A recent North East commercial photography job saw me spend half a day on a bus doing photographs for Middlesbrough creative marketing agency The Creative Alchemist, who hired me to take the pictures for Local Motion and Connect Tees Valley’s ‘Less Fuss by Bus’ campaign the advantages of travelling by bus.

At our planning meeting we discussed the type and range of shots that were needed, and any restrictions such as not using easily identifiable landmarks, as the campaign was to cover Tees Valley and South Durham. We also looked at how the pictures would be used, as this has a big impact on what and how I shoot. In this case the agency wanted a flexible range of shots for potential use in everything from web banners and skyscrapers to print and large format for outdoor advertising, including the side of buses themselves.

Having agreed in advance that both night and day pictures were needed, on the day I turned up armed with greaseproof paper and masking tape to prevent light streaming through the bus windows, which could have made getting the right shots difficult and would definitely have spoiled the night time look we wanted. I carry light diffusers as part of my portable kit, but being someone who prefers a ‘belt and braces’ approach, as well as portable studio lights and a mobile power pack I turned up ready with all sorts of useful bits and pieces just in case.

Our stage was a brand new bus which had a permit to park all day in the centre of Middlesbrough.  With two clients present, the team from The  Creative Alchemist, several models from Tyne Tees Models plus yours truly, there was quite a crowd of us at the photoshoot, which lasted around 3-4 hours so we scheduled several breaks in to keep everyone fresh.

I went along with lots of ideas in my head for potential shots, but that’s the funny thing about being a professional photographer, you often arrive at a job and decide that while an idea done one way won’t work, approached in a different way it becomes a great shot. Over the years I’ve learned that every job evolves, it’s an integral part of the process.

The Models were Libby Hancock, Grace Bungoni (night), Craig Ord and Camillia Priest (daytime) who were all fantastic, accommodating team and fun to work with as we moved around both decks of the bus taking pictures from various spots. Thanks to everyone’s professionalism this was a really enjoyable and rewarding commission, and you may already have spotted the resulting pictures across the North East in the run up to Christmas 2015.

Knee Operation leads to Healthcare Photography for Nuffield Health Tees Hospital

It’s not often a knee operation leads to a north east advertising photography job but that’s exactly how a recent two-day session photographing the Nuffield Health Tees Hospital in Stockton came about.

Following my operation (wear and tear and too much running around with heavy camera equipment in my press and sports photography days, if anyone is interested) I had used social media to praise the care I’d had there. The hospital’s marketing contact checked out my website at www.davecharnleyphotography.com and got in touch to discuss me adding to the hospital’s image library with a series of new advertising pictures that can be used for marketing and advertising purposes, some photography also for the website and brochures.  

It was important that the new pictures fitted in with Nuffield’s corporate style, which is fresh and clean and sits perfectly with my own style of documentary photography and a big emphasis on natural light to keep pictures real. 

I’ve seen lots of health sector companies use stock shots in their marketing and while they can be effective, I honestly believe real pictures work better, particularly when it comes to people making a big decision about which healthcare provider to choose.

The shoot was broken up into two days so I would be able to access all areas of this busy hospital, which operates on a tight schedule. After discussing the shots list with my client and adding in some thoughts and suggestions of my own, I was able to access all areas, photographing everything from equipment, treatment areas and the comfortable, well-equipped patient rooms through to some signage and branding, and even the convenient car park set in the leafy surroundings of Norton.

We also included lots of pictures of key staff, both in real working situations and through portrait shots that can be used across brochures, the website and social media, capturing a natural look that sums up the professionalism and cheerful attitude that made them a pleasure to work with. 

Working unobtrusively and with formal patient permission of course we also captured a range of photos showing patients booking in at reception, being assessed by the doctors, receiving physio and other treatments and sampling the beautiful food.

Having been a patient at the hospital it was interesting to see it from the other side, and I was pleased that my client was as happy with the results of the job as I am with my revitalised knee.

North Yorkshire Industrial Photographer | Lotte Chemicals in Wilton

I was pleased that clients DTW agency in North Yorkshire chose me for some industrial photography near Redcar recently.

The job involved an Industrial photography shoot at Lotte Chemicals on the Wilton International Site. Wilton is just 10 minutes from Middlesbrough and is a major process industries complex where security and safety is paramount.  As an experienced commercial and industrial photographer I’ve visited Wilton many times so I’m familiar with the detailed safety and security arrangements that every visitor must comply with, and arrived 30 minutes early to go through the briefing.

Chemical plant photography means being around volatile substances so I also had my camera equipment, including a portable, foldable flash kit, gas tested for safety.

The job brief included taking pictures of the directors and senior staff, the operation itself and a series of shots to celebrate the company’s commitment to young apprentices, and help it recruit more young people. Lotte Chemicals is a long-standing supporter of apprenticeship schemes, being named North East Medium Employer of the Year 2011, and counted among the Top 100 Apprenticeship Employers of that year.  

I arrived at the job kitted up with a range of different lenses and lights. I’ve got the lighting and equipment to accommodate any type of job, including a high powered lighting kit that can light up a large factory floor, gymnasium or school hall.

Although I carry a range of lights so I’m ready for any conditions, I prefer to shoot using a mix of natural light and reflectors to keep the images real, over the years I’ve found this always gives the best results.

With the help of people who kindly held reflectors and the flash for me, I was escorted around the plant so I could get a series of shots of apprentices at work in a live environment, studying plans, putting kit away in the lockers and operating machinery and equipment.

A branded pop up banner provided some colour and contrast to the clean white environment. A photographer’s job is to tell the story, and I always like to include some branding and interiors shots to help to explain what a business is about, and give the people shots some room to breathe.

The shiny steel pipework outside gave me a chance to bounce light off it, and in some cases use reflections to frame shots.  Inside, the factory floor colour palette was great, with the blue of the machines contrasting with the pipes. And where I needed a splash of colour, a bright yellow hard hat worked a treat.

Lotte’s meeting rooms presented a light, clean background against which to photograph senior figures in the business. Corporate portrait photography is not always about getting the subject to face the camera square on and smile, if a company’s PR agency is issuing sober news, they need pictures that reflect the tone of the story so I was careful to get some serious as well as smiling shots.

Switching to the close up product shots was fascinating work. I used the back of a whiteboard as a base on which to arrange differently shaped glass containers and some products in the form of tiny  white beads. A member of staff wearing a hint of pink nail polish was happy to act as my hand model, adding some colour contrast to the pictures.

The client was very happy with the three sessions, which generated a good set of pictures flexible enough for a wide range of uses, and I’m looking forward to seeing the photos being used in the media, marketing material and across the internet.   

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.

Yorkshire and North East Documentary Photographer | The Decisive Moment

There are as many styles of photography as there are photographers, and every professional photographer will adapt to meet the needs of the job, but my signature style is documentary photography.

This style records real moments – not staged or posed, just as they happen and without interference. It requires a totally different skill to the world of press, PR and corporate photography. Shooting a subject who is not looking straight at the camera or a situation where people are unaware of the photographer makes a shot more real and believable, especially if it’s taken from further away, to leave some space around the subject.

I like to use natural light wherever I can, using flash would be intrusive when photographing a conference or a bunch of school students engrossed in a science lesson or a boardroom business event. At most events like these I introduce myself, then fade into the background so eventually they forget me and my camera are even there. Over the last 25 years as a north east commercial photographer I’ve found that’s how to get shots of everyday happenings and turn them into pictures that are a breath of fresh air.

A recent commission to cover the Positively Stockton on Tees campaign was a great example of documentary photography and saw me covering street scenes, visiting schools, a bike rally, a bowling green and a care home. At the home I took pictures of residents chatting, concentrating on a game of bingo, and using a walking frame to move around the lounge. By moving back from the shot I was able to use the walking frame as my shot frame – a good example of how documentary photography is all about seeing things differently.  

My vantage point can be crucial. When I recorded the re-launch of Stockton High Street, which was a great honour, I perched on top of a tall building to get a good viewpoint of the theatre crowds and the 50-foot high man walking through the town. Going down on foot to mingle with the crowds worked well too, I was able to get close enough to photograph people enjoying all the activities plus children – and some adults – splashing about in the street fountain.  This is another example of documentary approach, where it doesn’t have to be about recording a specific occasion, and more about capturing reality as it happens.  

I work simply, carrying two cameras and a discreet set of lenses that are not big enough for people to notice. Not lugging lots of kit about means I am free to scan a room or an outdoor event, looking for a person who might be laughing, or engaged in conversation. By blanking out the background sound I can concentrate on images. I tend to switch things off in my head so I can focus on getting the perfect composition and frame, it’s like switching on a different mindset.

Documentary photography can be very exciting, for instance working backstage at a fashion show at MIMA in Middlesbrough, where pictures of the goodie bags were just as important in picking up the atmosphere of the event as those of the catwalk models.  

A lot of the magic happens when you ignore the obvious and instead look around, through, up, down, light, shade, different lens, slow shutter speed and even use reflections. At a job to cover the launch of the £7m restoration of Preston Park Museum and Grounds at Eaglescliffe in Stockton I photographed the drummers from behind rather than in front, so they form part of the picture rather than being the obvious main focus of attention. The colours together with the night sky gives an alien look to the picture, particularly with the moon fragment just visible.

Cartier Bresson, regarded as one of the finest documentary photographers the world has ever seen, is passionate about the style and his book ‘Decisive moment’ is referred to as a masterpiece. Even if you never pick up a camera, give this book a try, it’s full of wisdom. Bresson entreats photographers to engage with their subject, otherwise, he says, the emotion of the moment is lost.

He puts it far better than I could but in my own small way that’s what I’m aiming for too. If documentary photography is good enough for a photography legend, it’s good enough for me.