8th March 2018 – Gerry Painter playing with light and dark

Our thanks to Gerry Painter for a very informative evening, using his photography to show how to play light and dark using a basic home studio. Gerry showed us how to get great results using a sound grasp of how light and flash work, and the basics of posing your subjects for effect.

And it doesn’t have to demand a big budget. There are hacks you can take in order to get the look you want without, necessarily, spending a fortune. You certainly don’t need a full-time studio so you can use flash for portraiture, but a studio does present the peak of the idea of a controlled photographic space. We have touched on this before this season with club member Steve Dyer when we talked about a basic off camera flash set up, and I would suggest that post is worth a re-read from the point of view of building the hardware side. It also links back to two earlier posts, one covering hard and one covering soft light modifiers.

Photographing people is, quite possibly the major part of photography. Certainly, it makes up a large, perhaps the largest, sector of the professional market. What people are paying for is not, necessarily, a straightforward record, but a record of a connection, one that brings out their personality, a fraction of a life, something which speaks of them and of the moment. Even though we live in the age of the selfie there is still a perception that there is something else to be had from the viewpoint of another.

Even so, the motivations behind the selfie, which love it or loathe it are massively the largest by number photographs posted online, 24 billion 2016 according to Google, are not so simple. The motivations for those so bent on broadcasting their lives to the point of dying of it, more people were killed taking selfies than in shark attacks that year, are not just narcissistic.

Within this huge volume, the data for Instagram alone, and what can be derived from it, is far from trivial, there are, apparently, three categories of motivations : Communication – those who want to inititiate conversation; Autobiography – those who are recording key moments in their lives, not necessarily to bait a response, but as a record they can look back on in a handy format; and the smallest of the groups, the Self publicists – those with a personal or professional need to be “out there” and recognised. “It’s a different kind of photography than we’ve ever experienced before” (Steven Holiday, Brigham Young University) important because it is today’s social history for the future. It can also prove expensive, in more ways than one.

Even so, the basic human form hasn’t changed and that means there are more natural and flattering angles than others, and Gerry took us through some of the basics. First off there is not taking pictures square on, something you can sometimes get away with on male subjects, but almost never seem to work with female ones. And there is a big difference to be had through the simple expedient of shifting the by slightly putting one leg slightly forward, shifting your model’s weight and causing an S-curve. Shifting the weight onto the back leg Leaning forward from the waist and raising the chin smoothes lines around the neck and invites the viewer into the picture. For effect this doesn’t have to be exaggerated, indeed it can look slightly comical if it makes the model look overbalanced. This works for male and female models. As does crossing the arms, which with the other moves described, makes the body look more dynamic.

If the model is sitting then the relative height differences are going to become exaggerated and the crops tend to be much tighter. The leaning forward posture still applies otherwise the model looks like they are backing away. Elbows on knees will tilt someone forward and an accompanying tilt of the head makes things much more personable. In all cases, the eyes are the most important point of focus. If there is one other thing that is universal is the general advice that it is better to have the model angle one shoulder towards the camera.

Gerry packed a lot into one evening not least the need for a connection between the model and the photographer, especially with a model who might not be used to having his/her photograph taken. A lot of people don’t like having their photograph taken. A lot of people buy a camera to make sure they are the comfortable side of the lens. Our job is to put them at their ease. This can be easier said than done and the reasons are pretty hard-wired because the thing we as photographers are looking for is the thing we as individuals do not want to give away.

Experience in other fields leads me to believe that the single biggest factor is the attitude of the photographer towards the person being photographed. Put simply, the attitude you give dictates the attitude you get back. If you are wound up and edgy guess what your model is going to pick up on? Give out a “This is going to be a nightmare” and you get a self-fulfilling prophecy. It’s as much to do with what we do before we start shooting as it is during the shoot. It’s about time spent introducing ourselves and what we have in store for our subject. It’s about promoting the shoot as a joint project either side of the lens. It’s about making being the model on a photo-shoot as something enjoyable. You only have to get part of the way to free things up.


On a slightly different note, regular club members will know that Myk Garton last year had a successful exhibition called AS I SEE IT at the Totterdown Canteen (141 Wells Rd Totterdown Bristol BS4 2BU). Myk has got the club a return gig which will be called AS WE SEE IT and photographers within the club have opted to show in the exhibition which will be in May June this year. This is a great opportunity to get and see the club in action. Opening times are 8 a.m. till 3 p.m. seven days a week, More on it as we get closer to the date.

1st March 2018 – Frozen Out and Fine Art

Snowed in and called off we will have a week’s wait for member Gerry Painter’s evening. Something to look forward to. So this week, through the rattle of ice rain on the living room window, which rather underlines the soundness of the decision to call things off, we are going to talk about connecting with our images.

When looking for something to photograph, chance, as we have often reiterated in this blog, falls to the prepared. There is, however, a difference between what fine art photographer Cig Harvey calls “Target Practice” and telling a story, and a personal story, rather than the story of someone else. Now you don’t have to go to quite the same limits as she went to, only shooting in one room for a year, but taking responsibility for everything in the frame and avoiding the “Yeah buts’”. That is, doing it, rather along the lines we talked of in the last blog, because we are not all full time artists.

Photography is a channel to put our thoughts in. Cig Harvey again. This is a particular form of photography, the fine art angle, but don’t we do this consciously or subconsciously, anyway? This, at least in part, is improvement as a continuous process, because the stories never stop, we just switch them off at some point. We are all taking a little moment in history and slicing away at the baggage that surrounds it and showing a truth. Or maybe just taking drunken snaps on the camera phone during an after work drinks session. Maybe something in between, but for those of us who take our art even a little more seriously, there is the recognition of something achieved, with a little something to take forward to the next frame. Basically, “Yes, and …”

Fine art most of us would think beyond us, but we have all taken that sort of image at some time or other, even if by accident. Indeed the definition of what fine art might be in photography isn’t even settled definitively. It is, on one level, peoples’ bread and butter. But not all fine art photographers are fine art artists making a living. Most, I suspect, are on the amateur level – which doesn’t make them averse to making money from their photography, just means it’s not a regular source of income. Essentially “Fine art photography is photography created in accordance with the vision of the artist as photographer”, which tells us next to nothing because it doesn’t include much and really doesn’t exclude anything apart from the implication that if you are not an “Artist” you cannot be a fine art photographer.

That Wikipedia definition does try and make such a deliniation, but even so the misses the potential irony (neigh sarcasm) behind Picasso’s statement that “I have discovered photography. Now I can kill myself. I have nothing else to learn”, but does give room to John Steinbeck’s comment on Robert Capa “… That the camera need not be a cold mechanical device. Like the pen, it is as good as the man who uses it. It can be the extension of mind and heart…” The whole “Is photography art?”debate is endless and, frankly, sterile. It will never be conclusively settled and is as much about fashion as it about metaphysical discussions of meaning and being. Maybe it’s all what the Journalist Fyfe Robertson labelled Phart, but I think that rather misses the point.

Exclusivity certainly plays a part in the discussion. Certainly it is not all of it. Vision, idea, technique, a body if work all have their place and frequently find their way into this blog and our Thursday evenings and hopefully seep into our practice. As illustrated last week this doesn’t have to be a long practice but mulling it over, working the idea into a concept, finding the materials it needs, getting everything together then executing the shot can be the fruit of days, weeks, months, years. Doesn’t make it any better or worse to look at, but the effect on the photographer as the centre of this whirl does make it something more than the recording of a play of light on a subject.

Above all it is an attitude, a desire and a great deal of persistence that makes an artist, regardless of medium. It doesn’t have to be on a grand scale, especially when practising, and it doesn’t have to be to please anyone else but ourselves, but I suppose most of us take photographs to show others. Over time though we develop our own photographic fingerprint, but standing in the same place Ansel Adams stood and point our camera at the same vista as Ansel Adams pointed his at at the same time of day as Ansel Adams did at the same time of year as Ansel Adams did does not mean we get the same picture that Ansel Adams got, much less make us Ansel Adams. All we do get is the same thing every other photographer got doing the same, at best a downscale Ansel Adams look a like picture. It is instructive to do what the masters of the medium did and do, but is of little value if we cannot make those images we make our own. Afterall access to the original completed file or negative means we can run copies faithful to the original ad infinitum.

Which is one of the arguments that some people propose to strip photography of the idea that it might be art. Art is an artefact, it is made, it is up to us to make up our own minds what we consider art or otherwise.

22nd February 2018 – Creative Round and Getting Your Mojo Back

Last meeting was our annual thumbing of the collective nose to Cartier-Bresson’s fear of the contrived, the Creative Round. In that all of photography, from one point of view, is contrived, we can take comfort in a Sontagian view that Photography is a “Promiscuous way of seeing” and here are we. It is also another way to open the arguments between the Get-it-right-in-the-camera-ista’s and Ye-accolytes-of-photoshop, but we won’t.

Congratulations to the winners, (Check out the Facebook page or the website) this in some ways is the hardest round of all to to enter, not least because the definition of what we mean by creative is quite fluid. It stems from an original thought or vision. This gives us less chance to take the image we want by accident, the surrealist streak in photography if you will, as it tends to involve a lot of planning and preparation. The flip side of this is that the deliberation it involves is good for us in all the other forms of photography, because it is a productive habit.

“A skilful photographer can photograph anything well” according to John Szarkowski. So that doesn’t mean just slapping on a filter over an existing photograph and calling it creative, though there is nothing to say that you cannot. Passing a superficial inspection is one thing but the photographs that hold the attention are rarely going to be constructed that way. Skill in photography is as much about practice and deliberation and attitude as it is in any other form. The trick for the hobbyist is not to make it a burden, but to enjoy and enjoy learning.

It’s why having a theme works for our development. Yes it is fun (for us, the rest of the family can feel a little left out) to take a camera everywhere and photograph what takes our fancy or arrests our attention, but when we narrow ourselves down we concentrate on looking, and looking for associations with this idea, which we are using to organise our output. A photograph.

It brings us back to that deliberate frame of mind again. This is also something that helps when we feel that we have plateaued in our development. It can be frustrating to not quite get what we visualised, but also it can be the brain’s way of telling us time to try something different. To create a random element in that, basically to set the challenge, use the theme link above and use this preset random number generator to pick a topic from those 328 themes; get a camera; your least used lens or least used camera even, and get right on it.

There is something to be said in rekindling the simple pleasure of just taking a photograph in a spare five minutes. It can be as simple as arranging things to hand on a desk or a table and practising the basics of composition, because nowhere is boring when you have a camera in your hand.

To give a couple of examples:

Whilst waiting for the potatos to boil I took about four frames of a satsuma and a couple of apples, altered saturation and played a bit with curves and made them presentable if not earth shattering images. Of course, if I wanted to become rich I should have taken photographs of the spuds.

Waiting for a relative to get ready I was struck by the incidental arrangement of my Works ID badge and glasses on a side table. Nudged things around very slightly, took it, cropped it square, painted a bit of blur on it. Quite like it. Doubt I will see it hanging in the Royal Society of Arts any time soon, but hey, I got a small sense of achievement out of it.

Same occasion at the other end of the trip, I was waiting in a coffee shop and set myself the challenge of getting the branded coffee cup and the illuminated sign in the window. A bit of cup shuffling, bit of Dutching (avidly watching all those 60’s Batman shows as a kid finally paying off), applied a saturated, bluish, filter to tone down the harsh lighting, job done. No need to buy a new dickie bow for any award ceremony on its account, but that’s fine. I had observed, visualised, framed, captured and post processed in under two minutes, made a photograph that gave me a small sense of having done something, enjoyed doing it and the result. All this by taking a camera to (some) things that make you go Hmmm.

All these were shot and processed and uploaded to Flickr via my decidedly mid-range mobile phone, which has three times as many pixels as my first digital camera had, two very capable editing apps and a link to the internet, all in something that fits in the palm of my hand. The fact is, for a very high percentage of the day I have access to a camera. Yes I prefer to shoot with my camera body and detachable lenses, yes I can potentially do more with it, but the equipment isn’t the point, making the image is. And no one knows what camera was used and very few actually care.

Restriction is as much an opportunity as a wealth of opportunity. This can be shooting with a different lens or one you don’t use very often, a different camera (including your phone camera if you don’t use it very often) close ups (not necessarily macro), wide angles (making sure to include something in the foreground) there are plenty of variations. A simple one is to deliberately frame a portrait and a landscape version of the same image, being careful to compose the best image in each.

As we gave him the first word we will give him the last, in the interests of symmetry, a noble subject for an image. Henri Cartier-Bresson said of taking a photograph that the thinking should be done before and after the taking of a photograph. Make that gap your Zen Moment. Take that time just to enjoy being a photographer.

15th February 2018 – Welcome Back to Ann Cook

There comes a time when, like our speaker Ann Cook FRPS FRGS MBFP FBPPA, on a welcome return to Reflex, you have a considerable amount of work to reflect on. OK there is a considerable chance that yours won’t cover the extensive geography that Ann has been able to cover, but as that old Honda advert used to make the point about, to someone, your life is exotic.

What are the stories you can assemble from that work? In the term of the story, the narrative, we are often told – and it has been asserted here too – that a photograph can only tell one story or it becomes confused. That is the perspective of us as photographers, the makers of this story/image/narrative. From the point of the viewer we make our own story, of what lead to this, what this is and what happened next. As humans we are hard wired for stories, we make narratives if detailed ones aren’t provided to us and we will meld and fold the one’s we are given into new ones of our own. The stories are not necessarily complete, nor do they have to be.

The photograph is, in this instance, a pointer, a way post, but the destination is one of our own making and each and every one of us has a slightly different destination prompted into mind. That’s quite a lot from what is, essentially a subject, a fall of light and a background. Ann made a lot of taking the opportunities presented to us – those that fall to the prepared. As she said, again a recurring theme in the blog, you make your own luck. Ann illustrated that being shepherded on a bus, as long as you are sitting next to the window to control boarders (what’s in frame) and reflection, is no barrier to getting stunning vistas that go on to sell. Being aware and being prepared gives us a far better chance of being successful.

Even so, we still need an empathy with our subject (the imaginative assigning to an object feelings or attitudes present in oneself – being as one with, a part of, the atmosphere of what we are photographing). This because not everything that drives the narrative in a photograph is visual. We often hear talk of “Connection” and that, more often than not, is driven by composition. Back to that old thing again, for sure, however, the arrangements of objects within a frame is a very powerful driver of viewer connection with a photograph.

Lines, for instance, have different emotional qualities (at least in art theory), depending on their shape and direction. So: converge parallel lines to create a vanishing point (a concept that has been around since the Renaissance) to create depth and perspective; diagonals are dynamic, suggestive of movement and change; horizontals give a composition a sense of quiet and peace; vertical lines feel powerful, solid, permanent; straight lines feel formal, deliberate, man-made; curved lines, especially an S-shape, feel casual and add sophistication, nature, grace. Shape, similarly, has a profound impact on the feel and connection of an image, as does the use of space.

These are all tools, and there are many more and they are there for learning and there for using even there for ignoring but the thing these three attitudes have in common is deliberation. Being deliberate about the way we frame and organise objects for impact on our viewers. The fact is that to photograph that thing in our minds eye we need to become fixed on the essence of the thing we are looking at and then become a problem solver, just like Ann’s bus problem, which gives a different prospective on Kappa’s assertion that if it’s not good enough it’s because we aren’t close enough (in this case to a window to prevent reflections and stray elbows).

These last two paragraphs may look like separate and only vaguely related points, but they are not. In order to visualise those concepts of line, shape and space we have to be looking for them. Ann’s two pictures from Angkor Wat, one of the temples and one of the crowd that had gathered to look at the temples, were taken from different angles but from the same spot. One is quite serene the other very crowded and busy. They each have a different tempo. The one has a diagonal line of the rising sun behind the black mass of the unlit temple, the transition between night and day. The other, a huddle following the natural curve of the shore line several rows deep feels much more energised. The lines of people become a shape of its own. To get the crowd picture Ann had to wait for the crowds to thin, to keep the impression of the press of humanity but also to make it something that the eye can relate to. Incidental or otherwise the fact is the contrast between the two photographs made for a tension that one without the other simply did not have. OK the crowd scene was never going to be anything other than a throw away line, but it told a truth that the sunrise picture did not.

Ann had us look and decide which versions we preferred on many of the images she presented between a colour version and a black and white. The black and whites seemed to take on more from the interaction of shapes and of course there was a fair split in preferences. Basically the advice in these digital days is shoot in colour and process suitable images to black and white. The choice is a lot easier if we start with the idea that what we have is a black and white photograph. The conventional technical wisdom is shoot in colour and process in black and white, but in order to bring these two things together it is useful to know what are the effects of choosing monochrome.

Black and white is a bit of a misnomer as what we are truly looking at is pretty much everything in between. Absolute black is one end of the theoretical scale and absolute white its opposite. We render the images through the tonal contrast that colour produces when converted to shades of grey. There are a lot more than 50. You can desaturate your colour image and adjust the contrast accordingly, you can play with colour channels (subtle rather than huge effects usually) or you can go through the camera’s black and white options, they pretty much all have them, but they will all be jpeg. Some may be DNG or TIFF files, but that is a function of your camera. There is the HER route, or the filter routes that you can apply through apps like Snap seed, photofunia, funny.pho.to/ etc etc. Above all monochrome tends to make more of shape and line by taking information out about colour, but as with everything else it is a matter of personal taste. Black and white will not overcome bad composition or lighting.


So, a lot to think about, Ann Cook, thank you for another interesting and stimulating evening.


8th February 2018 – The Rest of the Way Around the Dial


We did Programme as a camera setting back last November, when an alarming number of members were convinced that Elephants were a European phenomena (you had to be there), possibly confusing them (the pachiderms) with Mammoths, possibly from remembering seeing them at the zoo. This meeting it was the turn of the rest of the dial and no such confusion reigned thanks to the scholarly efforts of Chris Harvey, Gerry Painter, Steve Hallam, Eddie House and Simon Caplan. Between them they had manipulation of the exposure triangle well and truly nailed.


And if we nail the exposure triangle we have the control of light within our grasp. The other thing we need to have control of is what is acceptably sharp in the picture, a function of lens aperture and shutter speed moderated by the selected ISO setting. With these two things nailed in under ten minutes we are a photographer! Our position in the Point and Shoot Pantheon is but a matter of time!


Ah but …. these are the mechanical issues of image capture. Often photographers are as interested in the settings a frame was taken at as the content and whereas they are the key mechanical elements in capturing the image we are viewing they are actually a long, long way down the list of priorities in making a good, bad or outstanding one.


Unless our job is making, marketing and or selling cameras for a living.


The reasons are thus: to plagiarise  that image you have to be in the same place, at the same angle, in the same light, focused in the same manner, with the same connection to the same elements within the frame, and using the same size sensor. Even then all you have done is copy. The only thing worth copying is the look and that can be as much about post processing as image capture these days. The valid reason for copying a look is to learn about photography by applying it to other opportunities. The camera settings represent one choice from a multiplicity of options to arrive at the same amount of light captured.


Let’s put it this way: ISO 100, F8, at 1/125th second gathers as much light as ISO 400, F11, at 1/250th of a second, gathers as much light as ISO 1600, F4, at 1/8000th of a second gathers as much light as ISO 200, F32 at 1/15th second. What alters is the depth of field and the relative degree of that in these examples would depend on sensor/film size. This other variable is why we refer to crop factors compared to the old film size “full frame” 35mm standard (so that those of us set in our ways can get a handle on the perspective generated by a given focal length) and perspective is relative, he wrote with entirely deliberate ambiguity.


As we have been plugging the last few weeks rather heavily – and in every blog published for the club, regardless of author –  the issue of absolute prime importance is composition. Yes we have to get the mechanicals “right” for the image we have visualised but that will not arrest the attention of our viewer nearly as much as the arrangement of the elements in the frame. The legendary crime/street photographer Weegee, coined the phrase “F8 and be there” when asked what was the secret to success in his photography. Weege used a Speed Graphic 4 x 5 inch camera and a flash bulb for illumination. The point is, know our equipment and how it gets us the results we visualised. To be fare some people ascribe the quote to Robert Kappa but the point remains the same. Being there means we get the chance to get the picture the f stop is only of relevance If you have the camera with you.


Now, we can argue what being there actually implies. and the list would probably be quite lengthy. Most photography to do lists seem to end up that way. Some people even write books about it. Reading photography books is a very good idea, but putting the ideas we draw from them to use is even more productive. Knowing what camera settings other people use can be informative, knowing the performance limitations of our own camera gives us the confidence to experiment. In fact, it could be argued, there are two sorts of photographers who are happy about using Auto/Programme settings. Those who are just starting out and those who are confident enough in their use of the camera to know what it is going to do and when and under what conditions we might have to over ride or compensate. And that leaves us to concentrate on visualisation and composition, which is where the art is coming from.


Most photographers, however, set their cameras to  aperture priority and leave them there to control the depth of field. Which is fine. So is shutter priority to control blur. So is manual to control everything, though as a permanent setting does rather slow things down – which can be the point. Auto/Programme is fine. Find one that works for you and use the others to play to their strengths.

1st February 2018 – Editing and improving

Editing this week. Not it in your ed, you understand, but giving 8 images to 30 ‘togs with the aim of seeing what they would come up with in a limited time.  Now with this opportunity and the general sharing attitude within the club there were common themes but no two sets of images shown were anyway near the same in detail.  Views were shared and how-to’s extended. This is an important point. Whereas Adobe was, by and large, the most commonly used suite in the room, that did not engage everyone’s imagination the same way. The (unfortunate for some) truism that a no-expense-spared camera body and even more expensive lens doesn’t make a poorly conceptualised image a  great one extends to the range of photo-editing suites. Proficiency in composition enables more to be got out of the tools in both cases.


If you don’t know where you are going you will probably find yourself somewhere else is a much quoted aphorism in this blog. Visualisation is the first step in making a successful image, more often, than “Sheer dumb luck” (see the previous two blog posts) and imagination is the fuel for the engine of visualisation.


The broader concept which we are progressing here, at the beginning of 2018, is the development of ideas. There are two basic positions which we can take, previously termed by yours truly as the Get-It-Right-In-The-Camera-ista and Ye-Acolyte-Of-Photoshop. More of the former than the latter myself, both points of view have currency, depending on where we are in the pursuit of an image. The more options we give ourselves in the first instance (Get-It-Right-In-The-Camera-ista) the more we are going to have to work with in the second (Ye-Acolyte-Of-Photoshop). Proficiency in both does not guaranty a good shot. If we cannot see the picture in the first place you are not going to get your best shot. If we don’t compose the elements in the frame it is unlikely to be very appealing.


Repetition is a very good teacher, but with the important caveat that we pay attention to what we are doing differently this time – madness lying in doing the same thing over and over again expecting a different result. And for that we need to know what we are working towards and being open to new opportunities as they present themselves. Setting ourselves a project is an excellent development tool.


Initially setting a photographic project needs a brake on the ambition. Make it small, give it a defined beginning and end and give yourself the time to complete it. A two, three or seven day project is a good start if this is all new to you. Take one subject and give ourselves a three to seven days to shoot as many variations of the theme as we can manage. Inside or out. Table top is a really good place to start, the important thing is that we think and think critically about the images we are taking and explore variations.


There are books that do some of the work for you by giving tasks, some easier than others, the idea being we go out and shoot the assignment given to us and print and mount the best one in the book. We can go more DIY and use photocorners or some other mount and a reasonable size note book, something we can write our ideas and reflections on. There are plenty of lists out there for projects we can work through. The thing is not how good is it, but how do I change this for another story? Practical measurements can be taken from the Exif data but the key is much more likely to be in re-ordering the elements in the frame or making the light fall a different way.


What quickly becomes evident is that having a clear end in mind is a good place to start. The journey is where the learning takes place. An essential, when doing this sort of thing over time, is to take notes. The artist’s sketchbook is a centuries old instrument that is a fantastic development tool. It’s for photographers too. The contact sheet,  not only a film phenomenon, also has great value but as an extension to a sketchbook rather than a substitute.


So why go to such lengths when we can go back through our photographs, especially those of places we have visited frequently? Well, I am not a very prolific photographer and the hard drive on my lap top contains 49,000 image files, all backed up on an external drive since you ask, with about 10% of those on Flickr in albums. The Flickr account makes it quite easy to go through similarly themed images and I do, occasionally, revisit some of the images on there and re-edit as an experiment, especially the ones from when I was getting back into photography about 5 years ago. Even so I keep a notebook for the odd thought that occurs or note on a method and writing this blog helps put context around what we do each week at club. The lesson from that is volume needs structure if it’s going to be useful. Too much choice is as grievous as too little.


Then there is the reworking of the angles as we looked at when talking about Moving and Zooming in mid-January. Point of view is very important. A picture of a cat or a dog at their level (i.e. ground level)  is very different than one taken looking down which reduces the power of the subject in the frame (the opposite is true of looking up, which is why so many Chief Executive pictures are taken from a lower angle and tell us a lot about the person being photographed). Reworking the angles of the light falling on the subject is a key way to affect the mood of a picture.


Basically if we want to improve there are plenty things put there that we can do for ourselves, or we can share with others. Feedback is the breakfast of champions, according to Ken Blanchard, a management consultant rather than a photographer, but nonetheless we have first to create something to reflect and feedback on.


See above.



25th January 2018 – David Bailey

Chair’s night and who should we have as Guest speaker? None other than David Bailey, Yeah, you read me right. David Bailey. The David Bailey, you know, the one that used to work at Asda? One of those 164 David Bailey’s who were used by Samsung to promote the NX1000 back in 2012? Being David Bailey and a photographer has been of the occasional advantage, as David outlined, though any namesake can expect to spend a certain part of their waking day in disambiguation. Especially if, at least part of your day, involves doing the same thing.

David’s theme was on the role of serendipity, the happy accident, which we have looked at as a result of the planned and the purposeful pursuit of the photograph.  To be sure there were some very specific happen-stances along the way. Like the NX1000 campaign, where he got to meet the most famous of the David Bailey’s and the over the shoulder query on a London bound train, among others.  In between there were long periods of learning. Each and every frame is a learning opportunity, if you have the mindset to turn it into one. Each and every frame is a unique fragment of time and geometry. Whether it is the one we were looking for …..

Bailey, as the 60’s trend for one named photographers labelled him, was, and is, by David’s account, a prodigious producer of frames, sometimes only he can see the difference in. There is a difference to be made here between the practised artist looking for what s/he knows is there and the amateur blindly firing off frames in the hope of hitting on something worth keeping.  The camera becomes the instrument of discernment when it is in the hands of someone who can use it as a tool to pursue a clear idea relentlessly. The effect of a planned serendipity, the happy accident that comes from being the right person in the right place at the right time, often lies in the fact that the photographer kept on photographing those small differences until the story gelled with the one they had in mind. In this way photography is as much a process of revealing as constructing.

We have previously referred to four kinds of happy accident:

Firstly: that which is just, or seems to be, random “Sheer dumb luck”.

Secondly: chance from purposely acting towards a defined end running out of “Unluck”, you know the sort of thing, entering photos into competitions, getting feedback, putting that into action, where keeping doing things in search of something particular stirs up the creative pot.

Thirdly: chance favouring the prepared mind (“Sagacity“), that is thinking like and acting purposefully as a photographer as opposed to a person with a camera bumping into photo ops.

Fourthly: the sort that comes from being us, our actions, likes and dislikes, or as the great Victorian politician Benjamin Disraeli put it ” We make our fortunes and we call them fate”. (James Austin: Chase Chance and Creativity).

In Austin’s words David was talking about “Chance interacting with creativity”, here through four evolutionary stages from spray and pray to an ingrained, experience and evidence based work flow. This is not exclusively about style. Style will evolve with practice and a critical eye and determine the way that the forces in the happy accident come together.  It will also alter subtly over time. It is about persistence an open mind and the habit of looking, really looking, persistence and anticipation. And persistence. It has long been the case that as a brand you hire Bailey because he is Bailey. You get the Bailey style, the Bailey view. More likely you don’t as he doesn’t do commissions these days, but the point is this has taken decades to evolve and it didn’t happen by itself. And it is still happening.

In the second half David moved to wedding photography as an example of a shoot closer to what the rest of us have a concept of, either as the photographer or the subject, major and/or minor, in illustrating chance interacting with creativity.

There is a long list of “Must have” shots in the expectations of clients. These have grown over the years, farmed by fashion magazines, celebrity weddings, the “Wedding industry” as the costs, technicalities and expectations of the exceptional have grown.  It is a journey through a very special day and it has a number of moments in it, actually built in it. Yes these will  become the prompts for reminiscences, as will the things that went right and wrong, to other events that came before and after.  As time passes photographs move from being a record to being a prompt for triggering those memories.

So stiffed backed and formal are the traditional wedding shots that some of them look like they came off a production line and this in part, I suggest, became a driver for what, in some instances, have become full blown, multi-day, intercontinental celebrations. Yet, even if the day runs on the rails that the timetable of essential images suggests, there will be moments of interaction that make each part unique. Those angles, those interactions as things come together or go their separate ways, children/animals going off script, laughter, the unexpected glint of light from the bride’s father’s shotgun.

Now, note, we can get those through any of the four stages above described. The more developed we are, however, in terms of spotting, forming, framing and taking the opportunities presented, the more of them there will be and the more these things will contribute to our style. In short it is our journey from looking to seeing.ai