Neil Danton

..a huge softbox.

Of course, the courgettes and runner beans (oh, and cherry tomatoes) have absolutely nothing to do with the shoot, they were just a bonus that I received as a gift from my subject. The softbox wasn’t a softbox either, I just made that bit up. Read on..

I’ve posted Corporate & Commercial Photography posts recently, so it’s time for Editorial Photography again..

You never know what might come along next as an Editorial Photographer. As a nice change to shooting business features & portraits I had an assignment recently for a woman’s magazine in the UK.

My subject was a lady that was diagnosed with AMD (Age-Related Macular Degeneration) which is a disease associated with aging that gradually destroys sharp, central vision. Sounds like I know what I’m talking about right? Wrong, absolutely no idea until I looked it up on the interwebthingy. Anyway, this lady lived out in the country in a charming cottage with a rambling garden and part of her professional work involved proof-reading. If the AMD were to get worse, she would probably have to give up both and move into the city.

Well along came a vitamin supplement that seems to have halted or even reversed the change in eyesight, and it contains some kind of extract from Marigolds. Yes, the flowers. I have no idea how or why, but of course, the picture editor would ideally like some of said flowers in a few shots. So I, knowing as much about gardening as you could write on the sharp end of a matchstick, thought OK, no problem. There’s a florist just down the road from me, I’ll collect some on the way on the day of the shoot.

Wrong. “Sorry, we don’t sell them”. Bugger. OK, I know that there is a huge garden-centre on the way, I’ll stop there. “Sorry, they’re out of season”. Double-bugger.

Fortunately my subject had some in the garden that were just about still alive enough to use in a few shots. Not only that, but she owned a huge softbox. Slightly unusual thing to find in a garden, but don’t knock it ’til you’ve tried it. OK OK so it wasn’t a softbox at all, it was a soft plastic greenhouse, and rather than using it to light up my subject, photographer and subject actually got inside it. I think that’s a first for me. Nice soft reflected light bouncing around inside it though:

Of course the other half of the story involved the proof-reading, so that involved an indoor set-up:

This is where the runner beans part of the story comes in:

I liked this one too:

One of my favourites was this though:

As for the gifts: the runners went with a shepherd’s pie, the courgettes went with cajun chicken and the cherry tomatoes just… went in my mouth.

TTFN

Darina.

I did a launch shoot recently with top celebrity chef/TV personality/author/cookery teacher/business woman Ms D Allen who is easy to work with as she knows “the drill”. She’s a very busy lady and is nearly always under pressure to be somewhere else, right about now.

The shoot happened to be in the railway station and I was early as is my wont, so I was all set up and ready to rock and roll when she arrived. Co-incidentally, as we were in a railway station, there was a sound like the roar of an approaching train, and there she was, charging through the entrance at what seemed to be 90mph, small children being sucked into the vortex behind her, and small boats in the harbour nearby capsizing from the wake she left behind.

“Sorry I’m a bit late. I’m in a bit of a rush”. Situation normal then.

“No problem Darina. I’ve got a couple of ideas…”

Another 2 images later, and there she was – gone.

TTFN

Sometimes as a commercial photographer I’m asked to photograph something that’s so big, it’s not possible to get it all into one image.

In this instance it was an athletics facility with a newly constructed stand and ideally the images were to be shot when the facility was in use, rather than just showing an empty stand.

The only way to get the whole facility in one shot would be an aerial view (wouldn’t mind that one), or up in a pretty large crane (I’ll pass on that one thanks). Even with an aerial view though, because the area is so large, any signs of activity by people would look like little ants scurrying around.

All you can do then, is split up the whole area and cover as much as possible from different angles:

A second view from a different angle:

Not forgetting other areas:

Lastly, sometimes it’s not just documenting what’s actually there in bricks & mortar, it’s about conveying a sense of the place:

TTFN

It’s yet another in the “not another executive with folded-arms series”.

I was on my way back from a lovely magazine shoot recently, complete with home-grown garden goodies for my belly – more on that story after publication – when my fave “Sunday” called and asked me to shoot an executive for the business pages.

An image had been supplied, and this is where the post title comes into play, but it wasn’t suitable. There was nothing wrong with it per se. It was correctly exposed, in focus, and not an arms-folded shot! Everything you’d expect really as it was taken by a pro (a pro I actually know, and whose work I like), but it hadn’t been taken for editorial use. I’m assuming it was a “filer”, an image kept on file for when a image needs to be sent out quickly to a publication, or it could have been for a corporate website or brochure. Not quite right for editorial use in a quality broadsheet though. The background was too dark background, and was a studio or cloth backdrop and so was too plain.

Suits me quite nicely then, thank you very much, I’ll do something more in keeping with the publication’s style:

Generally if it’s at all possible, I like to shoot and supply a left, a right, and a vertical (maybe even a left and a right of those too), each with a different background. A left and a right refer to which side of the image the subject is on, or which side the are facing. Some publications always like to have images of people facing “towards the fold”. On occasion it’s possible for them to flip the image if it doesn’t face the right way, but care needs to be taken then if there is any text or branding in the image. I’ve seen images that have writing in the background that is reversed, like looking in a mirror. Not very professional looking and something that should be picked up by a sub-editor, but sometimes they slip through!

TTFN

One of the nicest shoots I get to do on a fairly regular basis is to document the new arrivals at Fota Wildlife Park. Here is the latest, a baby Lar Gibbon:

There’s usually two things you need for photographing animals, a big lens and patience.

I had to wait a while for mother & baby to emerge from their den, but had the close-up shot of baby fairly quickly. It then took quite some time to get a shot of mother & baby together. Due to the way baby is carried, I ended up with lots of shots where baby’s face was visible, or mother’s face was visible, but not both together that was clear enough that I was happy with the shot.

After a while though, when mother went to investigate some new leaves for breakfast, they moved into a good position and I had the shot I wanted. As soon as it happens, I just get a 6th sense that I’ve nailed it:

TTFN

Had an editorial shoot recently where I was asked to photograph a music student, at a piano. Nothing remarkable in the shoot, except it took me 3 lights to get the effect I wanted, and I’m not sure what I wanted was what the publication wanted, because the article didn’t run in the end! Oh well, my vision for portraits doesn’t always coincide with the poorly-lit cheesy-grin portraits that seem to be used in abundance.

We had access to the CIT Cork School of Music, where they have a large quantity of Steinway pianos (so many in fact, they have a Steinway engineer permanently on site to ensure they are tuned to perfection). A Steinway is a work of art in itself and I wanted to capture some of the beauty of it in the portrait.

Here is my first test shot with a one-light set-up. I was quite surprised at the result, mainly as I had forgotten that the previous day I was shooting in Monochrome mode!

In all honesty, if it was my publication I would probably have used that image. However, it’s not my publication, so…

Here’s the same thing when I switched back to colour:

It’s alright, but because of the position of the one-light and the obstruction of the piano lid, the light is too much from one side. I added a second fill light from the left (didn’t keep a copy of that test, DUH) and that was better, but the inside workings of the piano weren’t visible, so added a third with a snoot, just to light up the inside.

Here’s one of the resultant images, which I like because of the subject’s reflection on the piano lid:

and here’s a second that shows more of the lit piano interior, but less reflection:

Can’t make up my mind which I prefer. What’s your preference?

Either way, I got to listen to some fabulous piano solos while I was working

TTFN

Another in the “not a man with folded arms corporate announcement image” series (which isn’t really a series, but an occasional musing).

Could also be filed under the WTF am I going to do in this instance category, where nobody (including me) has any real ideas initially on how to portray someone when there is no physical “thing” for them to hold, stand next to / in front of etc.

My subject has been appointed to a 3rd-level (college) institution as an Entrepreneur in Residence. He’s more than qualified to do so with a very impressive CV (resumé) in founding some extremely successful companies.

Anyway, for my part, it’s once again trying to figure out how to create an image that isn’t man-with-folded-arms (please, no), or man-with-laptop (please please, no) or man-at-desk (please, shoot me now).

The location, which I’m very familiar with, didn’t used to have a real focal point that identifies it to a viewer (unlike the other 3rd-level institution in the city) but not too long ago a new area was constructed and it is a definite identifier, but unfortunately, it’s too big. There’s still no way of using the whole area as a backdrop, so I just chose to use part of it as the weather was good (OK, it wasn’t raining, that’s counts as good here).

No, I wasn’t laying on the ground to get the image, he’s on an elevated area, which brought into play a rather unique piece of equipment (this is the techie bit) a WTL.

As you may or may not have realised by now, shooting with on-camera flash is a no no for me 99% of the time. In this case I was using a Ranger Quadra rather than a Canon flash, which fits nicely onto a lightweight stand, but the stand was never going to be high enough to get above my subject. That’s where I sometimes have to use a WTL, which come in all shapes and sizes. A WTL is a Walking Talking Lightstand, sometimes referred to as a human being. “Would you mind lifting this thing up and pointing it towards that gentleman? A little higher. Perfect, thanks a mill.”

TTFN

So, 3rd in the series and this one features a business. What’s more, much to my delight it involves beer!

There’s music if you’re maybe at work and not really supposed to be reading this just at the moment, and it’s in monochrome. Yes, really it is. Don’t be fooled by the start, or.. er, the end. Worth waiting for the end though, makes me laugh every time, and I know what’s coming.

Permalink to the Day In The Life Of: Dungarvan Brewing Company on my website.

I’ve always enjoyed telling stories. Years ago Decades ago Eons ago, when I was at school, they were often called lies though. “Please Miss, I did my homework but the cat ate it”. Didn’t have a dog, but the creative lying didn’t extend to inventing one. There were also non-lie stories, essays and such like which I really enjoyed, but telling a story with a camera is a different kettle of fish all together.

As I said when I started the idea of Day In The Life Of back at the beginning of the year, sometimes there’s a story to tell that has to be summarised in a single image as best as possible because if it’s an editorial assignment, one image is probably all that will be used. If it’s a magazine spread it might develop to 6 – 10 images which allows more flexibility, but even that can’t always show the whole story.

With Day In The Life Of there is pretty much an unlimited amount of images I can create to tell a story. The two DITLOs I have posted so far are a story, but also a collection of single images. This one though (I hope) is a complete process, that walks the viewer through from raw material to a very interesting form of re-cycling!

The Dungarvan Brewing Company is Ireland’s latest micro-brewery located in lovely Dungarvan in Co Waterford, which I think is a fabulous place (I think Cork should annex it). They make a range of bottle-conditioned craft beers, primarily Black Rock Irish Stout, Copper Coast Red Ale and Helvick Gold Blonde Ale (all the bases covered there then), but they also make “specials” for different seasonal or festival times.

When I first approached Jen their Marketing Director about telling their story she was very helpful and everyone was a joy to be around on the shoot. Unlike an Editorial or Commercial shoot, there are no set-up or staged images in this story. Everything was shot as it happened (OK, I think that twice I actually said, “hold that a second” or something similar), but for the most part I just tried to not get in the way too much! Having spent so many previous years shooting sport, if I can’t catch a bit of action by now I ought to give up.

On the techie side: the only time I used some lighting was the modelling light from a Ranger Quadra, which isn’t very powerful, but just helped enough with the images in the fermentation room. For everything else, no big lights, no flash, so some images were shot at 1600 or even 3200 ISO, which shows as a bit of “noise” in a few frames. I can live with that for a documentary.

Many thanks to the Dungarvan Brew crew of Jen & Claire, Tom & Cormac for letting me tell their story.

I sense they are going to get bigger as word, and their product, gets around.

TTFN

Fortunately, we both managed to avoid a soaking, although I came pretty close to it.

A second look at the back-story to creating a fairly simple editorial image. Nothing remarkable in the image as such, pretty standard fare for an editorial feature in a sunday newspaper. Fairly shallow depth of field to focus on the “widget” (yep did the reverse image as well, with the subject in focus and the “widget” out of focus).

It’s the setting-up that I’m detailing…

The subject is an engineer and the “widget” is part of a system that assists visually impaired people with swimming. Anyway, the sunday newspaper in question really wanted a image taken in a swimming pool environment and a local leisure centre were happy to oblige us – but we could only have access before they opened for the day (no cameras or phones allowed in swimming pool areas nowadays).

OK fine then. “What time are you open to the public?”

“7am”

“and what time do the staff open-up?”

“06:30/06:40″

Now that in itself wouldn’t be a problem, nice early start, get shoot done, off for breakfast.

One small fly in the ointment – having experienced shooting swimming competitions, I know that generally it takes AT LEAST an hour, sometimes longer, for all the metal, glass and electronics in a camera to adjust to the very high humidity in an indoor pool area.

So three conditions then. Opening time (fixed), kicking us out time (fixed), camera equipment fogging up (hmmm, maybe a variable there).

I had to make a choice on equipment at 6am and stick to that choice. The gear was put into the passenger foot-well of the vehicle and I drove to the pool with the vehicle heater on full blast. Happened to be in a period of fairly warm & humid weather which rarely happens here. Brilliant, I’m wearing shorts & a t-shirt and the heater thinks it’s mid-winter.

Arrived at the pool, almost fell out of the vehicle which, even with the windows open, was like being in a greenhouse by then, left the heater on until the moment we gained access at 06:40, and then carried the gear inside wrapped in a fleece!

The pool area was fairly hot, but the actual pool is covered with a canvas overnight so the humidity wasn’t over-bearing. By the time the canvas had been reeled in we were set to go, 5 or 6 images and we were done, just as I could feel the humidity starting to rise from the water.

No fogging on camera or lens, and exited the leisure centre at 06:59

Above is my preferred image, but the paper used this one:

Think that’s the earliest I’ve done a shoot, done post-processing, transmitted to picture desk, had breakfast, and all by 8am!

TTFN

A couple of editorial portraits coming up on the blog this week, just to show a little of the back-story behind a seemingly simple portrait.

Some of the requests you get have your brain going around in circles. This portrait for a sunday newspaper was of a lady writing a thesis on mental health and the differences in how it relates to men & women.

Them: “We need something that depicts that ideally”

Me: “Oh OK (WTF?). Sure (WTF?). I’ll see what I can figure out (what the, what the, WTF?)”

Simple then. An image of something that’s not solid, or tangible or quantifiable.

I arranged with my subject that the best time for me to do the shoot was during the coffee-break at the conference she was at.

I had an hour to get there, set-up and dream up an image.

I took a couple of straight portraits as back-up (the safety shots) and then commissioned a couple of conference delegates for the background of just about the only thing I could dream up:

Not too sure what else I could have done! What do you think?

TTFN