Neil Danton

A bit of Friday fun – this image is several years old now, but I was driving down the same stretch of road yesterday and was reminded of this road-sign.

It’s genuine, no image manipulation whatsoever. I was assigned to shoot it by a newspaper that had received a report about it. It took me a few moments to figure out what the interest in it was.

It had me laughing all the way back home to think of someone going to all the secretive effort it must have taken, just to amuse themselves and others.

If you still can’t see-for-looking, check the available recreational facilities carefully…

TTFN

…Don’t They?

Apologies if you’ve just used a search-engine and are looking for the 1969 Sydney Pollack directed film about a dance marathon, but this is nothing to do with it.

This is about me shooting horses, actually more about shooting a horse-trainer, and only shooting with a camera.

I was assigned last week by one of the “Sundays” to head out into the countryside early on a very cold morning to shoot a feature on former jockey, now trainer, Jim Culloty. Jim won many races as a jockey, including the Cheltenham Gold Cup three times in succession aboard Best Mate.

I met up with the journalist and we arrived together, so while the interview was taking place, I was off scouting locations and setting up lights.

By the time the interview was finished, I had my shot-list sorted out in my head, and lights set-up in two locations.

First up was a shot in the Yard, one-light with a mini softbox:

Then there was an archway that led from the Yard to the Gallops and I wanted something there. This was going to be quite difficult to balance the daylight coming into the arch from the Yard, with the darkness underneath the arch itself. I had set-up two lights on stands behind the conveniently located doors that hid them, both firing out towards the entrance at about 45deg. As best I could guess I had the power about right, at least that’s what the images of the back of my hand were telling me!

I had my subject lead a horse through the archway, and believe it or believe it not, I’d nailed the flash-power with the 1st image:

I made another couple in different locations, here’s one:

The one that was used was actually taken in one of the stables, no lights, just subject interacting with one of the horses. Out of about 6 frames I chose this one to transmit and it was used pretty-near full page width:

That was it. 15 minutes to set-up lights, 20 minutes shooting, 5 minutes to pack-up lights and 30 minutes & 20 miles down the road before I could feel my fingertips again.

TTFN

…including completely flooding the basement of the prestigious Lewis Glucksman Gallery in University College Cork. Kind-of created a bit of a problem, as that’s where artworks are stored when an exhibition finishes, before being returned to their source.

It rains a lot in Cork of course, but this was ever so slightly over-the-top rain. It was like India in monsoon season this past winter, and so when an already just-about-breaking-it’s-banks river had a gazillion tons of water released into it from the dam up-river, the city ended up like Venice on a bad day (and I know Venice on a bad day, I lived near it for some time).

A couple of months later and I was assigned by one of the “Sundays” to create some images for one of their magazine supplements. This was to be a “How is it now?” type feature after most of the art that was damaged has undergone a conservation process. Not much to be done on images showing the actual conservation, but some of the work was back on display, and that would do me. Of course I’d need to add a yooman-been into the images as well, as that’s what I mostly do, make images with yoomans in them (well apart from wedding images of course, I’d rather eat a bucket of s…..).

So, luckily for me the Director of the gallery was available to be photographed. Pause for a moment now, while you imagine some kind of mad-professor type (like astronomer Patrick Moore) wearing a tweed jacket with elbow patches.

Fortunately, SHE is nothing like that. There is one problem with her though (it’s OK F, don’t panic), she wears glasses (eyeglasses for U.S. readers). Very nice they look too, BUT, glasses as with anything reflective, can create a problem when using flash lighting. I want to see my subjects eyes, not a big flare from the glass, so particular care is needed when making images with a subject wearing glasses.

So here’s a little look at how I lit this assignment. For once I kept quite a few of the setting-up and testing shots to give me enough ammunition for this post.

So here’s one of the images (the one that was used in the magazine btw):

Looks simple enough right?

Except, this was the starting point at the aperture & shutter speed I wanted to work at:

I started off with half an idea that I was going to try and get away with the one-light approach, but in reducing the flare on the painting, I was starting to get too much of a side-lit portrait. That’s not too bad if the subject is a man and you want dramatic lighting, but for a lady? I don’t think so. There was too much “fall-off” to the right side of the painting as well:

I really needed to get some separation as well. No, not as in “Six Degrees of Separation”, I just needed one degree, subject – separation – painting. The separation is basically just getting some light behind the subject in order to “lift” them away from the backdrop, so they don’t merge into too much of a “flat” image.

So, I was going to keep the one-light (Ezybox softbox) as the key from left, but add a second light as the fill from the right. Hmm, small problem, there’s a wall in the way.

Time I think for the famous napkin lighting-diagram, except I can’t find a white paper napkin, so it’ll have to be kitchen roll:

As is customary with extremely accurate and highly complex Technical Plans & Drawings, I offer the following warnings:
Not to scale.
Double-check all measurements.
If in doubt ask.

That gave me just about what I wanted:

And the final image again:

The umbrella just put some nice soft light between subject and painting. If you want to see it larger it’s on my website in the Editorial section. Can’t put a permalink to the specific image as I move things around in the portfolio, but it won’t be far from the start. I think the image really “pops”.

I then went for something slightly different, and put subject and a part-restored piece on the floor, softbox on subject, and umbrella into ceiling bouncing back for art-piece. Shame it still needed to be covered as part of the conservation, but we rotated it until there was enough clarity to see what it was:

In between those two images, I made another one, but I saved it until last, as it’s my favourite.

There was a wall where there was some descriptive text regarding the conservation. This was the ambient light that I had to work with:

Similar lighting problem to image-one there though. Too much direct flash and the writing would disappear. Not enough and it would be too dark to see that any writing was there at all. Solution was similar to the first image, except softbox and umbrella reversed like this:

And the resultant image:

So there it is.

The Glucksman Gallery is a fabulous place to visit if you happen to have some time when in Cork. Wonderful location, fabulous (award winning) building, great exhibitions and ADMISSION IS FREE!! (make a donation though, it’ll cost you less than a couple of cappuccini). Open every day except Mondays. No-one gets in on Mondays, unless you happen to be a photographer on assignment .

TTFN

…no not that type of playing the field. Get your mind out of the gutter.

This is more like playing ON the field. I was assigned the other day / week / can’t remember exactly, to get a few portraits of one of the Cork Gaelic footballers, or is it Cork Hurlers?

Actually it’s both, as he’s going to be playing both codes this season. That used to be not uncommon, but with the increase in training and match schedules, in the last few years nearly everyone has opted to declare for one or the other. Even the legend that is Seán Óg decided that Hurling would be it, rather than continue with both.

Bear in mind, for those not of the Irish persuasion, that Gaelic Games is an amateur sport. These guys aren’t professional athletes. They have to work full-time, in addition to all the training for their chosen sport.

So the time for the assignment was set, and the journo was due to interview him at around the same time, which (at this time of year) was fast approaching dusk. As usual, journo had a ready-made excuse as to why he needed to go first (sorry Michael, couldn’t resist ), so it meant I’d be shooting in near darkness outside by the time he’d finished the interrogation.

The location was a hotel, which, in common with most modern hotels, is a bit restrictive in terms of backgrounds. Still, no worries, it was going to be pitch fricking dark anyway for the outside shots. At least said hotel has a little bit of a garden that I could probably make use of.

Did a couple of shots inside, a half-length:

and then a close-up:

There were also a couple outside:

and the stand-out image for me:

All images were the old favourite – one-light. The half-length was using a 24mm lens, the close-up a 135mm and the 2 outside using what is increasingly becoming my favourite lens – a 50mm. All those years of going round and round in circles with different lenses, going from wide-angle to wider-angle, and I’m now back where I was donkeys years ago, shooting a full-frame camera with a 50mm lens. Technology, PAH.

So which one was published? None of those above. No, as usual they published the only one I didn’t really like which I haven’t shown. Typical.

Lady readers please stop drooling before you go to work.

TTFN

…Mummy depending on which version of English you speak.

This assignment was nearly 2 weeks ago, but I had to wait until post-publication before I blogged about it. Didn’t have to I suppose, but it’s the normal etiquette (and sometimes a contractual requirement).

This is the tale of Mortified-Mommy, Snot Queen, Small One (The Artist formerly known as Princess of Puke) and Soon-To-Be. Not my terminology, but that of my subject that I was assigned to shoot, for one of the “Sundays”.

Actually Mortified-Mommy is my phrase, but was inspired by her own comments after the shoot. How do I know? She blogged about The Photo Shoot and I even got a mention! I think it’s the first time I’ve ever been mentioned in print. Well, if you discount the writs, the lawsuits and the banning orders….

My subject(s) of the day were a stay-at-home mother/blogger/author and family. Family in this case are 2 gorgeous little girls and a soon-to-be husband (poor soul, 3 women in one house, he’ll be driven demented in a few years time). The story was related to post-budget financial implications on families.

I arranged the shoot for early evening and was under instruction to get a couple of pics of mummy with girls, and a couple of both parents with girls, and a specific requirement for a “letter-box”. (See, occasionally I do listen to what a picture editor says. Not often I’ll admit, but just occasionally..).

A “letter-box” is a very wide but not very high image. It usually means it’s going be used in a page banner.

Snot Queen was just adorable and I fell for Small One immediately. How could I not? The instant I met her she smiled at me. I have that effect on females. Oh OK OK so the grown-up ones normally laugh at me, still….

So here we go with the images that we started before soon-to-be husband arrived:

I think most of the images were shot with 2 white shoot-through umbrellas. That option gave me plenty of light at various distances from the camera, as they tend to spray light everywhere. Mommy might have sat still if I’d asked, but I couldn’t guarantee the little ones working under instruction from me! I didn’t want anything too staged or formal, this was not an family portrait session in a studio, so I needed some lighting flexibility to allow a little freedom of movement.

“Soon-to-be” then arrived home, and was commissioned into action immediately (he hardly had a chance to get his coat off):

And then the “letter-box” image:

That doesn’t look much like a letter-box, because I only cropped it a little bit from the bottom, but by arranging the family in that way allows (if needed) the image to be cropped like this, to fit into a banner:

Now that is what I mean by a “letter-box” image.

In the end the “letter-box” wasn’t used. The top image posted above was slightly cropped up from the bottom and was used 6-column (full-page width), above the fold as a supplement Splash (page 1). Niiiice. It’s gives you a warm fuzzy feeling when your images are used nice and large, as opposed to the times when you bust your arse to get an image, and it’s used the size of a postage stamp!

So finally, for Mortified-Mommy:

Could you send me a biscuit? I didn’t have one while I was there as I don’t normally eat them, how do you think I keep my Adonis-like figure? (That’s Adonis if he’d lived to be 95).

After all the effort you went to though, I feel guilty now.

TTFN

…again. Isn’t it funny (funny strange, not funny ha ha) how things go in cycles?

Having just recently shot a portrait of a boxer, I had an assignment to shoot a weigh-in for a boxing contest about 3 days later. No sight nor sound of boxers or boxing for about 4 years, and then 2 in a week.

This was the weigh-in for the vacant All-Ireland Middleweight Title between Gary (Spike) O’Sullivan from Cork and Ciaran Healy from Belfast that was due to take place the next day. Actually, if you know anything about boxing, that’s a fairly obvious statement. If memory serves me correctly, under boxing regulations the weigh-in HAS to take place between 36 & 24 hours before the bout.

So, shot the usual. The standing on the scales shots, and the standing with the fist-up shot (Spike left, Ciaran right):

Then, in the time honoured tradition of boringly repeating the same shot that’s been done a million times before boxing press conferences, shot the head-to-head where they both look very tough and stare at each other, except that for once this one was a bit different, because they both got a fit of the giggles:

I then wanted to get a quick portrait of Spike. Although I was on assignment for a national newspaper, national in newspaper terms doesn’t extend to Belfast, so given that I would probably only have time to get a shot of one of them, it was going to be Spike.

Having asked him if it would be OK to get a quick shot and almost getting it before getting “bumped” by the actual weigh-in, I’d had to wait until afterwards. I literally had about 10 seconds to get the shot, as Spike was already under strict instructions from his manager to get dressed again to keep warm. His manager and trainer is Paschal Collins, a former boxer himself (and brother to the legendary former world champion Steve Collins) and I certainly didn’t want to get on the wrong side of him!

I had a hand-held strobe with a grid ready, just guessed at the power, shot 3 frames, and due to my fantastic ability more by luck than judgement nailed a pretty good image:

You might think that someone who goes into a ring and pummels another person as hard as they possibly can, would be nasty and aggressive outside of it too. Not the case. He came across to me as helpful, mannerly and unassuming. Don’t think I’m going to volunteer to be his sparring partner anytime soon though.

Seeing as how this post won’t be going out for about a week or so, I can tell you that Spike won the fight on a points decision, and I was assigned to the bout as well.

I might save a couple of images of the fight-night for another post, or I guess I could do it now. What do you think? Pardon? What was that at the back? You want me to do it now?? OK then.

The lighting in the stadium was the worst, shittiest lighting I’ve come across in quite a while. From my ring-side position, the contestants were completely top-light, so most of the time it was a case of shooting up into the shadows. I set up two 1D MkII N’s, one with a 28-70mm f2.8 and hot-shoe mounted flash, and the other with a 50mm f1.2. I spent quite a while testing out both while the under-card bouts were being fought, and really couldn’t make my mind up which worked the best. Actually that should be which worked least worse. Met up with friend and fellow pro Cillian just before the main bout started, and he was having the same issue, so it wasn’t just me then!

In the end I went with the f1.2 lens, shooting at f1.4, which only gives a depth of field of a thin piece of paper, but I preferred it to the other combo, where the distance between the ring ropes is perfectly sized so that when you shoot through the ropes, the flash head is right in line with the top rope of the gap you are shooting through.

The 28-70mm and flash combo came in handy straight after the end though, for the decision announcement:

I left that image as shot and didn’t crop in, as for me the image is made by the MC on the left. He was one of the “Layyyydeeees annnn Gennulmen” traditional MC’s and just added a nice touch to the image.

I think there must be a training school somewhere that you go to in order to become a boxing MC. It teaches you how to extend a single vowel or consonant to about 10 seconds.

TTFN

…appreciate the things you take for granted, when suddenly you have to do without one of them.

Few people even think about the “normal” things that are always “just there” like electricity, running-water, cable or satellite TV and nowadays of course internet access. I recently had to struggle along for a week without broadband, as the average life expectancy for a Netopia modem that Eircom supply seems to be about six months (I’m now on my third).

The latest “doing without” is running water, as a result of the pumping station that supplies half of Cork City being under several metres of water. Why it was located in a place that to my certain knowledge floods on average once a year I don’t know. OK, so it’s never flooded that much before, but in a country where it rains so much, it comes as a surprise to me that it comes as a surprise to others that sometimes … it rains a lot.

The waffling excuses valid explanations being uttered so far, such as “unprecedented” and “once in a lifetime occurrence” aren’t bringing much comfort to the 100,000 people that are struggling along at the moment. Of course there are lots of politicians, public authorities and utilities helping to put things right by scoring points off each other in the media as to whose fault it all is, but right now they’d be appreciated a lot more if they offered someone the use of their showers.

The fact that the government has now got involved and set-up a “task-force” fills me with lots of confidence of course, and so I now expect things should be resolved by 2025 (and I don’t mean almost half-past eight).

So anyway, last week I needed to get an image of a chef with an “alternative Christmas lunch” and the dish was salmon, which I thought was appropriate. Salmon – fish – water – get it? Oh c’mon, I know it’s a pretty tenuous link but I’m doing my best under difficult circumstances. I’ve had to reduce my coffee intake by 50% due to lack of water.

This was going to be a real quick image. Chefs are always busy, so I only had a few minutes with Paul, the head-chef at Actons Hotel in Kinsale. Easiest thing was to kill-off the ambient light and distracting background by under-exposing the scene by around 4EV, and lighting him solely with lighting I have control over.

I always keep one flash in my bag that is set to slave mode and manual power which works nicely with an ST-E2 transmitter. It’s a struggle sometimes if used outdoors, as the infra-red transmitter doesn’t always fire the flash, but indoors I’ve never had a problem. Used a mini-softbox on the flash, 3 test shots to get the exposure correct, half a dozen shots of different angles and poses and job done:

I then took a different dish with a different subject (thanks Tania), and then one of the two of them together and all done. 15 minutes, start to finish.

If only the engineers could get the water supply back on that quickly.

TTFN

…tough in the Editorial world, and publications are trying to keep an eye on expenses, but reducing travel fees by assigning me to shoot an editorial portrait of someone that lives in the SAME STREET as me is surely as far as it can go!

So anyway, that was the 2nd portrait I was assigned to shoot that day, and maybe a story for another time, but first up I had an assignment for one of the “Sundays”.

My subject was a doctor, and we were to meet at the University. The story related to medicines, or pills, or drugs or something (must pay more attention to what picture editors say) and we had a handily located display cabinet of old medicine paraphernalia nearby, so went with that as a prop for one image.

There was also a plain white wall, well it was the underside of a staircase actually, and I felt I wanted to get an image of some kind there as well. Problem was, when I say plain white, I mean it was very plain, and very boring, but something was drawing me there to make an image.

So I went to the local hardware store and bought some paint, and painted some shapes onto the white wall for effect:

OK then, I didn’t paint the wall at all in truth. Put a strobe on the floor and fired through the handily located foliage to create the shadow pattern.

TTFN

…than me!

No, not the subject that I was photographing (although he was – just), but the 1951 tractor that we used as a prop.

I was assigned to photograph this gentleman, as part of the build-up to the National Ploughing Championships. He’s a former judge at the Championships, and I was to meet him at the family Agricultural Plant business.

I was a little early for the appointment, but within a few minutes this little old tractor came pootling in the gate, and there in an instant was my first prop for a picture:

Once I had the image of him with old equipment, I needed one with modern equipment, and very conveniently (seeing as that is what they sell) I had a choice of nice shiny new farming stuff to choose from, and I chose to place him in the middle of a double-overhead fuel-injected whizzbang. OK, so now you know I’m a townie and haven’t got a clue about farm machinery, but it was bright and colourful and I’m just a simple photographer, so that keeps me happy.

Had to use a lot of flash-power to overcome the very-low, very-strong sunlight, but at least the sun came with a nice blue sky that day.

TTFN

…as opposed to wind in the willows.

So I’m having a nice day off, when I get a panic call mid-morning from a Sunday newspaper, because someone (no naming, no shaming) forgot to book a commission, for 2pm, 120km away.

Leapt into the nearest phone-box, did a quick twirl and re-emerged with my cape on, and underpants outside my trousers, and launched myself westwards.

I believe I may have caused a bit of a scare to the Ryanair flight that was leaving Cork Airport at the moment I flew past, but hey, they frighten the crap out of me when I fly with them, so fair’s fair.

Said commission was to photograph someone who is installing one of those whirlygigywhatsits. I think the correct term is wind turbine or generator, or something. Anyway it whirls around in the air when the wind is blowing, and generates a bit of power. Rewind. It whirls around when the wind is blowing, which you think would be a safe bet in Ireland 360 days a year, except on the day I need the wind to blow and whirl the thingy around.

OK, so no wind, and the top of the thing is at least 10m or 3 storeys in the air. So how to get picture of small man (well not that small, but 2m and not 10m) in the same frame as a 10m tall mast.

As always, I like to go for the simple solution. So in this case, we simply dug a huge hole in the ground, and moved the mast, and the bungalow that happened to be next to it, into the hole.

Et voila:

Of course, you can also make an image from the bottom of the mast looking up, with the whirly thingy whirling around really fast in a blur. Or, big thanks to the lack of wind, in this case, not:

Also, if you really plan it well, in trying to bend over far enough, to get low enough, you can release your reading glasses from the protection of the shirt pocket they were in, and aim them straight for the cow-pat on the ground next to you.

I bet if I tried to be that accurate again, 99% of the time I’d miss. This time though – bulls-eye.

I think finances will stretch to a new pair.

TTFN