Thanks for visiting, but…

This is a quick note to update everybody on how/why the blog is evolving…

Over the 2-3 years I’ve been scribbling (poorly) about this and that, thousands of hits have been recorded and kind feedback received. However, such is the schedule these days it’s hard to get the time to sit down and write something which people might actually want to read. I really don’t want to resort to every post being simply a string of pictures from a job as this is a lazy way to inform – you can see lots of shots on the main site.

So, from today, the info, bulletins and various whatevers will be displayed in the ‘news’ section of markbothwell.com in a micro-blog sort of way. It’s easier for me to do, will be updated more frequently and is more convenient to locate given it’s link directly from the front page.

Thanks for everybody who’s come and said hello… see you on the other side!

M

Keeping it simple

For me, simple is good when shooting people, the only thing that’s important in a portrait is the subject. I look at shots in certain newspapers and books and while they’re very clever and amazingly intricate in their lighting, it all seems a little too much somehow. A brilliant example of this is Vanity Fair magazine. On one hand you’ve got heavily styled, iconic shots of film stars and personalities, and on the other you’ve got quiet, delicately lit portraits of lesser known people which are gorgeous in their simplicity. Another great place to see people pictures at their best (in my opinion) is any GAP store. Look around at the walls at those effortless shots of men and women just gazing into the lens in a relaxed, less-is-more way… just what portraits should be.

A recent feature on my portraiture style in 'The Player' magazine

Whenever I’m asked to shoot people I try and keep it straightforward and light-hearted. Put your subject at ease and you’ll get more from the shoot because this is as important as any lighting trick or skill. Like a lot of photographers I tend to favour a large softbox as my main source of light. With this key light positioned high right or left I also sometimes add a reflector on the opposing side of the subject. With this simple combo you’re assured of a soft, kind light for the portrait. Try and position the softbox as close as possible to the subject (closer means softer with diffused light) but not so close they look/feel uncomfortable or intimidated. A second light is useful (but not always essential) as positioned correctly this can perk up a background, highlight hair and generally add depth to the image.

Continuing that basic feel, albeit now in a commercial sense, I’ve included a couple of examples of how I feel this non-fussy approach really works. The portrait below is Le Mans winner and BTCC star Darren Turner. I’ve worked with Darren for years on numerous things for SEAT UK and he’s always relaxed and easy to photograph. This shot is a good example of why things need to be simple. The point of the picture is that together with others in the set it is released to the media as an official portrait displaying team sponsors and the latest driver racesuits.

They are published time and time again over several months so need to be clear and precise. The lighting set-up was very similar to the description above in that the source of light was a softbox positioned high camera right. The only difference here is that there’s another light behind Darren, positioned about thigh height, shooting a very soft throw upwards. This slightly illuminates the dark grey paper background and lends a little depth, bringing the person forward in a subtle way. One other good tip to nice people pics is try not to make somebody do something they’re not happy with. Whether it’s a particular body position or angle of the head, it’s really important the subject is happy with what you’re doing, otherwise you’re basically battling with your main asset. I never ask people to smile if they don’t want to, I’d rather have a relaxed look coming straight into the lens, it’s much more pleasing and doesn’t distort the face.

Finally I’ve included something from a batch of shots of leading thriller writer David Hewson. I had travelled down to his lovely home in Kent to shoot a selection of material for his own PR. The portraits were for book jackets, on-line use and publicity inclusion by his publisher Pan Macmillan. David’s a charming and serious guy and the kind of chap who wants stuff done asap so he can get on with his day. So, this being clear, I rigged up two lights in his study for a series of relaxed shots. With those done we moved to doing a final few portraits using simple window light in his lounge (example). These proved the nicest from the morning’s work and I’ve seen them published in newspapers and reviews in many places since. He simply sat down in a chair, leaned forward, and I asked him to look into the ambient light – the result is a relaxed shot of a man lost in thought. The unlit side of the picture fades nicely into shadow and is very effective for something that took only a couple of minutes to complete.

Gita & Jon

After editing and presenting a selection from a wedding I find it’s really interesting sometimes to look back on your first meeting with a couple. Then to consider you have the final results in front of you after their months of planning it’s simply the best reward to hear that they are pleased with the work.

I recall the first chat with Gita & Jon vividly. It was summer 2009 in a pub near Liverpool St station and we immediately hit the ground running with ideas and thoughts on how they wanted the photography to be. I was struck then by just how much they wanted their family and friends to get the most from the day. There was a welcome drinks period upon arrival at Layer Marney Tower, then the service at the lovely church in the grounds, followed by the traditional drinks reception prior to the wedding breakfast. Movement from one element of the day to the next was carefully thought out so guests saw all that the venue had to offer, with all that thought rightly rewarded with a bright, comfortable September day.

Here are a few which I feel capture the occasion as I saw it… and I would suggest Gita takes the 2010 award for most photographable shoes… !

Becky & James

This is a wedding I’ve been waiting to blog for a little while. A lovely, relaxed occasion back in late August with (now Paris based) Becky & James, whose main priority was that their family and friends had a terrific day to remember. It is safe to say it was a people day, the logistics weren’t overdone in any area and my feeling was that everybody was totally at ease – just how it should be.

It was one of those days when you get the best of both worlds weather-wise with the rich colour of late summer starting to slide into early autumn, bringing with it that golden feel to the light in the evening. Many would say the day was very British in its make-up with a spectacular private residence near Cranbrook, Kent for the reception and classic church atmosphere for the service.

The commission was also notable for the blanket ban on photography during the ceremony. This is relatively rare these days, but the Vicar was perfectly straightforward in his wishes. Apart from that small blip in the selection (slightly softened by me pinching the odd shot – sorry, Father) is was all well and good.

Both Becky and James had been very keen to collaborate on photographic ideas for their day, and while they had specific plans they kindly gave me the latitude to work away doing my own thing. It’s a shoot I’ll long remember for its depth, the happy atmosphere and that amazing staircase lined with guests during the speeches. Here are a few of the frames which I feel capture the spirit…

A (very) white wedding…

Dec 18th, 2010 – when the weather suddenly resembled a scene from the movie ‘The Day After Tomorrow’. Although the whole country seemed to be enveloped in the white stuff it was the speed and depth of the snowfall which surprised southern England. It became a real fight to get from A to B and then to C during coverage of this commission in central London. And not just for me.

Some fun, informal bridal prep shots were scheduled in Islington for late morning, then back onto the tube with all the kit to head down to the wonderfully atmospheric Somerset House, scene of the ceremony and reception. Earlier on I’d stood for ages at Angel tube station willing the snow to stop (it didn’t), then braved the elements walking down to Islington Green for a coffee, hoping maybe then the snow would ease (it still didn’t). Not to worry, get stuck in – ice is temporary, photography lasts forever! My clients on the day were Renee and Mark, a terrific couple from the USA who are based in town for work reasons. Right from our initial meeting we had a laugh, chatting and swapping ideas for the way their photography could come together. The wedding itself was a very small, personal occasion with just family and a few close friends, all of whom had flown in from America a few days before.

All was well as we approached mid-pm, and then for some reason (I’ll never understand) the cab firm cancelled the cars which would bring everybody to the Strand for the 4.30pm ceremony. Penny Merricks of Tigerlily Weddings had been brought in to organize the whole occasion and upon receipt of the news from the taxi firm lept into action, flagged down some black cabs and jolly well set off in convoy to collect the guests, groom, bride – everybody! Impressive work to say the very least and in true Tigerlily fashion the job was done in style, no matter what.

The rest flowed beautifully and I felt throughout it was a pure people day, with a few trimmings. I’ll always appreciate Renee and Mark’s trust in letting me do my thing and just stand back to shoot the day as it unfolded. Even the fact that come 11pm I was marooned in a very festive London for the night due to chronic travel disruption didn’t dampen the spirits. In the grand scheme of life it wasn’t an issue… it was Christmas!

Here are some of the shots I feel capture the day :