Where did the summer go?

I guess it sums up our summer to say that it never rains but it pours, which as it turns out is a pretty good overview of work during the last couple of months. Something like 14 weddings, numerous commercial jobs and a ton of book design has made the last few weeks zip by. So rather than concentrating on one topic in this post, I thought I’d cherry pick some notable moments…

Pass the parcel… If you’ve organised a wedding you’ll know it’s all about making the day personal, but still fun for all attending. Doesn’t really matter if it’s table names, dress code or location, people always attempt to make their day just a little different from those they’ve attended themselves. So imagine my surprise when I sat down with Eleanor and Richard to chat about the make-up of their day at Cowley Manor, only for them to describe how the wedding breakfast would conclude with a swift game of ‘pass the parcel’? In truth, the plan was genius. Their day was a very personal, compact occasion with under 20 friends and family attending, and so after the speeches the idea was to get cracking with the parcel passing. A gift of relevance had been bought for each guest and had then been packaged up within it’s own layer of wrapping. But the tricky thing now was to stop the music when the right person held the parcel, else the wrong present would be revealed. After a couple of hiccups with the iPod pause button it all progressed well and I remember driving away thinking it set the perfect tone for the rest of their evening : fun, informal and memorable.

Catching the sky… If you ask anybody who’s hired me you’ll (hopefully) be told that I’m easy to work with. I don’t like to try and force things to happen regardless of it being in a studio or on-location. I’m a firm believer that people are at their best when they are relaxed and so I try and make however long I spend with them fun and a bit of a laugh. Don’t get me wrong, between us we need to obtain results, but life’s too serious to not have a giggle. A great example of letting a picture just happen was during the final minutes of daylight at Helen and Gregg’s wedding at Gosfield Hall in Essex. Things had drifted a little out of order during a rain-affected day, and so the traditional confetti throwing took place in near darkness. While shooting this the sky was changing rapidly and as the guests filed back into the library Helen, Gregg and myself took a little wander to chat about how things had gone. As we walked and talked there was a moment when I managed to capture a vivid silhouette against a gorgeous sky. It’s a simple shot, with the added touch of Gregg still being in his top hat. It almost feels like a photographic full stop to a great day with a fantastic couple.

Deja vu… My previous life came back to haunt me in July via the scheduling of a trip to Brands Hatch to cover a round of the World Touring Car Championship. SEAT UK’s Head of Press and PR, Mike Orford, hadn’t really laid out a brief, it was all about capturing something nice for the files and a selection that reflected the atmosphere of the event where SEAT was expected to race well. It’s quite amazing to think that after almost 20 years working in motorsport I hadn’t been to a circuit for almost a year, and upon arrival I came across several old faces and colleagues who hadn’t seemed to move from the place I left them some 10 months earlier… I don’t think they’d left the press room in all that time, just that somebody had come in to dust them off! Getting back into the swing of things took a couple of hours but after a while it all came flooding back. I’m not sure I could go back to doing it all the time, but blowing off the cobwebs and getting out there again was fun. Kind of.

Lights, camera, action… It’s somewhat of a contradiction with studio photography that it takes a ton of gear to make the end result look simple. But that was the nature of a recent commission with the Eastern Development Centre. The organisation exists to support the NHS and also development of health and social care systems in the Eastern region. I’d been asked to shoot portraits of approx 30 staff for on-line bios and future use and so the idea was to produce something simple, making the individuals look friendly, approachable, keeping away from the very stiff, standard corporate portraits people usually associate with business. I’d been given the boardroom for the day which was perfect in which to set up the lights and background paper. Grey had been requested as the background shade because it’s neutral, it wouldn’t clash with whatever clothes were worn, and had a little depth to it which neither black or white offer. Each person had been given a time slot of 10 mins with me and within that period I tried to not only shoot the pictures, but also try and outline exactly what I was trying to achieve. I felt it was also important to let them see the raw shots as we progressed and so when each person left the room they had already deleted what they didn’t like and kept those they did. This made the final selection much easier with nobody dreading the final results. It’s also important to point out that within a group of approx 30 people there are those who like, hate, and are curious about being photographed, so it’s vital to use the my slots of time to try and ease them through the process. All in all an enjoyable day, and with the excellent support of Ruth Kent at the EDC it all went smoothly.

Now things start to change because on the wedding side the days get shorter and that presents all sorts of new issues. But at the same time that gives you a new canvas because the trees are evolving in colour, the light is warmer in the late afternoon and all these things can be turned around to photographic advantage. Mix all that up with meetings for future commissions and clients fine-tuning book layouts and it doesn’t look like slowing down any time soon…

An honest subject

I’m a firm believer that people change considerably when they make a big effort to look good in a picture. The most attractive people I know are the ones who relax, stay themselves and just take it as it comes. If you want to see total honesty in a photo, then you’ll get it from just about any kid under the age of 10. Mention photography of children to people and they conjure up babies on rugs, or primary school photos showing reluctant, awkward smiles. Make children pose and they’ll hate it. Let them be themselves and you’re on to something.

I was recently commissioned to shoot some casual shots of a young girl, the ultimate aim being for the family to have a few photographs for framing. I wanted to try and capture the person in a location, but beyond that I wanted to keep an open mind. The plan was to go out and about, have a good time, and record some stuff without placement or direction. This can be a little risky, because as we all know kid’s moods change in an instant, but nothing ventured nothing gained. The location was to be around Aldeborough on the Suffolk coast, maybe the beach, maybe a park too. The day was freezing cold and we aimed for the beach first. While there were bouts of sunshine, for the most part the day was overcast and this worked well as shadows didn’t come into play. Plus I was shooting black & white for a lot of the time, so a high level of ambient light wasn’t required. 

The first shot here was during a little stone throwing competition, but it gives the feel of a child lost in thought on a windswept day. I’ve cropped the height down to provide a slighty more panoramic feel (to me it feels a little like the end of a movie) and I’m really happy with the result. The picture could be viewed as generic by somebody who doesn’t know the subject, but from the parent’s perspective it’s also unmistakably their daughter, so it works. The technical elements are very simple, no point being elaborate because the feel of the day was very editorial and off the cuff. It’s shot at 400asa on a 24mm lens, slightly underexposed to bring out the clouds, with the lighting on the body tweaked later because the file is RAW. Some people might light this with flash to add a little drama, but unless I can use a studio softbox I don’t like flash, so it was natural light all the way. I could have asked somebody to stand next to me and hold a reflector panel, punching some light into the foreground, but that would have taken away the spontaneity of the picture and disturbed the moment. Next stop, a nearby castle…

Anything with ruins or places to hide are winners with kids. They don’t give a damn about the history, but at the same time they love the environment. The second shot was simply a matter of chatting and walking and when we came to a gap in the wall, she looked right at me. That worked up to a point, but then when something distracted her and she looked away – bingo – it makes the picture because the lack of eye contact lends a much more natural feel. Again, really straightforward set-up : 800asa, 50mm lens, but this time with the aperture opened up to pull some light into the shadows. It’s been cropped square because the walls to the left and right were just wasted frame space.

The last location was a park, where the thinking was to use a setting totally different to the beach or the castle. I also wanted one of the framed prints to include some detail, vary the content a little and move away from just a person. I deliberately used only one lens on this, the 300mm, shot at f2.8. This focal length gives a feel which is very middle ground heavy, that’s to say it throws the back and foreground out of focus and results in the complete opposite of the beach picture, which is almost as much about the clouds as the little girl. After a few detail shots typical of the surroundings, intended to compliment the portrait, I just used the evening backlight to shoot another casual pic. There’s a feeling about the last one, it says “I’m tired” after a long day having fun, so a natural end to the set. Keeping this one colour was important too because then the slightly golden feel of the evening works with the tree detail. Putting them together and cropping quite tightly also makes the print interesting and varied. So, not brain surgery by any means. Just an approach free from photographic trickery, no complicated set-up and a pleasure to shoot. Small slices of somebody’s childhood caught forever…

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. If you want to see great shots of people flick through 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 pictures, it’s as important to the shoot as any lighting trick or skill. Like a lot of photographers I tend to favour a large softbox as my main source of light, and with this key light positioned high right or left, together with a reflector on the opposing side of the subject, 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.

One session which springs to mind for it’s simplicity was a private job where 4 people were all to be included in a picture for an inter-family present. The eventual print was to be about A2 in size and have pride of place on a wall. I much prefer to shoot people individually as group pics can often look awkward and too posed, so in this case I suggested a kind of montage of 16 shots, 4 of each relevant person. The idea was to shoot a series of casual portraits of Claire, Siobhan, Oli and Dan, then select the 4 they liked best of themselves.

The final print. Varied, relaxed and with humour

The job was on-location in a private house, so I had space to adapt into a mini studio for a few hours. I shot against a black background which I already had packed and I have to say it proved great fun. After the first few frames each of the subjects relaxed and I’ve since been told that people that know them well can see their respective personalities in the shots chosen. A nice touch post-shoot was to pick out the girls in a slight sepia. It provides a degree of separation from the boys and works well with the other 8 mono shots. All in all a simple, effective and very pleasing result using one key light top right and a subtle degree of reflected light back into the opposing side of the each subject.

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 it, together with others in the set, 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 family montage 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. Another simple but vital aspect to getting a relaxed look.

Author David Hewson

Finally I’ve included a last couple 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. 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, with the result 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.

David's official site, displaying some of the portraits

Busy start…

Traditionally for me this time of year is spent preparing for meetings, discussing bookings or talking to clients about contract renewal. I also feel the right now is the time to be self-employed and a small business, given the turmoil on the financial markets. With our ‘grim reaper’ media doing their best to out gloom each other, I’d hate to be in a medium or large company, wondering what sort of memo will drop onto your desk next. So I’m keeping my head down and getting stuck into a little (non shooting) time in the office.

My work with SEAT UK is now into it’s 7th year and already I’ve been busy in the studio with some corporate portraiture, together with some editorial photography for brochures. They continue to be a great company to work for as they encourage ideas and input en-route to getting the best of out whatever we’re doing. My contract is for a block of days over the course of the year and in between those commitments I shoot many other things on a private and commercial basis, something which ultimately benefits all concerned as variety is the lifeblood of anything creative.

I’ve also been enjoying a busy period of enquiries on wedding work. I rarely have many actual wedding shoots in the first couple of months of the year, but January has brought more calls and emails about bookings than usual. I never advertise, but have very good links to several venues and wedding planners via whom commissions are secured on a regular basis. The key, as always, and especially in this economic climate, is flexibility. Meet the clients somewhere in between what you both expect to gain from the relationship and you won’t go far wrong long-term. I hear of many of my colleagues who stick to their guns both on price and supply logistics, just to find that when the music stops they have no chair – if you see what I mean.

Another element of my work which is expanding is portraiture. I’ve always done it, and enjoyed it, but now doing much more than before. I’ve said in several previous posts that I love to shoot simple, uncluttered portraits of people, and I’m now getting the chance to do that quite often. My next post will concentrate on a day spent doing some private work where the key was to let the pictures just happen, as the subjects in question were a little manic and didn’t want to stick to the script! 

In the meantime please take a glance at the ever-changing portfolio on the main site, markbothwell.com

Bringing all the elements together

Looking back, the thing that often frustrated me after a job was seeing what an editor or designer had done with my selection of shots. Time without number I’d be amazed at what HADN’T been used, not what had. Pictures I thought were strong were left out, images which looked like they could easily lead a feature were used small – I could get annoyed about it all now! Today I’m commissioned to shoot in a way I like and feel comfortable, in a style that’s clearly displayed in my portfolio. People know what they are buying into and just let me get on with it. Of course, there is a brief to follow – especially with a brand or agency – but I still have a voice as to what might be best in certain cases, which is a massive bonus and only comes with time served in any profession. So I thought it might be useful in this post to run through a typical wedding project, from initial chats to a finished book, outlining briefly how it all works. People often ask me what’s involved apart from the wedding day photography itself, so here’s my chance to explain…

The vital difference when working directly for a couple (as opposed to a company) is right from the start you develop a mini relationship. They are trusting a massive moment in their lives to me, which I never take lightly. The majority of the events in that day will never happen again and it’s easy sometimes to overlook the responsibility with which the photographer is entrusted. Some photographers find that kind of pressure hinders them, but I feel it should motivate and bring out the very best in your work. I’ve always tackled it on the basis that the harder the task, the greater the satisfaction when you come through with a result… no pain, no gain!

Upon meeting a couple for the first time they already have a feel for my work, and know that how I shoot is pretty much the content style they require. The first chat is very important because there’s a huge personal element to the job, they have to feel comfortable and able to relax. If they don’t, then it won’t work. We discuss some recent selections while browsing through photographs on a big screen, flick through some finished books, and my theory is that pretty soon both sides know how it’s going. Generally couples decide quickly in their minds and if I’m fortunate enough to be asked to work with them we keep in touch, later visit the venue(s) together, have a relaxed drink, etc… generally start to tap into each other’s ideas. Come the wedding day itself I spend most of time keeping out of the way, quietly recording what’s happening, then drift away mid-evening.

Within a week of the wedding I edit down to what’s called a ‘master set’. This is a final selection of typically 150-200 images which basically represents the pick of the day’s material. The content will include the key moments large and small, fine detail and plenty of people related atmosphere. This set is then uploaded to a web server and the link made available to the couple for onward distribution to whomever they choose. The content of that selection is then delivered to them in high resolution jpeg (or TIFF) format via disk for them to keep. Some photographers choose to withhold the high res shots and charge extra for them, but I’ve always felt that it’s right and fair to include transfer of copyright within the agreement with wedding clients, it’s just my approach.

Assuming a book is required (it’s a totally optional element) then I like to play around the layout as fast as possible so the atmosphere and feel of the day is fresh in my mind. It’s also really important on my commissions that the final word on layout and design goes to the couple. I present a draft design in PDF format, then leave the layout open to changes. After all, it’s not my book of my wedding – I’m there to do the fetching and carrying of the content. Upon confirmation that they feel it’s all ship-shape, the layout is sent to the USA for printing and about 6 weeks later I have the finished article to pass on.

When first seeing a sample book most people are very surprised just how much is possible in terms of quality. The spec of the final book rivals any coffee table publication you’ll see in book shops, and the idea of having something of that calibre from their own wedding usually prompts commitment right there and then. From my point of view I always think the book is the reason for the photography in the first place, as it’s only when you flick through the pages that the day comes alive once again. Seeing the selection on-line is all well and good, but a computer screen can only convey a small percentage of the quality and detail of a final ‘master set’, the book somehow makes it a real memory, locked-in forever.