Following the success of my recent LIVE Wedding Day Training event, I am once again offering the opportunity for three professional photographers to develop their style and approach to contemporary wedding photography. This is an unexpected second training opportunity to participate in the photography of a wedding of one of my mentees, with my support and art direction on the spot and not likely to ever be repeated. The fee is only £395 per person. The wedding is on Saturday 12th September at the stunning venue of Stanbrook Abbey, Worcester. It’s a photographers dream with a wealth of opportunity to create some inspirational images.
The brief is to train three photographers with my observation and art direction. Images are to be compiled and shared.
The following terms must be agreed and contracted as key to participation:
1. All participants to attend a pre-meet/briefing prior to the wedding.
1. All participants to agree to give all images, copyright free to the couple
2. All participants to agree to share all images shot
3. All participants to agree to attend an image evaluation and album design session to be held at Victoria House, Leamington Spa after the wedding on a date to be arranged.
Please register your interest at firstname.lastname@example.org and you will be sent an application form. Closing date for applications is Friday 31st July 2015.
If one were to ask what the roots of photography were I am sure we would receive a wealth of answers all to do with light to plates, plates to glass and glass to paper, coupled with distinguished names from photographic history books but perhaps it would be far easier to look at its purpose.
After all man has always sought a way of glorifying and recording his exploits and status in life be it a hunter of Bison, a man of the Church, a trader or merchant or even a President or Monarch. The photographer is simply the artist painter of yesteryears empowered with the vision to see people as they are or even exaggerate just a teeny weeny bit. What the stroke of a brush did then, Photoshop now seems to seek to emulate. Our mission in life has always been the flattery of our subjects.
In my training programmes I always intend to dissect photographic practice, embed core skills that with the advent of digital seem to be dwindling and above all teach my willing charges to see and use light. So, away with the jargon and vocabulary of our industry and back to basics.
Without light we see nothing, create nothing and are nothing, but to master it in some measure enables us to construct images of beauty and meaning. Much of my life has been spent in Studios creating light and whether it was to be with a ‘big blonde’ a ‘redhead’ or a ‘swimming pool’ (and no, I am not talking Heff’s Playboy mansion here!) or even a strobe or domestic light bulb it made little difference as masters of our craft we all need to learn to “Paint with Light”.
Sometimes I feel that I have been out of the game too long and spending much of my latter career teaching worldwide, but there comes a time in every teacher when they must return to their roots and this is a small part of my journey to share with you.
So, some time ago I reluctantly decided to go back to doing some shooting, but occasionally as change for me is a gradual thing at my age!. At that time the thought of running around crazy shooting weddings again bore nothing but horror for me as quite honestly I feel I am ‘getting on a bit’ even though I have the mind of a teenager. So at that time I felt there were two choices. Shoot something wedding related as I did back in the late 80’s and 90’s or do a little bit of fashion stuff. Maybe even a little of both just to ‘keep my hand in’ so to speak. Well finding a market for both was not too tough as I have always been one for maintaining and building relationships. So, off to Italy I went to ‘get my hand back in’ so to speak. My quest was to work with natural light with just a hint of cool LED video light for a bit of fun and drama. To me time is of the essence and I have always shot like I am using film. If I am to shoot then I want to enjoy my photography and not spend endless hours in the ‘digital darkroom’ processing repetitive images for the sake of volume.
Each of the shoots I embarked upon were done and dusted within an hour and a half including walking from location to location. The venues were ‘cold’ inasmuch as there was no opportunity for a ‘recce’ visit and there was a requirement to shoot both reactively and responsively. There is always a time to decide if a shoot should be ‘real’ or ‘idealistic’ as the need to strive for clear backgrounds can often divorce reality and context from the real life experience. To question if it is better to isolate one’s subjects by technique and allow others to simply gaze on can add a ‘truth’ often absent from our imaging. As I get ‘longer in the tooth’ I question more and more exactly what ‘rules’ if any need to be faithfully applied to our imaging and indeed if the application of the same can adversely affect the spontaneity and creativity in any measure.
The initial impetus to get me back behind a lens as a practitioner proved to be a revelation in my life and re-visit all I know and ponder upon what I still need to learn for it is in essence a never-ending story. In nearly all of my life photography has never been a hobby. It was left to family to record those precious moments and holiday memories as I was always pre-occupied with other things. In retrospect it was an attempt to separate my professional and personal life as I have long firmly held the opinion that the downfall of so many photographers is ego and a strong emotional attachment to their images that makes them hostile to criticism and indeed, evaluation. I have seen careers and friendships ripped asunder over images and that was a paddling pool I simply didn’t want to play in! And yet I became an educator of photographers whose specific business has been to illuminate, inspire and reinforce the fragile ego’s of so many who doubt their abilities on a daily basis. At least I am still capable of maintaining that ‘professional divide’.
My true hobbies and interests in life have involved a deep interest in the ancient world and a search for esoteric knowledge and before that all gets to sound real spooky don’t worry! There are several maxims that seem to rule our lives and one I particularly love is “What goes round, comes around” and photography is no different. Indeed we all learn from our pasts and that knowledge often dictates the future. The lessons learned from the military strategies of Alexander the Great, Scipio Africanus, Caesar, Pompey Magnus or the spiritual teachings from an ancient world, still govern our lives and actions in this allegedly sophisticated time we live in. In photography itself I wish I had a Pound for every ‘newbie’ in the industry that tells me they have suddenly discovered that shooting portraits outdoors is an innovation! They have actually been inspired by Cinema, DVD’s or in some cases a day out to an Art Gallery and the penny has dropped that there might just be a market for creating beautiful naturally lit images outside. The use of our own senses of perception and the control of the same is indeed the first of my “Elements of Inspiration” which give us the firm grounding we need to begin our journey as ‘Image Makers’ and keep our feet on firm ground for the duration of our careers – the understanding of the importance of composition.
Composition itself is a subject that many have attempted to apply rules to rather than embarking on a quest to understand and reason exactly why human kind is captivated or inspired by certain shapes, figures and combinations of the same. In essence what exactly is it in those elements that invoke different emotions on the viewer. Before I get too deep into this stuff let me assure you that there is no ‘all powerful’ council who has the authority to sit in judgement, make and enforce so called ‘rules’ of any kind. For it is in no ones power to command us to like or appreciate something simply because it is written somewhere that accept or be damned! After all in the world of art our personal perceptions of aesthetics is down to the masterful statements of “I like it!” or “I don’t like it!” and although we may sit in the presence of distinguished judges in print competitions we may appreciate their points of view and pontifications but are just as likely to walk out of the room at the end thinking “I don’t know what he was drinking last night when he was judging that image but I’m gonna get me some!”
In essence our lives are subliminally governed by Geometry and Symmetry. In simple terms, shapes that do it for us and a natural balance in life we feel comfortable with. Perhaps ask yourself what shapes and forms inspire or repel you? Think when you look at an object or even a person. The shapes that are formed when light hits a surface that enables us to see in three dimensions. So for now, my advice is to look around you everywhere you go and just think how often you see the square, triangle and circle in our daily lives and exactly what each of those shapes does for you. These three shapes and their extensions, are used to form just about everything and have been important to mankind since the dawn of time. A tease I know but just maybe, in future, you will open your eyes just a little further and see the world and indeed your world of photography in a different way. Let me finish by saying that if you understand the power and psychology of Geometry and Symmetry, you can construct images that you and your clients will find pleasing and buy from you.
It’s been just a under a year since I first came in contact with iLux lighting on the Photomart stand at at very last Focus on Imaging show at the NEC. Like a Magpie I was drawn to the clean lines of the slick design that would look good in any environment and mighty impressed with the build quality I would have associated with well known brands at a significantly higher price ticket. Unfortunately, there is an awful lot of snobbery attached to studio lighting and from a consumers point of view, just like selecting a trainer, its a nightmare. Begging the question, ‘how do you choose a set of lights?’