Other Presentation Methods

Although I have chosen to present my images as A3 prints, a requirement of module 310, there are alternative methods of presenting photographs.

One of the most common is the Internet, which has a far larger audience than any exhibition could achieve.  There are various ways to upload images to the internet:

• Photograph sites like Flickr
• Blogs, such as this one
• Websites (club or personal sites)

Photographs can be as separate images, as slide shows or even background images, all complete with music.  I have uploaded some images to Flickr whilst studying a previous course.

Other methods for more localised viewing include:

• Photo books are another option, which is becoming very popular as people are going back to wanting to see photographs away from the computer.  These are available in a number of styles and sizes ranging from small softback books right up to wedding albums.

• Digital Photograph Frames are also becoming more popular as someone can select a range of photographs to be displayed on their photograph frame, which changes every so often.
• Cake Designs – yes Asda (there’s a bit of advertising) do their own photo cakes, where you provide a photograph, which they scan and print on icing sugar paper and then put this on top of their sponge cakes.  It is very effective, but bear in mind that the icing paper is slightly smaller than A4 (allow about 25mm all round to get the image on the paper), the colours always seem faint and contrast is lacking but then again you cannot have your cake and eat it !

Some people even have photographic digital key ring fobs !

At the end of the day, it is up to you how you want your photographs to be displayed.

I am a member of the Burton Photographic Society, who hold a number of photographic competitions and exhibitions.  Entries for these can either be as prints (mounted or not), usually around A3 in size, or as PDI or Projected Digital Images.

Ethics and Photography

There are some who would argue that photographers have no ethics, and sadly there are a few that don't.

What or who we take photographs of, are to the majority, what or whom we wish to photograph. There are photographers who are paid, good money, to take photographs to discredit, embarrass or even hurt people, especially those in the public eye.

So what should we consider before we press the shutter button:

• Could anything be implied from the photograph that we take which is wrong. For example a vegetarian being photographed coming out of a butcher's shop, could imply that they are not a real vegetarian or someone being photographed with a member of parliament whom they dislike, in a way that suggests they support the persons and their policies.
• Another area of controversy is invasion of privacy. This would not just involve taking photographs through someone's window. If you were found with a 1000mm lens near to someone's private property you could find yourself explaining what you are doing there with such a powerful lens - bird watching would not be an acceptable excuse !
• Being too persistent when wanting to photograph someone. As the old saying goes, NO means NO !
• Claiming credit for other people's work is another area.

But even after the shutter button is pressed and the image captured there is still more than happen to the photograph than simple printing.

During my last course I did a post entitled Photoshoped Too Far, and in one part I wrote about a photographer who took some photographs in a war zone. In one photograph there was an American soldier watching as a man carried his child towards him, in another photograph the solider put his hand up to stop people.

The photographer later combined elements from the two photographs creating a new image where the soldier was putting up his hand to the man carrying his child, as if ordering him to stop. Once the photograph was proven to have been manipulated, and the photographer sacked, he was asked why he had created the photograph, the photographer responded that he felt the manipulated photograph was more interesting, even though it implied that the soldier was almost threatening the man with the child. Here two innocent photographs were combined to imply something very different from the reality that the photographer saw.

Photography and the Law

 

Photography, like many areas, is covered by a number of laws to protect the public, the client and even the photographer !

Some acts of Parliament, such as the Health and Safety at Work Act 1974 (HASAW or HSW), Control of Substances Hazardous to Health (COSHH) are relevant to photographers.

Basically the Health and Safety at Work Act stipulates that we are responsible for all those working for us, on our property or on location.  I have identified some key areas below:

Health and Safety – Studio

Environment

On previous courses when working in the college photographic studio which is kept clear of any obstructions, we had a clear and safe working environment, which is very important because, once the lights are out and we have only the modelling lights from the flash units to see by, any cables or props left lying around could cause an accident.

Other studios might not be so well organised, so care to ensure that both you and others (assistants, models, clients,) have a safe environment in which to work.

 

Electricity

Although the voltages for many lights may be lower, especially for portable lighting, you must always check that the cables are in good condition and have firm connections (to the equipment and to the mains power supply) and that nothing is overloading any sockets.

Any use of liquids, for inclusion within any photographs, must be controlled to prevent any liquid coming close to any electrical appliances, or being spilt on the floor, causing a slipping accident.

 

Cables

If  the lighting is fitted to a series of tracks which are fixed to the ceiling, this reduces the number of cables that are near the ground, and any slack in the cables from these lights is taken up to prevent any tripping over accidents.  If the lights, and any other electrical equipment, are on the floor then care must be taken to prevent trips or catching the cables and causing anything to fall on anyone in the studio, or igniting anything that could result in a fire.

 

Heat

Because of the use of flash units, which generate a lot of heat, these must only handled before any photography started, using the light from the modelling light to ascertain the lighting. Also nothing inflammable should be placed any where near any lighting equipment. It is important with so much lighting equipment that can be triggered wirelessly that any unused equipment is switched off, both for safety and causing unwanted lighting.

Steve, who changed any fittings, prior to the start of the shoot, was careful not to catch any lighting tubes, which are very fragile whilst changing the fittings.

 

Health and Safety – Location

All the above health and safety precautions should be taken, in addition to those below:

Exposure

It is important that all the photographer’s team are suitably dressed for the location, with provisions for the weather changing.  This is not so much an issue when a vehicle is near by, where towels and warm clothing should be carried.  Even space rescue blankets, which are silver reflective sheets which can reflect body heat back to the casualty or user) should be carried.

 

Communications

When on location, it is important to maintain communications with someone, at the office, studio, a friend or family, etc, so that if anything was to happen the emergency services could be contacted.  Care should be taken when using mobile telephones which can loose their signal very easily.  With walkie talkie handsets, it is important that the team stay within range of each other and have meeting locations set up so that in case of emergency the team can all meet in one location.

 

Terrain

It is important that the team are aware of the terrain and take precautions near to cliffs, and rivers.  Ideally, a route should be mapped out before hand, and stuck to, avoiding any dangerous areas.

The team leader should maintain knowledge of their actual position, either via map or GPS, which in the case of an emergency can save vital time in the tem being located quickly.  Accurate and up to date maps should be carried which cover the location.

 

First Aid

Ideally, one of the team would be trained in first aid, but at the very least a well stocked first aid kit should always be carried.

 

 

Post Production

Although you might feel that here you are safe, you must still take precautions.

 

Chemicals

Because we are all using digital cameras, most of the chemicals involved with photography, in particular the processing and development of the finished photographs, have been removed, but some others still are in use.

All chemicals should be in clearly marked bottles which are kept in a safe storage area.

Chemical Data sheets should be kept available detailing what is in the chemical, it’s effect on people and how to deal with it if it is spilt or comes into contact with someone. 

 

Visual Display Equipment

With the increase use of computers in the work place the Visual Display Regulations were brought in to ensure that people were using computers in the safest environment possible.  Below is a video showing how you should sit at a computer:

Basically you should adopt a sitting position like the one below:

Where the eyes are in line with the top of the computer’s monitor, the arms are at about 90 degrees to the body, with the wrists straight and your feet should be flat on the ground.

In addition to sitting properly it is important that you take regular breaks away from the computer, even if it is only looking at something else, so that your eyes can focus on something further away than the distance from the monitor.  It is important to note that many people do not blink whilst at a computer screen, hence the feeling of tired and dry eyes !

I know the above is difficult, especially whilst working on that image for your final selection, or the winning image for the Burton Photographic Society, but failure to keep to these actions will cause you problems later on.

 

Other areas of Law

Children

Photographing children, especially in a public place, can be a minefield and simply it is better to photograph the children, at home, with the parents consent, even better with the parents being there !

 

Contract Law

This might sound a little heavy for photographers, but it is an important area for any business. 

• You should always try to get the requirements from the client in writing, as this can save a lot of hassle later on if the client changed their mind. 
• The cost of the assignment must be agreed before work starts, with provision for any necessary expenses.
• It is important to estimate the time required to fulfil the assignment so that any other work that needs to be done afterwards is not held up by you.  Some companies may enforce a delay penalty clause if this is the case.
• It is important to remember that the last terms of contract accepted are those that would be enforceable in a court of law.
• Payment terms should be agreed prior to any work being started and documented.  Here a little homework on finding out the companies normal payment terms can be useful as to argue the case if necessary.

 

Copyright

It is important to respect the copyright of other people, as failure to do so can lead to prosecution in a court of law, having college work removed from your portfolio, disqualification in competitions and exhibitions – this list is almost endless, but the effect on you and your reputation can be devastating !

When uploading images to the internet, a copyright notice on the web site will not always stop people from trying to grab your images.  Some common methods to try to stop people from stealing your work are:

1. Disabling the right click button action on a page with includes your images.  This is a simple matter of using some JavaScript code on the website.
2. Watermarking images, both digitally (which would only be seen in the top of the screen when editing the images) or physically or destructively (where an image is overlaid over your photograph, usually with a message (eg copyright) to deter someone from simply copying your image and claiming that they took the photograph.
3. Using flash albums, so the person trying to steal the image cannot simply click and steal the image directly.

One example, that I heard of recently, was the copyright infringement case Latimer v. Roaring Toyz, et al. The case has been reported by various photo industry publications and blogs since it involved a claim of copyright infringement brought by a photographer against several high-profile defendants. Today, the case, which has all the trappings of a morality play, represents a cautionary tale for any photographer who fails to use written agreements or who doesn’t understand that a photographer’s conduct can create a license (aptly named an implied license). Above all, the case is a lesson in the importance of maintaining realistic expectations in business and litigation.  

The background of the case is relatively straightforward. In January 2006, Kawasaki Motors Corp. U.S.A. engaged Sarasota, Florida-based Roaring Toyz (www.RoaringToyz.com) to customize two ZX-14 motorcycles as part of its introduction of the new model motorcycle. The customized motorcycles were to be displayed together with standard production models during Daytona Bike Week. Although Roaring Toyz did the custom work, it commissioned Ryan Hathaway, an independent artist, to create custom artwork that ultimately appeared on the motorcycles. By late February 2006, Roaring Toyz had nearly finished the customization of the two motorcycles. At about the same time, Kawasaki was completing preparations for the ZX-14 World Press Introduction, which was scheduled to take place in Las Vegas during the last few days of the month.

 
Kawasaki requested photographs of the customized motorcycles, and the Roaring Toyz marketing director, using a point-and-shoot digital camera, created and sent the requested photographs. After seeing the marketing director’s photographs, Kawasaki decided that they wanted better quality photographs of the customized motorcycles so that they could include them in the media kit distributed at the World Press Introduction.

While Roaring Toyz had relationships with a number of photographers in the motorcycle industry, it was trying to promote Todd Latimer, a photographer in Safety Harbor, Fla., who was friendly with some of the people at Roaring Toyz (previously, Latimer had worked as a glamour photographer, but a variety of factors prompted him to look for new subject matter; Roaring Toyz used its contacts in the motorcycle industry to help Latimer receive magazine assignments, including an assignment from 2 Wheel Tuner, to cover the customization of the ZX-14 motorcycles). Roaring Toyz called Latimer and requested that he photograph the customized motorcycles so that Kawasaki could include the images in its media kit. Latimer drove to the Roaring Toyz shop for a photo shoot that started late in the evening and went through to the very early hours of the next morning so that images could be sent to Kawasaki the next day, the deadline for the press kit.

After completing the shoot in the very early hours of the morning, Latimer demanded that Roaring Toyz pay him $800, which was paid (Latimer later claimed that the $800 related to something other than the overnight shoot). Later that morning, Latimer e-mailed photographs of the customized motorcycles to the Roaring Toyz marketing director, who forwarded the images to Kawasaki. In a follow-up e-mail, Latimer asked the marketing director to convey to Kawasaki that Latimer also would like a photo credit, if possible. Kawasaki included five of Latimer’s photographs in the media kit together with 110 other images of standard production models.

Some months later, Latimer opened a copy of Cycle World magazine, published by Hachette Filipacchi Media U.S., Inc. (a subsidiary of the world’s largest magazine publisher) and discovered that it included two of his images from the overnight shoot together with an article discussing the new motorcycle. A Cycle World representative received Kawasaki’s media kit at the World Press Introduction. At about the same time, a number of other magazines published articles about the new motorcycles, including 2 Wheel Tuner, which published photographs from the assignment they had given Latimer.

Around the time he discovered his images published in Cycle World, Latimer registered the copyright for the images from the overnight shoot. However, the images were registered too late to take advantage of the three-month grace period following first publication.

Eventually, Latimer found a law firm willing to pursue the case, and they sued Kawasaki, Hachette, Roaring Toyz and the Roaring Toyz owner for copyright infringement. Although not entitled to recover attorney’s fees or statutory damages, Latimer sought an award of each defendant’s profits.

As with any morality play, there are lessons to be taken away from the case. For starters, the case underscores the importance of using agreements. Even when time is short and there’s no time for a formal contract, any sort of letter agreement or e-mail confirming the terms of an agreement are better than nothing and may be sufficient to avoid having a court determine after the fact that a license was granted by implication. Likewise, transmitting a clear set of restrictions or limitations when transmitting the images may help limit the scope of any implied license.

As important as it is to use agreements and document relationships, and to understand the consequences of delivering images to someone in the absence of any documentation, it’s far more important to maintain realistic expectations. Had the case been evaluated from the point of view of what would have been reasonable based upon the actual use and prevailing law, a reasonable settlement might have been possible very early in the action.

As Jonathan Harr pointed out in his book A Civil Action, certain types of cases are riskier than others, and when certain types of cases go to trial, a “plaintiff can expect to lose, on average, two times out of three.” So why does anyone do it? They don’t. “Like most people, plaintiffs’ lawyers don’t like to take chances with their own money,” writes Harr. “They either settle or drop the vast majority of cases before trial.”

The expression "Caveat emptor", or buyer beware (which I heard about in a business law module of a previous course) seems appropriate or better still photographers beware.

Even using elements from other people in your work can cause serious problems, if in doubt – don’t !

 

Data Protection

The Data Protection Act (DPA) came in two parts, the 1984 act covered computer based information and the 1998 act covered printed information.

For the photographer, it is important to maintain their database of clients, models, contracts, invoices, etc in accordance with this act.

Key areas of the acts are:

• Data may only be used for the specific purposes for which it was collected.
• Data must not be disclosed to other parties without the consent of the individual whom it is about, unless there is legislation or other overriding legitimate reason to share the information (for example, the prevention or detection of crime). It is an offence for Other Parties to obtain this personal data without authorisation.
• Individuals have a right of access to the information held about them, subject to certain exceptions (for example, information held for the prevention or detection of crime).
• Personal information may be kept for no longer than is necessary and must be kept up to date.
• Personal information may not be sent outside the European Economic Area unless the individual whom it is about has consented or adequate protection is in place, for example by the use of a prescribed form of contract to govern the transmission of the data.
• Subject to some exceptions for organisations that only do very simple processing, and for domestic use, all entities that process personal information must register with the Information Commissioner's Office.
• Those holding personal information are required to have adequate security measures in place. Those include technical measures (such as firewalls, password protected databases, etc) and organisational measures (such as staff training).
• People / companies have the right to have factually incorrect information corrected (note: this does not extend to matters of opinion)

Release Forms

These forms are available via download, but do check the wording very carefully, and can cover:

• Model Release forms
• Property Release forms
• Minor Release forms

With these forms the photographer can state for what use the photographs are to be used, and where they are used.  The model, property owner or guardian of the minor can then be assured that the images will not be misused in any way.

Below is an example of a basic model release form:

MODEL RELEASE In valuable and good consideration of my engagement as a model (Participant), upon the terms herewith stated, I hereby give to ________________________ (the Photographer), his/her heirs, legal representatives and assigns, those for whom The Photographer is acting, and those acting with his authority and permission: a) The unrestricted right and permission forever to copyright and use, re-use, publish, and republish photographic portraits or pictures of me or in which I may be included intact or in part, composite or distorted in character or form, without restriction as to changes or transformations in conjunction with my own or a fictitious name, or reproduction hereof in colour or otherwise, made through any and all media now or hereafter known for illustration, art, promotion, advertising, trade, or any other purpose whatsoever. b) I also permit the use of any text material in connection therewith. c) I hereby relinquish any right that I may have to examine or approve the completed product or products or the advertising copy or printed matter that may be used in conjunction therewith or the use to which it may be applied. d) I hereby release, discharge and agree to save harmless the Photographer, his/her heirs, legal representatives or assigns, and all persons functioning under his/her permission or authority, or those for whom he/she is functioning, from any liability by virtue of any blurring, distortion, alteration, optical illusion, or use in composite form whether intentional or otherwise, that may occur or be produced in the taking of said picture or in any subsequent processing thereof, as well as any publication thereof, including without limitation any claims for libel or invasion of privacy. e) I hereby affirm that I am over the age of majority and have the right to contract in my own name. I have read the above authorization, release and agreement, prior to its execution; I fully understand the contents thereof. This agreement shall be binding upon me and my heirs, legal representatives and assigns. I am also aware that these terms are subject to negotiation, deletion or addendum, which may be valid if handwritten on this release and initialled and dated by both parties (The Photographer and Undersigned) next to the modification or any modification that is typed and signed by both parties. Modifications may be implied by any releases/contracts with my employer without my notice by the Photographer. ______________________________ ______________________________ Address ______________________________ Phone number or e-mail Date Signed: ____/____/____ ______________________________ Name of Participant ______________________________ Signature of Participant ______________________________ Signature of Witness

 

Invasion of Privacy

One thing whilst taking photographs in the outdoors is that you must take all reasonable precautions to ensure that you do not photograph someone, or something, that does not want to be photographed.  If they are on public property then usually they have no argument, unless you are intruding on their privacy, for example like some celebrity photographs who will chase their target !

Obvious precautions include not taking photographs through windows of private property, not taking photographs of people on private property, etc.

Having taken photographs at a number of air displays, which are on private MOD property, I know what I can photograph, and what you cannot.  If you are unsure it is best to ask first, rather than try to explain to the military police afterwards !

 

Trespass

It is important to make sure that whilst out taking photographs you do not enter other people’s property, both premises or land.  This would be a violation under civil law and could result in heavy fines !

Kit used for this course

Finally, as I can see the light at the end of a very long tunnel (or is that a lorry coming at me !), time to say what I have been using, like the credits at the end of a film, for this course.

Camera  -  DSLR	Pentax K10d
Camera  -  Bridge (back up)	Fujifilm S7000
Lenses	Tamron 18 – 200mm Sigma 70 - 300mm
Computer (home)	Acer Laptop
Computer (college)	Apple Mac
Printer (College)	HP Photosmart Pro B9100 Series
Printing Service	D S Colour Labs
Graphic Editing Software (home)	Serif PhotoPlus X4
Graphic Editing Software (College)	Adobe Photoshop CS5
Graphic Cataloguing software (home)	ACDSee Pro 3
Graphic Cataloguing software (College)	Adobe Bridge CS5
Blog Editing software (home)	Microsoft Live Writer 2011

Evaluating Final Images - Macro

Below are the final images that I chose for my macro assignment.

Nature’s Lenses Shutter 1/158 Aperture f 4 ISO 200 Metering Pattern	With this image I like how the water droplets magnify whatever is beneath them, like a lens, hence the name Nature’s Lenses.  Although this is a replacement for an earlier image with the same name, which was not as sharp as this image. This image has texture, lead in lines with the water droplets creating interesting shapes. Although in the top left hand of the image there is some background, I have thrown this out of focus by using a large aperture of f 4.
Water Chase  Shutter 1/23 Aperture f 2.8 ISO 100 Metering Average	This photograph I liked because of how the water droplets formed on the stem bringing more interest to the shot. This image again has texture, in both the underside of the left hand top leaf but also in the stem leading to it.  I used a smaller aperture (f 2.8) to keep the depth of focus was shallow enough to throw the leaves in the background out of focus. Although the stem leads top left to bottom right, I still find it leads into the photograph.
Centre Shutter 1/1024 Aperture f 3 ISO 400 Metering Pattern	This photograph, of the stigma of a flower took more work than a simple image can convey.  Like all the macro photographs here, it was taken outside with natural light. This photograph has the texture of the petals and the stigma of the flower.  The shapes formed by the light on the petal and the stigma. I have seen photographs like this before and I wanted to have a go myself.
Frozen Shutter 1/588 Aperture f 4.4 ISO 200 Metering Pattern	This photograph with its low angle, being taken from almost underneath the tree, makes an interesting photograph. The texture of the snow on the twigs of this tree, set against a blue sky brought in a nice contrast to this photograph, with the shapes and forms created by the twigs. Again I used a large aperture (f 4.4)  to throw the background out of focus.
Sub Zero Shutter 1/111 Aperture f 4.4 ISO 200 Metering Pattern	Like In frozen, I wanted to capture the texture of the snow on the leaves of this plant, but despite the elements how the plant survived. Although there are no lines of interest in this photograph, there is shape and form in the leaves. The shallow depth of field of f 4.4 was used to throw the background out of focus. The title for this photograph came from a much used description of the weather.
Light Shutter 1/588 Aperture f 2.8 ISO 200 Metering Pattern	This photograph was taken to capture how the natural light, from the top right, caught this plant. The line, bottom middle to top left, formed by the step leads the viewer into the picture. There is texture in the leaves and shape and form in the leaves and the shadows.
Winter Leaves Shutter 1/350 Aperture f 6.3 ISO 200 Metering Spot	This photograph, taken at the memorial gardens in front of the college. What I liked about this is how the brown leaves where contrasted against the white snow, a sign of the two seasons, autumn and winter. The texture of the leaves against the texture of the white snow gave a nice contrast, with the numerous shapes and forms created by the leaves, the snow and the shadows. Although there was no intended lad in line, there is a line bottom right to top left along the ridge of the central brown leaf, which is then carried on.
Veins and Water Shutter 1/52 Aperture f 2.8 ISO 200 Metering Pattern	This photograph was taken to capture the rain drops and how they lay on the leaf, together with the veins of the leaf. There is texture in the leaf and rain drops, lines in the veins and shape / form created by the rain drops. A large aperture (f 2.8) was used to throw the background out of focus.
Frozen In Time Shutter 1/90 Aperture f 5.6 ISO 100 Metering Manual	This photograph I liked as it shows a leave, emerging from the snow. There is plenty of texture on the leaves and stems. The shapes formed by the leaves makes you look at this image closer. The shallow aperture (f 5.6) was used to throw the background out of focus to concentrate the viewer on the leaf.
Pink Shutter 1/223 Aperture f 4 ISO 200 Metering Pattern	For this photograph of a pink flower (please don’t ask me what it’s called) after some rain. What I liked about the photograph is how the pink flower stood out against the background with the water droplets adding more interest. There is texture and shape in the pink petals and the raindrops on them.

Evaluating Final Images - Architecture

Below are the final images that I chose for my architecture assignment.

In Reflection Shutter 1/500 Aperture f 9.5 ISO 100 Metering Spot	With this image I like how the sky is reflected in the glass wall of the building, with the sun’s reflection. I used a moderate depth of field so as to keep much of the building in focus. The frames around each of the panes of glass, with the central hubs set off this view by giving both texture, which is always difficult when photographing glass, and lead in lines which lead the viewer’s eye deeper into the photograph. Another thing I liked was how the different shapes formed by the shape of the building and the light falling on to it.
Mirror Mirror  Shutter 1/45 Aperture f 16 ISO 100 Metering Spot	This photograph I liked because, unlike In Reflection, this wall is almost featureless, with a partial reflection of the neighbouring building. I used a deeper depth of field, f 16, to make sure all three buildings were in focus. At the bottom of the photograph, at the end to these two buildings is a more traditional fronted building adding another perspective to these modern buildings. Again the line along the mirror building draws the viewer’s eye further into the building and towards the end of the mirror building the viewer can see a reflection of the third building. Also the texture and shapes formed by the right hand building form a contrast to the mirror building on the left.
Old and New Shutter 1/125 Aperture f 4 ISO 100 Metering Spot	Again this photograph, was interesting with the contrast between the old building in the foreground and the newer building in the background. The photograph is full of texture from the two buildings with the roof line on the old building forming a lead in line. Although the light was flat on the day I took the photograph, and really I should have used a smaller depth of field than f4, I feel that the shapes and forms created by these two contrasting buildings makes this an interesting shot.
Power Shutter 1/30 Aperture f 22 ISO 100 Metering Spot	This photograph, with its low angle makes an interesting photograph. It is full of texture on both the statute and the town hall behind it, which adds to this image. I chose a deep depth of field, f22, to keep both the statute and town hall in focus.
Hyatt Shutter 1/45 Aperture f 6.7 ISO 200 Metering Spot	Like In Reflection, I liked how the sky was reflected in this hotel at Birmingham.  It was by sheer luck that a bird flew past as I took the photograph, with it’s reflection in the lower portion of the building. The shape and form of the building together with the different coloured glass panels gave it interest, and again the edges of the glass panels give it a texture in comparison to the brick section below.
Cooper’s Square Shutter 1/33 Aperture f 1.6 ISO 133 Metering Program	This photograph of the inside of the Cooper’s Square shopping centre, in Burton Upon Trent, was another photograph of contrasts, between the man made structure of the building, with the roof trusses and interior panelling against the green plant in the foreground. Because of photographic restrictions, this photograph was taken with a mobile phone camera, which considering the limitations of this camera, produced quite a good photograph. This photograph is full of shapes and forms, texture and lines leading the viewer deeper into the photograph. My only disappointment with this image is how became a little pixelated, when printed.
Arboretum Shutter 1/20 Aperture f 22 ISO 100 Metering Spot	This photograph, taken at the National Arboretum, at Alrewas, near Burton Upon Trent, is a nice symmetric view with the two trees in the background framed by the walls either size of the central point. The contrast between the green grass, the trees, the white stone and the dark sky set each element of this photograph. The gold coloured top to the needle contrasts with the colour of the sky. The photograph has nice shapes formed in the white stone of the arboretum, the grass with it’s border in the foreground and the two trees in the background. Again a deep depth of field, f 22, maintained a sharp image of all the elements of the photograph that I wanted to show. Again the contrast between natural and manmade is an interesting view.
Natural History Museum Shutter 1/4 Aperture f 8 ISO 800 Metering Spot	This photograph was taken inside the National History Museum at London, using existing light. I liked the detail on the ceiling and the shapes formed by the roof with it’s roof trusses and glass panels. There is so much texture in the photograph, with the balcony in the bottom middle of the photograph adding some scale to the photograph. I prefer to use existing light as I find that sometimes using flash can destroy some of the atmosphere of the scene.  Although, in this case, the flash unit would not have added anything to this shot, if anything the camera would have lost too much of the existing light.
Arch Shutter 1/90 Aperture f 5.6 ISO 100 Metering Manual	This photograph taken at the Abbey at Whitby, was my attempt to capture both the detail of the inside of the arch, as well as the facing wall, with it’s ornate features. There is quite a lot of texture, both the stone of the arch and the lining a the top of the arch. Although the sky is burnt out behind the arch, without too much work to correct this, which would have been extra post production time, this image with it’s shapes and the lead in lines of the wall in the base of the arch worked pretty well.
Chimney Shutter 1/30 Aperture f 5.6 ISO 100 Metering Manual	For this photograph of the chimney at the Clay Mills Victorian Pumping Station, near Burton Upon Trent, I wanted to capture the scale of the building. The shape of the chimney, with it’s texture in the bricks and steel bands adding more contrast and the shape of the chimney forming a good lead in line. The two walls, either side of the chimney, form a basis of symmetry for this photograph.

Functions of Management

 

There are different functions of management, that interact within any business, from multi nationals to the humble self employed photographer, but each function of management is important, and without it a business would fail.

 

Financial Management

This obviously involves the management of the financial side of the business, from managing cash flow, chasing clients for money owed to the business, choosing what equipment to buy, or hire, how much to pay people working for the business and how much rates, such as daily rates for costing jobs to clients, should be.

 

People Management

This involves choosing, interviewing and keeping people working for a business, including temporary staff. Also disciplinary action and dismissals are a necessary function, where needed.  Also training of staff falls into this category.

 

Sales and Marketing

This is one of the most important functions within a business, because without clients, no company can survive.  These people who are responsible for attracting new clients, keeping old clients, and bringing in new orders.  Sometimes when you are taking photographs for someone, for example at an event, some people may ask for your contact details and possibly some photographs.  This can lead to more business, by the person having been pleased with your photographs putting more work your way.  Despite every sales and marketing technique the power of word of mouth, or recommendation, is still the most powerful.

The marketing function can also be interpreted as sending out promotional literature to prospective clients.

Today, with the internet being so popular a well designed web site can be a very powerful marketing tool, reaching millions of people around the world.

 

Project Management

This planning is more specific and relates to the project in hand, and can involve all the other forms of management: financial; people and contingency all for the one project.

 

Contingency Planning

Planning contingencies is an important requirement, for example what if the model does not arrive at the location, or weather prevents a shoot taking place, these are all problems where contingencies have to be set in place to ensure the work is done on time – clients don’t accept that problems happen !

 

Health and Safety

This is another area which is very important as a function of management.

Not only does this cover those working for the company, but also any one visiting the company and any one who could be affected by the company or its operations.

There are various pieces of legislation covering health and safety, which must always be adhered to, because failure to do so can lead to very hefty fines and even imprisonment !

 

Legal Management

This might sound an odd function, but it covers the legal requirements that cover all the above functions, and more.

Contract law can be a minefield, so care has to be taken in ensuring that any contracts are drawn up properly, not simply copied from someone else, and contracts coming in to the business from clients and suppliers must be checked carefully, especially when discussing payment terms !

Flash Accessories

Having wrote a blog post on the different types of flash, it seems necessary to finish this subject with the accessories used with flash.

Reflectors

As some of the group will know, I often carry at least one small white reflector in a pocket in my camera bag, just in case I or others need it, it’s amazing what you can get on a magazine these days !

These can be used to reflect light to an area where the flash might not illuminate, to avoid shadows.

Reflectors are available in four colours: white; silver; gold and black.

White reflectors are used for reflecting diffused light towards the subject.

Silver reflectors are used to reflect brighter, more harsh light towards the subject.

Gold reflectors are used to reflect a bright and warmer light towards the subject.

Black reflectors, sometimes called 'French Flags', reflect shadows onto the subject. Although this one sounds odd, and completely the opposite to what a reflector is there for, but it works and can add a subtle shadow if necessary. 

 
 

Flash Triggers

I mentioned briefly in my last post about flash triggers.  These units can trigger flash units (both small and studio) without the need for sync cables, for up to 100m.

Because some use radio transmission, rather than IR, it allows for triggering around corners, through walls and is not affected by high ambient light situations.

Flash triggers usually allow the photographer to choose from four individual channel and six studio selectors, each providing a unique ID for a different flash device or combine them to trigger all equipment within a given setup or studio.  This might sound an odd feature, but where other photographers may be near you it can prevent someone else’s trigger from setting off your flash.

This Pulsar flash trigger also features a hot-shoe mount, sync in and sync out terminals, a ready indicator, a test button and an external power option.

With these triggers each unit can be used as either a transmitter or receiver and is powered by just two AAA batteries, again not breaking the bank.

Photographic Flash

Personally, I prefer to use existing light as much as possible, hence the late additional of this posting.  But sometimes you have little alternative.

There are basically three types of flash:

1. Built in Flash
2. Accessory flash units / guns
3. Studio Flash

Built In Flash

The built in flash unit on a camera are very limited, usually with a guide number of about 10 – 13, at ISO 100.  Although not very powerful the main advantage is that these are always available, being built into the camera and can be very useful for fill in flash.

 

Accessory Flash Units / Guns

 

These units offer far more power than built in flash units, and lots more options.

Above is one of my flash units, which has a bounce and pan head, which allows me to bounce the flash of ceilings and walls, which diffuses the light that illuminates the subject, although care has to be taken as sometimes the colour of the ceiling or wall, if a particularly strong colour, can leave a slight colour cast on the photograph.

My flash unit also has a zoom function that can concentrate the flash into the centre of the photograph, to match the focal length of you lens, or zoom setting, which is handy when you are limited how close to the subject that you can get.

Some flash units also have diffusers built in to the head to diffuse the light without having to bounce the light, removing the harsh flash that can sometimes ruin a photograph.

You may have noticed the Velcro pads on the side of the flash head, these were for a flash diffuser which fitted to the head of the flash unit, which was then angled up and the flash was bounced using this diffuser towards the subject.  Yes another of my gizmos !

You can use these flash units either fitted on top of the camera, using the hot shoe adaptor, or off the camera on a tripod, controlled via slave sensor:

As shown above, or wireless / infra red trigger.  Also flash sync cables can be used, but care must be taken to prevent accidents from people tripping over, or even you pulling over the tripod, with its flash unit, if you walk off too far for the cable to reach.

In fact I have three Pentax Xtra Flash units, which are small self contained slave / flash units which I got for £5.00 each.  They work off one AA battery, so they would hardly break the bank for consumables.  These units do take some getting used to, but are something that, if carried in your camera bag, could make the difference between a good photograph and a badly lit one.

Looking today, they are not available from this shop anymore, and one price I did find for these units was £19.99 !

The power of a flash unit is shown as it’s guide number, which shows how far the flash would be useful, based on using ISO 100 sensitivity (or film) in meters.  But this distance does not take in to account the use of bounce flash, so you would have to consider this when deciding if to bounce the flash off a ceiling or wall.

 

Studio Flash

These are the big daddy of the photographic lighting world, and are rarely seen outside a photographic studio, due to their size and their power requirements, so when I had a chance, on my last photographic course, to use them I jumped at the opportunity.

The heads to these units, shown below, can be fitted with a number of flash modifiers, for example soft boxes (as shown above (right)), umbrellas (as shown above (left)), snoots and barn doors.  These are used to soften, diffuse, direct and control the light from the flash to the subject.

These units are usually triggered via wireless or infra red, or sync cables, but again care has to be taken to avoid accidents.