Category: Uncategorized

Sunny Day Portrait

I have lost count of the times people have said ‘Great day for photography’  when they see a blue sky and sunshine, I usually acknowledge that it looks like a beautiful day, then maybe say, it would be better if it was cloudy!

Yes, photography needs light, it is the whole essence of what it is about, capturing the energy of light that hits a piece of film or a sensor, but it is about the quality of the light that matters and after that the subject matter.

As most of my work involves photographing people, I have more challenges on Sunny days than most.

Top light that is direct creates harsh shadows, and can create images that are unattractive, especially portraits, unless the light is modified by many means.

The first fundamental issue is having the sun shine on the subject straight into the face, the experience is painful for the subject as the bright light makes  you want to shut your eyes, sunglasses can be worn but that can be a barrier to seeing the expression and the subject’s communication with the camera and therefore the audience.

If you have to photograph someone in hard sunlight, ideally have the sun behind the subject, better still have the subject in the shade.

This causes other issues, but it is usually much better than hard shadows and squinting eyes!

A pure blue sky also has the added issue of ‘colour temperature’ that is the quality of the light is very cool, ie Blue.  Cameras on auto setting such as iPhones, will usually adapt and make the subject neutral, but it is often with luck can you get a great shot.

As the algorithms improve and apps make things work, it is ok, but a  portrait of someone will vastly improve when the subject is comfortable, and not having to squint.

Top tips for photographing in the bright sun.

Get the people under the shade, a light coloured parasol would be fantastic, or the shade of a building, that way they do not have shadows or squint.

If there is no shade, as the location is in the open away from any shelter, get the sun behind them or to the side. This put the faces in shade of their head and hair and although the shot may turn out like they have a halo with overexposed hair, the face shall be ok.

Professionals use flash, portable shade, diffuser and reflectors!

If you have to shoot people in the bright sunlight, there are many ways you can help avoid shadows  that you find hiding the eyes and help subjects  who are squinting with a few tips here.

Fill in Flash

This is when you use a flash of light that fills in the shadows, it can work, but it often looks false however with careful balancing of the lights power, it can look OK, but you need to have the light go through a softening modifier like a soft-box or umbrella. Portable flash speed lights (the ones that fit on your hot shoe can work, but the look is often ‘brash’; it is certainly a look that the Magnum photographer Martin Parr used to great effect.

The method I often employ is with a large reflector, usually on the white side, as the silverside is too harsh. This is positioned at the same height as the subject and used with a larger portable flash put through an Octagon diffuser. The round light source has qualities similar to sunlight, and the catch light (the highlight seen in the subject’s eye) looks natural.

If I am able with a crew to help, I shall use a large diffuser or even a combination of a large reflector that shades the subject and another reflecting the sun back to the subject, but on a white board, the larger the better, as it looks more natural.

I try to make the subject as comfortable as possible but use the lighting to make them look appropriately good, ie not using beauty style lights on a male subject who is serious and needs to look natural.

I shoot video using this technique, often the presenter/ subject has to be in front of a location to explain, context, but the strong daylight is a challenge both aesthetically and just painful for the person who has enough to consider just remembering their lines .

Shade the person, then fill the shadow you have created with a beautiful light that is reflected on a white board or reflector. This is a simple and effective way to get around the harsh sunlight

The reflector has to be from an appropriate angle, sometimes if the light comes from below, the subject looks like a Zombie from a horror movie. It sounds like common sense, but the angle of light has to look appropriate.

That is what a photographer is doing, making an image to communicate, its not about making pretty pictures if you are a serious professional photographer, you are ensuring that the images and video you are creating serve the objective.

Ideally, the images are beautiful and aesthetically pleasing, but the client or the purpose of producing professional photography is to deliver a service to a client.

In these content saturated times, to stand out with content and be seen, the images have to work, along with the concept behind them.

So as I have to remember, shooting in the sunshine is something that can be great fun but challenging.

One super tip I can give that again is just obvious, but often ignored.

Shoot early or late.

Shoot when the sun is low in the sky and the evening or morning light looks so beautiful.

If you are in control of a production, the time you work is so important, just imagine that you won’t need expensive lighting, assistants and lots of rigs, just a simple shoot in the ‘Golden Hour’ will look like a million dollar production and it is Authentic, the buzz word at the moment.

Reqqe

It is a part of the photography process and certainly that of filming and that is a Reqqe is best practice.

Research a location you are going to photograph, so you can solve issues before they appear, plan angles and understand when and where the best light shall be.

With Google Earth, a lot can be done before a shoot, but in my opinion, after 40 years of doing it, do a reqqe.

When there were budgets, it was an essential part of a shoot: visiting the location, ideally a few days before, even checking out basics like access to the location, where the nearest coffee house is, and, very important, Toilets!

If you have any clients, subjects, or models, ensure the basics are available or know where they are, and set up a room at a local Pub or hotel as a base. If you have a location van or truck, that’s great, but even for a simple corporate shoot , ensure you have prior knowledge of a location.

The Sun is the photographers best friend, but like any relationship, it is important to respect and treat that friend well and it shall look after you.

( Image of Darren Downes at the  Welcombe Hotel – venue for Speare Academy . Shot in direct sunshine, with reflector and fill in High Sync Flash, having the sun behind the subject by choice and using the location that was known so set up was set up so subject could get on set and be back to work in five minutes- a ‘typical’ environmental portrait?)

Thank Your Lucky Stars – Photography

Beatles in Birmingham – Thank Your Lucky Stars, 1963

My father, Willoughby “GUS” Gullachsen, was the official photographer for Thank Your Lucky Stars, the ABC Television music programme recorded at Aston Studios in Birmingham. He worked on the show throughout the early 1960s, and thanks to him I was lucky enough to watch several recordings, including one by The Beatles.

Unless you actually witnessed Beatlemania, it’s hard to understand just how extraordinary it was. Britain in the early 1960s was still recovering from the Second World War, and youth culture was often viewed as an American influence and something to be suspicious of. Then, almost overnight, everything seemed to change. Looking back, it wasn’t quite that sudden, but as a 12-year-old boy it really did feel like a cultural explosion.

The 1960s brought a shift away from looking to America for everything. Films, fashion and, above all, music were changing. If you wanted to hear the best rhythm and blues you often had to tune into Radio Luxembourg. I had already discovered jazz, and the first record I ever bought was a Ray Charles EP featuring Georgia on My Mind.

At that time, Cliff Richard and American artists such as Bobbie Vee dominated the charts, while the BBC Light Programme was where most people heard popular music. But things were beginning to change.

Because my father was working on Thank Your Lucky Stars, he managed to get me a seat at the recording of The Beatles’ appearance in November 1963. I was an awkward 12-year-old, probably trying to look older than I really was, but I knew I was about to see something special.

The charts then were a mixture of lightweight pop and the occasional great American artist. When four young men from Liverpool started reinterpreting American rhythm and blues in their own unique way, the Mersey sound was born. It marked the beginning of the British music explosion that would soon dominate popular music around the world.

As for my own memories, I caught the bus into Birmingham and made my way to the Alpha Studios in Aston. My father, who had already been busy photographing rehearsals, met me at reception and showed me to my seat. It felt like I waited forever before the audience was finally allowed in.

The excitement built steadily. Every movement on stage seemed to trigger another wave of screams. The warm-up presenter did his best to keep everyone entertained, but the audience only wanted one thing—they were waiting for The Beatles.

More than sixty years have passed since that November afternoon, yet the excitement I felt being in the studios is still vivid. I could never have imagined that my father’s photographs would one day become highly collectable fine art prints.

The collection, now released by PickArt Gallery, offers a rare opportunity to own beautifully produced prints from one of The Beatles’ most important years. They are more than photographs of four young musicians—they are a genuine record of the moment Beatlemania was taking hold and Britain was discovering a band that would change popular music forever.

For me, they are also a reminder of my father, Willoughby “GUS” Gullachsen, who was ‘just my Dad ’.

I  now realise he captured some amazing images that will hopefully be enjoyed b a new generation of Beatles fans, music lovers, and collectors alike.

If you would like to see the full collection or own one of these remarkable limited-edition prints, please visit PickArt Gallery, where the complete series is now available.

Thank Your Lucky Stars

 

Sadly, I have now left my studio in the Cotswolds, because my lease has expired and an extension is not possible. I have returned to my main base in Welford on Avon and shall continue to use Pop Up studios as required. I have a small studio set up at my base, but it is certainly not the space I can use for larger product shots or group shots; I prefer to work at the client’s location, where I can set up with the studio backgrounds and lighting that I have used for years.

This is sad, as having a studio is useful, but certainly not essential. I have always worked on location, going to where clients require me, and that is certainly increasingly back in my home city of Birmingham.

I have access to a number of hire studios across the West Midlands, and naturally when I work in London I often hire a studio or just set up at clients’ offices.

The way my work has changed over the years has always been led by the market; my deliberate shift to become known for my people photography also coincided with more businesses realising that the people they employ are a valuable asset, and photographs of them on company websites have become much more important.

Not just headshots, but portraits that show the person clients may only chat to, or even just communicate with via email. Images that reflect the company’s brand and communicate the sector the business operates in.

In the last 12 months, I have worked every month in Birmingham, working with businesses in the financial sector as well as healthcare, pharmaceuticals, and, naturally, industrial work, as you would expect in the vibrant city that was the workshop of the world. Now, many companies are relocating to Brum: software, cybersecurity, and AI start-ups.

The majority of my work involves people and setting up a background on location has become very efficient as I have pop up backgrounds, portable battery operated lights, so cables are a thing of the past, I do travel much lighter than I did say 3 years ago, but I still ensure I have the lighting capability that I had in my studio, I would like too think that anyone looking at my work would believe those shots that have a plain ‘studio’  background were shot in a studio, but 90% of my work is shot on location in offices, hotels, warehouses or factories.

It is obvious that when the images need to be in the context of the office or factory then it is essential to light the subjects as naturally as possible, but ensuing the subject look ‘good’ ie appropriate, working in a Hospital, the lighting is usually high key, so appropriate lighting needs to ‘fill in’ but look natural, but if the subjects were lit with the existing lights, there would be top lights, eyes would be in shadow, and faces would look unflatered. Hence, using my extensive lighting, even creating large banks of light to simulate the window light the Dutch masters used.

Lighting on location is so very important; with years of experience in studio, locations and especially challenge interiors, getting the lighting right is subjective, but often what lets an image down, iPhone images are great at making a location look good, but making it great requires professional quality cameras and optics, even the best optics are limited, especially when architecture is challenging, that is when Tilt Shift lens are useful, if not essential if you don’t want to make a scene look distorted the way most smart phone cameras do or even most professional quality cameras, they use the standard lens that are great for most jobs but when quality controlled images are required, specialist high spec lens are needed.

One aspect of working on location with a pop-up studio is controlling the ambient light, in order to asses the flash lighting that only emits low light for what is called ‘Modelling’ ie provides a guide as to how the flash light shall look, so well lit offices can be a problem however if they are on automatic, I have learned tricks to ‘fool’ the light controls into thinking there is nobody in the room and so the Auto light does not come on, and therefore allows the flash, model lights shall be seen in the low light so helping guide the subject.

I digress; studio or not I shall continue to deliver images that my clients require, lit with whatever the subject requires for the purpose of marketing and communication.

I shall miss my neighbours (see above)  near Chipping Campden , but I know I can visit this wonderful part of the countryside any day as it is only 5 miles from home.

Birmingham photography locations for headshots and so much more.

Location photography in Birmingham is what I have done for many years, in fact all my professional life I have had a base in the city or had worked on a regular basis.

I grew up in my father’s studio in Edgbaston, first in Duchess Road and after that just around the block at 94 Hagley Road, although I was living in West Bromwich till I was 17, my first 5 years were spent in Great Barr.Although I was born in West Bromwich I do consider myself a Brummie? Yes, but I always wanted to have a home in the sticks, so I have had to commute from Worcestershire and Warwickshire, you can take the boy out of the city, but the city stays in the man.

Having the knowledge of the geography of Birmingham and its hinterland helped me get around and find locations for advertising commissions, as well as finding myself at many clients’ factories or business premises.

At College at what was then was Birmingham Polytechnic, I studied at the School of Photography at Dorrington Road, Perry Barr. The three years I was there, I would use many locations in and around the city and often work for hairstylists and fashion boutiques, producing work for my studies and often taking on small commissions. I would help my father as his assistant and second camera when he was taking the pictures at the original Birmingham Rep and then the new theatre for the Front of House posters and a record of the productions. I lived at a number of properties during this time, so more basic than others. For a short while, I enjoyed having a base in the Regency House on the Hagley Road, where I had access to my father’s studio, which I used for portraits and fashion shoots to build my portfolio.

When I finished at college, I left to seek my fortune in London, as an assistant, it was certainly not a fortune, but with the economic downturn, I and fellow ex-students returned to Birmingham to establish a studio at 164 High Street, Deritend, a few hundred metres from what would become the Custard Factory.

During this period I shot a lot of studio work but whenever I could I would get out and shoot on location, I found wonderful old Victorian pubs and old grand houses that I used as a backdrop for the various commissions I was getting, many were calendars for such clients as Mitchell & Butlers as well as many automotive clients, rather than build expensive sets I would seek authentic locations that were grand and luxurious, fashion shoots for Wolsey Knitwear in the Midland & Grand Hotels, private swimming pools in grand houses in Edgbaston and Solihull.

The city provided so many wonderful locations that could pass as London or continental Europe, e one shoot I did for a spoof April 1st Ad for Milton Keynes Development agency that looked like a south American Bar, but in fact was it was Hawkins my local on Newhall street. Dressed as a ‘Man from Havana’ a model who had a very distinctive look of a mature man with a past, posed in the foreground like a movie still, while the background had a variety of younger characters in what looked like exotic evening wear. Sadly the print from that job is lost, or is it? My negs are  in secure storage and are under review for possible publication.

As work was increasing and I needed a larger studio, I moved to Bartholomew Row, near to the city centre, a new built unit was fitted out with a car scoop and much more studio based work had to be done to pay for the outlay and also made so much more sense to control when I could have large sets and many more products shoots, kitchen sets, bathrooms and large set pieces for Dunlopillo and slumberland as well as Cars such as Peugeot and Land Rover, with other photographers using the studio, I could then get out to my preferred location photography and when not traveling for travel clients, I would be taking pictures for Birmingham campaigns promoting the city across the UK but especially to the big money investors  were looking to relocate from the city of London, this is when I shoot images for the financial press and colour supplements of the wonderful Parks such as Cannon Hill and Edgbaston Reservoir , the new Snow Hill station exterior the first part of the development the heart of what would become Colmore Row Business district.

The 1990’s were spent based in Wimpstone, near Stratford on Avon, while I commuted to my studio in London and enjoyed the life of a automotive and travel Photographer working for manly London Agencies, during this time Ii did a few commissions in Birmingham and started to plan my future so I could move into a quieter life enjoying the country lifestyle and maybe teaching ?

Life has a way of making you change direction and having a rethink about the way automotive photography was going, with much computer based with retouching and CAD creating work with little input from a photographer , I started a change of direction and returned to a major personal project based in Birmingham, collaborating with the Birmingham Central Library and the wonderful Pete James, I devised a plan to create a body of work that celebrates he new Birmingham , Movers & Shakes-faces of a changing city.

The New Bull Ring centre was under construction, the new library was just starting to be developed and many other exciting developments were underway, Birmingham was in the frame for ‘City of Culture’ and I could see the city I loved starting to be taken seriously .

The premise of the concept was to feature not only 100 faces of the city, but also celebrate the new and old architecture that I knew needed to be documented.

As the Queen Elizabeth Hospital was planned to become the largest Hospital in Europe, it was important to photograph those involved, the project managers and councillors , architects, cultural icons and the representatives of this new diverse society, all came Ito the mix. The interiors of Pubs like the Anchor where I photographed Dr Carl Chinn.

Curson Street Station, which was a backdrop as well as Millennium Point, meters away from my old studio in Bartholomew Row, where a beautiful Victorian brass-work factory had stood and was thankfully still preserved durning the extensive redevelopment of an area that I hardly recognise with road redirects and new building going up each year.

I shot a few politicians and subjects in and around Victoria Square, still a great location that has one of my all time favourite buildings , The Town Hall, where I saw great Jazz artists as well at the CBSO where they were based from the late 19th century, Led Zeppelin and Muddy Waters, were certainly part of my history and the building still stands beautifully within the new developments around Paradise Circus.

The Movers & Shakers project celebrated many individuals, but the world-renowned CBSO and the Royal Ballet were both subjects shot at Symphony Hall and the rehearsal studio at the Birmingham Hippodrome.

Along the way, I found vantage points to use the Cityscape as a background, such as when I was photographing Jasper Carrott from the grounds of his beloved Birmingham City’s St Andrew’s. I am certainly interested to see how that development goes!

I learned that there is a wonderful view of the city in so many places, certainly the new skyline is ever changing, and I do wish that more dynamic images of the city were seen across the world, a few images of the council building and maybe the new Library do not represent the new city.

Some locations never made it to the final cut, for a variety of reasons, often political. One area I would have liked to have used more was the Jewellery Quarter. I have used it since for portraits of those working in the financial sector, as well as creatives in many sectors. The square around St Paul’s is certainly one of my favourite locations and has been a backdrop for a number of portraits.

I lived in Harborne, 37 Albany Road, in the early 80’s, and as it was my first house, I owned and had so many wonderful memories attached, I often take a slight detour to literally go down memory lane, or should I say Road? The Harbourne village area is possibly the area I would relocate to if I was returning to the city and an urban lifestyle,however I have seen so many beautiful  areas , I could have a very difficult job making a discission, contenders include, Bournville, Kings Heath and Mosley. It is good to have choices even if they are totally theoetical .

My work has taken me full circle, as I now work in. Birmingham more than any other location, photographing for clients in the professional sectors as well as healthcare and charities.

It is often the case that I can take the train in and enjoy a catch up with old friends and produce a headshot in one of the many shinny towers or converted old banks, chambers or clinics.

Birmingham has changed, I do miss the city of my youth, but Im excited by the vibrant city it is now, a great example of the new diverse Britain that has embraced change and thrived.

I shall continue to photograph it professionally but also for my own person satisfaction , Brum is a complex place that has a great past and a wonderful future and is full of locations worth visiting and enjoying.

people

5 decades and counting

In the 70’s I graduated from Photography school – 5 decades later I am still enjoying a career in the medium I love,

There have been some massive changes , but I have adapted and evolved as a ‘commercial’ photographer, I am still busy and enjoying it.

So what has changed?

In photography, the changes are not that massive; digital capture arriving was Massive, but capturing an image is much the same as it was in the beginning: light falling on a surface and being preserved to use again as a negative or data to create an image to be seen in a multitude of media.

However, the technological changes and the pace of progress seem to be on fast-forward.

Taking a picture and sending it across the world in seconds is the wonder, the billions of images shot every day that could be seen as ‘good’ standard, in focus, good resolution and colour that looks real is what has impacted our world and the world of professional photography has seen massive changes to what is required for their clients.

In the 70’s the media still had press images in Black and White, and the printing process was just changing from Letterpress to Litho, so darkroom assistants and printers were employed, as colour  media became more widespread, the majority of the commercial output of a studio would be as colour transparencies, often on a large or medium format camera.

The film was sometimes processed in-house, but usually a photo lab would process the work, a two hour run would produce the test image, either one of many shots that could be processed and the remaining sheets/ rolls would be processed, maybe with slight modification to push or pull the exposure to get the best result.

Exposure would be determined by accurate meter readings and checking with a Polaroid to assess the lighting balance, the composition, and whether the image was for publication, to determine if there was space for Copy to be included on a page, poster, or whatever its outcome was. Most advertising shoots were directed by an Art Director, one of the creative team that usually comprised a writer and the designer.

The concepts and layouts were often worked on for many weeks, and when finally approved by the creative director and presented to the client, who could approve or have to get clearance from above, especially if the campaign was using up a year’s budget for many thousands with media, hundreds of thousands.

Lead time for a campaign could be months or even years, so there were many hurdles to cross and a photographer could be right at the end of the process, so as everything was done with at the best FAX – things took time, till the button was pressed, then it was a race against time as the results needed to be out as the process was usually behind schedule.

It was amazing that some ads were out and in the press in 24 hours as clients who had great budgets, creative agencies would respond to news events and steal the limelight.

There were limited TV or cinema ads and it was very expensive, a commercial of 30 seconds could cost £millions, so print was king. Big 48 sheet posters were used for major campaigns , at the time it was a major event when a new Ad was launched, such as the Benson & Hedges & Silk Cut ads.

The 80’s came along and retouching became easier with early computers, such as Sitex, allowing more complex images with HDR (High Dynamic Range)  using many images of different exposure to create ‘impossible’ results.

As communication with text and mobile phone came along things speeded up, and as international flights became cheaper, travel to exotic locations became possible and I certainly enjoyed many trips to holiday-related destinations as well as providing predictable weather and interesting locations.

With time sensitive subjects such as launches, seasonal products the images would often need to be created in a season that was unsuitable. One example was with a Hay fever product launch, it needed to be ready for a trade launch in March and out on the streets in late April / May when the pollen was out. The concept was a couple in the long meadow grass with seasonal spring flowers .

In January there were not many meadows with flowers and a stock image at that time was not found, with a couple in the meadow it would not be easy to find anyway, the usual practice would be to create the image, but where?

Post internet the options were calls and emails to a variety of location scouts or producers, the people who usually work for film and TV produces, after 24 hours I had found a suitable meadow with the access to people suitable to cast for the shoot.

New Zealand – South Island – near Queenstown, it was spring and my location producer David Curtis had just worked in the area for a Chocolate Commercial so knew it was perfect for the brief.

Long story short, I met the Art Director Jonathan at Heathrow – flew to NZ – shot and processed in Aukland, remember this is on 5×4 transparency film so there were test frames and then the balance I in two batches, never process all in one batch as I had learned a few years ago, when a whole batch of images were last due too a technician opening the process before fixing. After the best two images were selected, the film was scanned, and then photo-comped together and then with early Photoshop retouchers, created a comp of the shot with a couple and an extended meadow – so a very large file was uploaded and transferred overnight as the Internet was so slow at that time. The result was delivered to a conference, to media and was live on our return to the UK.

Nowadays, a stock shot would be used, even Ai to generate the models to keep costs down and the result would look perfect, maybe too perfect?

A reputable Agency and client would probably still try to create the image as real and honest as possible, but the accountants may have an input, and original work would suffer?

The back lash against Ai, has already started as ‘grunge’ photography and even shot on film has enjoyed a revival, so as I enter my 6th decade in photography there are still challenges and rewards, for myself, I have certainly found the jobs I enjoy are those people based, real people in real situations, what is called environmental portraiture, the context for this work is often as case studies for a variety of clients, and my personal work often with Artists and creatives in their studios or locations relevant to them.

With reduced budgets it is still about having great ideas and a twist, even if it’s just a headshot, I try to light each project differently , unless there is a Brand or house style.

The hungry media requires more and more images, video’s and audio, although I am a purest when it comes to portraits, there are no rules with photography, except rule 1 – ‘Look Cool,’ as I said to students and assistants way back in the 70’s, I added that there was another rule in photography, that been ‘There are no rules’ .

Guidelines and the laws of physics are good to know, but phototography has become part of everyday life to a degree that is difficult to comprehend. You have to go off grid and away from everyone to not have a photograph in some shape or form.

So, if everyone is a photographer, how come I am still working as a commercial Photographer?

It seems that the more we use photography on social media and on every platform and website, we need images that stand out and ‘work’ . Everyone can take a picture but can they capture an emotion or produce a series of portraits that are uniform in technique yet show the individuals in a manner that is ‘on brand’ and still the essence of the subject?

This is one area that an experienced Photographer can help.

When a product such as a premium car has to be photographed – a lot can be atchieved with CGI and a skilled technician, but that image requires the ascetics of photography that means the operator is either a photographer by training or experiance or has the input of photographers, but this is where the line beecomes very blured (forgive the pun)  as images are ‘created’ by Ai or from the result of thousands of photographers images been used as referances?

Photographers have always used new technology and Ai is just another tool, powerful as it is, it is now used by those who would say they are photographers, but are evolving into a new breed of creative, based on photography but moving into a ‘Brave New World’?

I shall certainly continue to take photographs, hopefully I shall continue to be commissioned to produce work, images that provide the visual assets that are required, I shall certainly be working on my personal projects, and although most shall be portrait based as that is where my pasion lies, I shall always be that child that hopefully sees the world and is in awe wanting to capture my vision of what moves me.

Linkedin Headshot or Brand image?

Increasingly the importance of Linkedin for business is becoming more apparent, I am aware that it is the platform where professionals can be found, and certainly there seems to be many coaches and trainers helping people have a great Linkedin presence who seem to be omni present?.

Most business that are B2B realise that most clients are just a few clicks away on Linkedin, however the platform is not to be used as a mailing list, but a place to build connections, establish trust and long term develop business relationships.

I have attended a few talks and even gone to Linkedin conferences, although as a commission, so I do think I have certain qualifications to help clients with their Linkedin presence, especially when it comes to their headshot. This simple image is possibly the most important visual asset yu have, it is the image that provides the first impression.

So get it right.

A few millimetres of real estate is all you have, so try to use an image that communicates what you want to say.

Obvious, yes but vanity and emotions get in the way of good visual communication.

A wonderful holiday may produce a picture that shows you with a great tan and makes you smile every time you look at it, but is it the best image for your profile?

It does not have to be a ‘standard’ headshot, I never ever believe that there is an ideal way of producing the best headshot for anyone, you are an individual, the only one of you ever, you are unique.

There are not rules, not that I am aware of, no tried and certain best practice, a headshot is possibly expected but does it have to be the same as someone else?

It depends on many factors, one is what do you want to do on linkedin? Attract a new employer, build your business in a niche sector, provide a professional service or a freelance creative looking for a new client or agency to work with?

Whatever is the case, there are a few considerations.

1 The image is going to represent you on your profile, but also every time you comment or  communicate on the platform.

2 It is a small image on most smartphones it is a few millimetres at most. So ensure it is clear, not a blur!

3 Simple is best?  If you do want to be recognised, consider a simple up to date image.

4 Black & White or Colour? There is a recent trend to return to ‘serious’ monochrome images, certainly in many ‘professions’ such as accountants, Solisitors but what does the monochrome image say about you? Are you stuck in a bygone age? Or super hip?

I am personally a great fan of monochrome images, taking colour out makes the image stand out with its simplicity, but be careful, trends change and you maybe seen as trying too hard or concealing  something?

5 Build your Brand ? With your colour palette of the stand out clothes that you wear, you want to reenforce the visual brand you have when you are in the networking ecosystem.

Each simple headshot can be so much more complex, when you consider all the factors involved.

So when you get around to changing the headshot on Linkedin – have the conversation with your photographer or are you going to use an Ai avatar ?

My recent update of a ‘headshot’ is not a headshot, I just tried to communicate what I do, in a simple way that works even  at 4mm across?

I have created an image that works at a basic level, it has the elements that are related to my profession, a camera, a light and a serious tripod also adds to the mix, all those elements signify I am a photographer, but also I am a professional as the kit indicates much more that just an enthusiast, it all could be owned and used by anyone who enjoys photography and has the money to hire or buy the kit, however the image is a ‘shorthand’ communication to state my status as a serious player?

The image came about when I was setting up for a portrait session at the Stratford Literary Festival, I was trying to replicate what my subjects would see, how difficult it is for those in front of a camera, I had many attempts as there are often long periods between the subjects, I often photograph myself not for use as a selfie, but as a lighting test as I want the subject too be fully engaged from the first image I take, often I  only have a few minutes or even seconds, so I need to have the lighting and exposure spot on. So my face has stood in for many hundreds if not thousands of faces, fortunately not seen that often. That is another reason that my Brand portrait is as it is, I am in silhouette, my craggy features are not front and centre, I am present, but not the main subject?

I am now using this across many platforms and sites, as it has become a Brand image, something like a logo, although I have one of those, but a logo does not convey my work, if there was a reference to photography that would be different, so my brand has taken on a new image that almost by default has become my Brand.

You to can develop a ‘brand’ image, but it may take a little trial and error, see how people respond, get feedback, try variations , you may have to include props and symbols but it is worth the effort in these days of digital fog?

When looking for a headshot photographer in the West Midlands the common Frequently Asked Questions people ask include:

1. How much do headshot sessions cost?

If the headshot is for the usual website and linkedin use the following cost are applicable.

I deliver a headshot for an individual at the base figure of £250. This can be at my studio or at your work location.

If a business requires headshots of staff I charge a minimum rate of £350 for up to 10 staff members.

For more than 10 staff a rate of £35 / per staff or if more my base day rate of £495.

All prices subject to confirmation of brand requirements and the delivery of additional retouching. Parking and congestion charges maybe charged.

These figures are a guide each job is unique and I always quote and confirm when I have spoken with the client about the exact requirements and location.

2. How long does a headshot session take?

If it is a simple shot for website or Linkedin

It takes usually 45minutes for me to set up  my ‘Pop Up studio’  the lights, background and ensure the space works.

I usually take 5- 10 minutes to take the picture, but ideally I have a few minutes to chat and understand the subject and if there are changes it can be an hour or two, I try not to rush the subject as it should be an enjoyable process, a happy person shall look happy.

If it is a company shoot and there are many to be photographed it maybe only a few minutes with each subject, but each job is different so it can  be 5 minutes to 2 hours.

3. Do you offer makeup and styling services?

I often work with hair and Make Up Artists, however there is a considerable additional charge for their service, certainly needed for major Brand and character marketing material, if you want a MUA (Make Up Artist) I have a number of trusted professional that I work with that I can get for the project, just let me know. However for most website / Linkedin images normal make up and grooming is OK as you would appear at a meeting with a client.

4. How should I prepare for my headshot session?

For a headshot that is for Business, you have to consider what is your profession and what would your clients expect you to wear?

Your hair and make up again should be that that you would have for an important meeting or presentation. If you wear branded clothes ensure the clothes are clean and as new as possible, if you are organising the session for a workforce who wear branded clothes ensure you have fresh uniform in all sizes.

A headshot for an actor, writer, artist or presenter are all different and a conversation to discuss wardrobe should be had early on.

With all my headshots, I really prefer the term ‘Portrait’ as I hope to achieve more than a superficial record of the subject.

Please call to discuss the session, I don’t bite and getting the headshot right for you is the important thing..

I have an extended  guide that I Blogged about last year here with this link,

5. How many outfit changes are included?

If you are able ,always bring a choice of clothes, consider the seasons – try not to have a top that say’s winter or summer?

I usually shoot a couple of changes if its a single session, when there are a large number of subjects, schedule may be a problem, but it you have an extra jacket or top, it should only take a few minutes to change and get more choices.

I am happy to shoot a variety of wardrobe changes, but that is more like a branding session that involves longer images that can be full length, so that is something you need to tell me before the shoot .

6. Can I choose the background or setting?

Backgrounds and locations are very important, for a company shoot it is often a brad requirement to be uniform with backgrounds , I can certainly proved a number of options.

If I am shooting a number of individuals in a session  I cant’t change background easily but

as an individual sitter a couple of background changes are possible, I have many possible different backgrounds, however I recommend the simpler the better if its a linkedin or website requirement otherwise the background can be distracting .

If you need variety let me know, with my lighting techniques and post production I can put you on the moon or on a beach. Everything is possible, but you are the subject so don’t distract the viewer with too much going on. Bold colours can be used for Branding and certain needs, however the main subject is your face so backgrounds should compliment that.

7. How soon will I receive my photos?

I usually deliver the low res reference images to you within 1 working day, they are sent by FTP , I use my SMASH account to do that.

You then select the images that you require, as an individual I would supply 5-10 images that are selected, retouched and delivered.

These are delivered usually within 48 hours, you shall be informed if there is going to be  a delay.

It is important to select the images that you want and order them together, as they are processed together they shall be consistent this is especially important when selecting the images for a business website that has to be constant.

If there is an urgent requirement for the images, please let me know, I shall deliver to a copy-date if it is possible, I just need to have some warning so I can arrange my schedule to deliver.

8. Do you offer retouching or editing?

Retouching and editing are an important or essential part of what I do, The look of the images depends on many things, especially the lighting and the kit I use, but then my style of post production is tailored to the project, I send what are usually a slightly modified low res proof images, I eliminated those that have blinks, strange looks (Yes we all have them occasionally) you don’t want to see a picture of you yawning ? . That maybe 5% of the images taken, you then see the 95%, you then have to choose the one or ones you want.

I can edit, select and deliver a final image, I do it all the time, but you are the client and so you should select the image that you shall have to live with for a few years.

When you have selected that agreed number of images, I proceed to process then at the highest resolution, in Photoshop often with add on specialist software, I then remove blemishes and stray hairs, maybe dust or marks on your clothes, even enhance some features and produce a ‘master’ final. Then I create a full size image and a web-size image to send via my FTP -Smash.

The degree of enhancement depends on the brief and final use of the image, I try to make the final image as ‘real’ or natural as possible, not looking like a filter as been applied.

Retouching and enhancement has been around as long as photography, it is part of what I do.

9. Can I see samples of your previous work?

My portfolios are available on my website, most headshots and portraits are representative of my work, however I am happy, even delighted to produce images that have inspired you, I have worked on may techniques especially in portrait work, so if you are interested in a certain style, please let me know and we can produce a headshot that represents what you would like your Brand and style to look like, maybe a Hollywood inspired image or a minimalist black and white approach.

10. What is your location and studio setup?

I have a small studio in the countryside between Chipping Camden and Stratford on Avon, I shot many portraits and headshots there and use the nearby countryside as a backdrop.

The way I work has always been fluid and I have always take my studio lights and backgrounds to locations, its what I enjoy and hopefully what clients appreciate, I set up at events, offices and even factories and produce studio style images,

I also relish using the location environment for what is known as environmental portraiture, I have portable battery powered lighting that enables me to create controlled lighting that was not possible without a large crew and budget, now with some custom kit and a few years experience I am able to create ‘big studio’ looks  almost anywhere.

11. Do you have experience with corporate or acting headshots?

I certainly think I have strength in these areas, although the corporate headshot is certainly not the same as the images required for casting directors. They both require a portrait that shows life and communication in the image, I have worked with many in the corporate world who certainly know how to communicate as an actor has to, I may use similar techniques to produce headshots , but

The images that Spotlight require are often very similar to all the rest, so to stand out a more creative techniques should be considered, Actors have to play many roles and with lighting and expression changes it is possible to create a folio of images that look like many different characters. The change with new casting platforms such as StartNow has demanded that actors have a range of up to date images that show a range of looks. I know, I cast from them for my commercial advertising work.

My corporate work ranges from the legal profession, medical and financial sectors. It is often a challenge to get the people at the office or chamber on one day so often a session can last days when large firms are updating a website or having a new intake of interns etc.

Please check out the actors folio and the headshots and corporate folios to get a better idea of my work.

12. What should I wear for my headshot?

Ideally you bring a few changes, but each session is diffrent, a conversation will be had and the options discussed, I have a guide that should help , check out my previous Blog.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Why Backgrounds Matter

When clients first reach out about my headshot photography, one of their biggest concerns is usually the background. They often have specific ideas in mind or guidelines from their company, which is great—it shows they’ve thought it through. But the real question is: is it the right choice for them, their brand, and how they’ll use the image?

The color, tone, texture, and how much of the background shows are all super important when it comes to how a headshot is perceived. A background shouldn’t steal the spotlight; it should work with the person in the photo. Surprisingly, it can say a lot more about them than you might think, especially since today’s audiences are pretty visually savvy—even if they don’t always realize it.

Framing the Subject

The background “frames” the subject. The right color can complement someone’s complexion and hair, while a bold color can overpower the image. A primary color can work if done right, but it definitely sends a message about the subject.

Take a plain white background, for example. It’s a classic choice that legends like Avedon, Penn, and Bailey have used to great effect. But if it’s not done well, it can come off looking like a passport photo. Also, if the subject wears a white top, it can result in a “floating head” look, which is definitely not ideal. A clean, minimalist website can be a great place for a white background, but you have to be careful.

The Purpose of a Headshot

The main goal of a headshot is to show “who you are.” If all you need is a simple image, you might as well go to a passport booth, right?

The person in the photo should project their professional image—whether they’re an accountant, lawyer, or financial advisor. Their background shouldn’t distract from that; it should reinforce their professionalism. A light grey or slightly textured background could work well, perhaps with a subtle hint of color. Blue is often a safe bet, but you might want to avoid bold yellows or pinks.

The Impact of Color

Every color affects the viewer, unless someone has color blindness—about 1 in 12 men and 1 in 200 women do. That might explain why grey is such a neutral choice that everyone can see.

While the audience may think they’re just looking at a face, they’re actually taking in everything—the lighting, the clothes, the expression, and definitely the eyes. It’s a primal response; we’re bombarded with visual information.

A simple grey background, especially if lit well, can convey that there was some thought put into it. It shows a level of professionalism and can make the image feel more prestigious. Is that the message you want to send?

Choosing the Right Background

So, when you’re preparing for that headshot, think about not only who’s taking the picture but also what you should wear, how your hair should look, and what background you want.

Professionals like accountants, architects, and engineers often want to communicate trustworthiness and professionalism through their appearance, which includes their background.

Gender Considerations

A soft pink background with bright lighting might give off a feminine vibe, while a dark, moody background could come across as more masculine. In today’s world of equality and gender ambiguity, the type of background shouldn’t be a big deal. But our cultural influences can still affect how people perceive these images.

It might not be politically correct to say, but colors do matter when it comes to visual communication. If you’re picking a color or tone, make sure it aligns with your intentions. It should focus more on the person than just being a pretty picture—it should definitely be “on brand” without making the subject uncomfortable or overshadowed by the color.

All these factors come into play before you even consider clothes and poses!

Final Thoughts

Many businesses, especially small and medium-sized enterprises, opt for team portraits or headshots with carefully chosen backgrounds. This is great for photographers since even one personnel change means a photo update!

The choice of background color can be anything, especially with today’s AI technology. The range of colors is limited only by the screen or media used to display the images. The resolution of a phone is different from that of a laptop or high-end monitor, and web designers really need to pay attention to these details. A well-designed website can make or break the first impression for potential clients.

So, What Background Should You Choose?

It might not be the most crucial decision you’ll ever make, but it definitely matters.

Should you leave it up to the photographer? I’d say no—it’s an important conversation to have. Unless there’s a significant reason tied to a website’s color palette, I usually recommend grey as a neutral tone. It complements most skin tones and works well with both light and dark hair.

A grey background can vary widely in tone. It can be considered grey when lit just under white or just over black.

An 18% grey is often a good reference color to ensure proper color balance, helping with reproduction. This grey is seen as the midpoint between black and white, which helps maintain a neutral color temperature—a technical detail worth considering, though it shouldn’t dictate your final choice.

Let me know if you need any changes or want to work on something else!

The task is to make the text of your answer a little longer and write it using new words and wording, but without leaving out important details.

Sure! Here’s a longer and more detailed version of the text, using different wording while keeping all the important points:

Choosing the Right Background for Your Headshot

Why Backgrounds Are Important

When clients contact me about headshot photography, one of their primary concerns is typically the background. Many have specific preferences or company guidelines that dictate what they want, which is fantastic—it shows they’ve given this some serious thought. However, it’s essential to ask: Is their choice truly the best fit for them, their brand, and the intended use of the image?

The color, tone, texture, and the extent of the background visible in the shot are all crucial factors that contribute to the overall perception of the headshot. Ideally, the background should complement the subject without overshadowing them. Surprisingly, the background can convey far more about a person than most people realize, especially when considering that today’s audiences are incredibly visually aware—even if they might not consciously recognize it.

Framing the Subject Effectively

The background is like a frame around the subject. Selecting the right color can enhance a person’s complexion and hair, while a bold or dominant hue can detract from the overall image. Primary colors can certainly work if they’re used thoughtfully, but they inherently communicate something about the subject’s personality and brand.

Consider the classic choice of a plain white background. It’s been a go-to for photography legends like Avedon, Penn, and Bailey, who have made it shine in their work. However, if not executed correctly, a white background can resemble a passport photo. Moreover, if the subject is wearing a white outfit, it can create a “floating head” effect, which tends to be quite unflattering. While a sleek, minimalist website might be the ideal place to showcase a white background, caution is definitely warranted.

The Purpose of a Headshot

The primary aim of a headshot is to convey “who you are.” If all you’re after is a straightforward image, you may as well visit a passport photo booth, right?

The individual in the photograph should project a professional image—whether they’re an accountant, lawyer, or financial consultant. Their background shouldn’t distract from that; rather, it should enhance and support their professional image. A light grey or subtly textured background can work beautifully, perhaps with a hint of color. Blue is often a safe choice, but it’s wise to steer clear of overly vibrant shades like bright yellow or pink.

Understanding the Impact of Color

Every color evokes a response in viewers, unless someone happens to have color blindness—an occurrence in about 1 in 12 men and 1 in 200 women. This might help explain why a grey background is often regarded as such a neutral and universally appealing choice.

While the audience may think they’re merely viewing a face, they’re actually absorbing every detail—from the lighting and clothing to the expression and, most importantly, the eyes. This reaction is instinctive; we’re inundated with visual stimuli.

A simple grey background that’s well-lit can suggest that there was intention behind the choice. It conveys a level of sophistication and professionalism, enhancing the overall prestige of the image. Is that the impression you want to convey to your audience?

Making the Right Choice for Your Background

When preparing for a headshot, it’s important to consider not only who will be taking the photo but also what clothing to wear, how to style your hair, and what background to select.

Professionals in fields like accounting, architecture, and engineering often seek to communicate reliability and professionalism through their appearance, which certainly includes the background of their headshot.

Considering Gender Appropriateness

A soft pink background illuminated with bright lighting might evoke a more feminine appearance, whereas a darker, moodier background could suggest a more masculine vibe. In our contemporary society, where equality and gender ambiguity are increasingly recognized, the type of background shouldn’t be a major factor. However, the influences of centuries of culture can greatly impact perceptions.

It may not be the most politically correct statement, but when it comes to visual communication, colors absolutely matter. If you have to choose a color or tone, make sure it aligns with your intentions. The focus should be more on the individual than simply on creating a pretty image. It should certainly be “on brand” while ensuring that the subject feels comfortable and isn’t overshadowed by the chosen color.

All of these considerations come into play before you even think about clothing and poses!

Final Thoughts on Background Choices

Many businesses, especially small and medium enterprises, opt for team portraits or headshots with thoughtfully chosen backgrounds. This is beneficial for photographers, as even a single personnel change necessitates an update to the group photo!

The possibilities for background color are virtually limitless, especially with the capabilities of modern AI technology. The range of colors is constrained only by the medium on which the images are displayed. The resolution of a phone differs from that of a laptop or a high-end monitor, and web designers must pay attention to these nuances. A well-crafted website can significantly influence the initial impression a potential client has.

What Background Should You Choose?

While selecting a background may not be the most critical decision you’ll ever face, it certainly has an impact.

Should you leave this decision solely to the photographer? I would advise against it—this is a conversation worth having. Unless there’s a compelling reason tied to a website’s color scheme, I generally recommend going with grey as a neutral option. It complements a wide range of skin tones and works effectively with both light and dark hair.

A grey background can vary significantly in tone. It can register as grey when illuminated just below white or just above black.

An 18% grey is often viewed as a reliable reference color that ensures proper color balance, aiding in accurate reproduction. This shade of grey is perceived as the midpoint between black and white, which helps maintain a neutral color temperature—a technical aspect worth considering, although it shouldn’t solely dictate your final decision.

I love working with new business,setting up a new enterprize it is a brave thing to do and it takes a lot of energy, planning and commitment. All traits I admire.

When approached by the Eggless Baker, Pardeep had already on her journey with a thriving specialist  bakery suppling local shops and restaurants in North Birmingham, however there was an ambition to grow the business and believed investing is some photography would be a way forward, however, just taking some shots of the cookies and cakes was only a part of what was required and so a new website, rebranding and packaging were on the agenda, I certainly endorsed the approach and finding a good web designer and marketing agency, Thrive, the photography had to wait a while.

With a website design and a shot list , I could produce most of the material that was required, although stock images were part of the mix, the majority of the food and naturally portrait material was created and a new site went live, new packaging and hopefully a little help from my photography the next stage of the Eggless Baker story unfolds.

Certainly check out the website, but be careful, seeing the cake and cookies can be too tempting .

https://theegglessbaker.shop/