Category: Uncategorized

Why I photograph everyone differently!

Everyone is unique; we may have a twin, but even then, siblings differ, as their close relatives can tell.

As a portrait photographer, I try to treat each person I photograph slightly differently, and that I hope is what makes my approach different than many other photographers.

I am not saying I’m right and they are wrong; photography should not have rules, but unless the brief is that all the shots have to match exactly, for say a passport photograph, I try to understand the person’s best features, their best side, something most of us have.

Most people shall naturally present themselves to the camera with their best side dominant; it is what they do every time they look into the mirror.

So I try early on to see what the opposite is like, just to confirm that they do have a best side.

It is subjective of course as are so many things that we see in ourselves and in others. Fashion also dictates what is attractive or not.

Full lips were often something that people would be concerned about, ladies even applying lipstick over a smaller section of the mouth; currently, the plump, full lip is seen as a feature of beauty and many use treatments to make them even more pronounced or as an old expression I remember as ‘bee-stung lips’.

What ever someone looks like, I try to ensure they look their best.

Why?  I want to represent the subject in a positive way, especially if I have been commissioned to produce a headshot or brand portrait for social media and marketing.

I try to light ‘the subject ’, which is a strange expression; however, it is accurate. Photography is essentially about capturing light and understanding what it does to a subject. It’s that that makes the difference: is it subjective for them, or is it my idea of what is the best version of them?

If the job in hand is just a headshot for linkedin and the company website, I shall often start from a base point with a uniform lighting, but depending of their gender, age and other physical traits, I shall tweak the lighting, I shall also tweak the exposure and lighting balance, that is how much the lights on the background or hair detail.

I may start with usually three heads, but add or subtract one or two. Some more complex lighting can have 7 individual lights, hitting small details, bouncing onto the underside of a face to get detail in the shadows, or sometimes to increase shadow, often to ensure the area under a subject’s chin is dark, without detail, hiding unnecessary details in a neck, for instance.

Even when the person is just one of many that are for a website that has to reflect a uniform look, I shall not just stick to a lighting format. Why, well as I said everyone is unique. However, the background and the eye line for each subject should be uniform or appear close enough.

When all the images are put together, the background unifies them, but with closer inspection, each shall have a slightly different light balance.

One main difference is gender, not been sexist, but society has expectations, and a female is going to look differently to a man, Assuming the subjects are ready to be photographed, they shall have groomed, put on makeup, as they would when the go out into the world.

I am reflecting those differences and may in fact enhance the difference, I would usually light a female with a more even soft light, and a man would possibly have a cross light to show more texture, his facial hair and more ‘rugged’ features.

A wise man  said

There is nothing as simple or more complex than a portrait and the same can be said about a headshot because that is what it is.

Even the most simple image is laden with information, the reader (the viewer) may not be aware, but with so much about communication it is very complex, we see so much information that we take in subconsciously.

If the image is against a plain white background, it has an implication that this is about a company or formal images, a security or identity image, in black and white is take sit into a realm of time, is is a contemporary image or much older, The image can be interpreted because of its context, ie where you see it, often the location is the dominant factor in the communication, but take it out of the context and you see it with limited information.

Still, I digress, as Visual communication is not what people think about when they commission a headshot; to most, it is a picture they need, as that is what is done or they are asked to supply..

Backgrounds are often an unseen aspect of a portrait, but the subject is impacted by what is behind them. A photographers job is to control what you see, so choosing the background is a critical issue, that is where I try to make a positive impact, by using a variety of backgrounds, the colour, or complexity. A brand may have a colour it wants to feature, or complement the website or context it is seen in. A shade shall contrast or not with the skin tone of the subject; here is where the subtle lighting changes become important. Even a neutral grey can be warm or cool, light or dark; each can complement or clash with the subject. All these considerations are part of the photography process, but many photographers and most subjects are unaware of these issues.

When it comes to lighting the head and it becomes even more complicated, but before that , where is the camera, in relation to the subject?

The convention when taking a headshot, is informed by convention, guide lines that the passport office has issued, a camera is at eye level, or just below, the distance from the subject is often determined by the limitation of the location, historically a ‘normal’ lens would be used and that would make to subject less than a metre away from the camera, this is not a flattering distance, this is due to Physics, the closer you get to someone the larger their nose becomes in relation to the rest of their face, often called ‘wide angle effect’ it is the reality of what is recored because what is near looks larger. So most photographers who have an alternative lens use a ‘long’ lens, one that allows the face to fill the frame from a distance; many use an 85mm or 90mm on an FX (full-frame sensor, similar to the 35mm film equivalent or better still a 100mm plus . The longer the lens, the further the subject can be away, and the proportions we think of as perfect appear to work as the distance from the person’s face is more uniform, as it is all a distance away from the camera.

When the subject is in-front of the camera, with an appropriate background, a long portrait lens on the camera, then there is the matter of the all important lighting.

Lighting can make or break a portrait; even if all the elements are in place, an unsupportive lighting setup can ruin the end result.

This is where I hope I make a big difference, although the lights needed for this type of photography are easy found, the use of them is something that is subjective, it is what changes for so many different photographers , but can look very much the same. The one or two front lights often called ‘Key’ lights can be placed between the subject and the photographer, in an almost infinite variety of combinations, as are also the one or more background lights, usually illuminating the background, but also lighting the back of the subject.

So what lights do I use?

All of the above and a lot more, including the natural light, the reflected light on a reflector and much more. Why ? Because everyone is unique, and it is the lighting that probably, more than most things, shall enhance or destroy a portrait.

The difference a few centimetres that a light is located in relation to a subject can make a massive change in the look, it is so hard to describe, but the length of a shadow can make or break an image,

If the nose casts a shadow onto the skin about the mouth, a mini moustache can appear to be there, bad with most subjects  but a disaster when it happens to a politician with dark hair ?

If the lighting that is designed to enhance the hair and provide some detail is too ‘hot’ (overexposed) even with post production details are difficult to replicate and a 70’s backlight effect can result.

So all these considerations are part of the process that a photographer has to consider, the unique person that is photographed should be treated as unique, lit carefully . Oh and then there is the directing, the poses . But I shall it as that.

Unique people are that and deserve a unique photograph to represent them .

Best Headshot photographer in West Midlands?

SME New’s Midland Enterprise Awards.

Best Headshot Photographer 2026-West Midlands.

I have enjoyed a few awards over the years; some have been life-changing. Certainly, early in a career, a few awards can be a game-changer.

However, I am now what many would call a veteran (when I saw that in print, I was shocked and very upset).

I am certainly aware that exposure and media attention are essential parts of the marketing and communication a business has to do. Before social media, that was all there was, getting your folio seen and getting awards that the industry would see.  Now there are so many awards; certainly, photographers can enter them weekly, but only a few are seen by my client base. So when I was nominated and received an award for my commercial headshot photography, I was a little humbled that I was acknowledged for what is a commercial practice, not fine art or travel just the job I do most weeks in and around the West Midlands especially in Birmingham, where I had my first studio and is my ‘home’ city.

So am I the best? That would be a silly claim and one I would dispute. I know many great photographers, all producing wonderful work, many of whom take headshots and deliver great service.

I am hopeful I am one of those, but I am not going to deny I am good at what I do; that is why I consistently have clients return, new ones employ me, and I continue delivering to happy clients.

Thank you to whoever nominated me for this award; I am very happy to receive the accolade. But what I am very humbled by is the clients who employ me; they have a choice, and I appreciate the work I really enjoy.

I get to meet and photograph so many wonderful people, I get to find out about them and hopefully produce a portrait that makes them happy.

Making a living as a photographer is a dream job, I know I am a winner every day I do this work. Even those early starts and late finishes are enjoyable. Well, realistically, there is a lot that is not quite as much fun, but it is a part of the process and having the tenacity is what gets me through. I had a job in a factory as a teenager and realised how hard that was. Hard work when you are doing something you love is so much easier.

I am a winner. Thanks to all the clients who commission me; that is really winning.

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.

Can’t afford a professional to take your headshot?

Top tips for shooting your own headshot .

If you want to get a headshot but can’t afford a professional yet, here are some tips

I am often asked about guidelines for headshots; people are not always as informed as you would think, since there are so many tips and hacks flying around on social media that it is hard to get a real idea of the best way to get a headshot that works.

Ok, a professional photographer should have all the answers, but if you are getting a friend to take a headshot or even doing a selfie, here are a few points to help you get a decent headshot with any digital camera, or even a smartphone.

1  Keep it simple

Make sure you don’t have a distracting background; plain white or grey is ideal. Keep a few feet away from the backgound if possible as that reduces shadows and distracting texture and keeps the head as the most important element in the photo.

2 What should I wear for my headshot?

The Wardrobe

Ladies

Classic clothes work better than high fashion, as they date much slower. This season’s look will not be around long, ideally. wear something smart that you would wear at a meeting or an interview. Unless you are a professional athelete, avoid sports wear.

Avoid checks and strong patterns, and try to get feedback from honest close friends. Ladies of all ages usualy benefit from a V-neck rather than a round top, but you know what suits you, try to keep it classic and non-seasonal. Avoid white as detail can be lost and you can end up with a head without a body.

Gentlemen

I recommend a classic, open-collar shirt in a neutral tone; avoid white, as it can create a floating-head effect. A stripe may be ok, but try to avoid checks and complex patterns.If you need a more formal look, a jacket, tie and shirt is the way to go, but try to avoid strong colours and remember fashion changes, so keep it simple.

Certain jobs require a formal look, so condiser what you are aiming for, is this to impress a potential partner of a new manager? You can update it later, but play safe to begin with.

T-shirts suit some people but can be unflattering. If you have a V-neck or a quality T-shirt, the collar may be structured and look fine, but the shirt you wear should be clean, ironed, and presentable, so you’re comfortable in a social situation, not like you have just run a marathon.

3 Hair

This maybe obvious, but ensure you dont need a haircut or your last hair colour needs a refresh?

Hair styles are important, so ensure you have at least brushed what you have and check in the mirror.

4 Lighting-

Ladies

Avoid strong lights; a soft diffuse light that comes from a large window is perfect. If you have a beauty ring light, that is very forgiving, but it can be too slick. Certainly, try to have natural light, maybe in a room with daylight or under a sun canopy, as long as it is neutral in colour a room painted green can make you look like the Hulk. Find a shaded spot in a light building complex; typical Mediterranean-style houses have white exteriors, so if you can get into a shaded area, this could work well.

Men, A light from a window is also the best, but you can have it to the side of your face to give more character. Avoid strong lights such as a sunny day as you may squint and loose your ‘eyes’ in the shadows. It is fine to get in the shade of a building; in fact, that can work very well.

4 Camera/phone – what lens?

It is always best to be a distance from the subject, its physics, as the nearer you are to someones face the more distorted they become, phones now have a portrait mode or long lens and any camera should have the option of a long zoom setting or portrait lens, this on a DSLR FX camera that would be 85mm to  200mm. Or the equivalent on a crop sensor.

If you only have a single lens it is better to be at least a couple of meters away from the subject and crop the image.

5 Expression – Put a camera in front of someone and a smile is often immediate. However, if you want a smiling headshot, great; make sure it’s sincere and not forced. Get a number of shots and consider a serious but happy face. Just think of something that makes you happy, and it will change your look.

6 Eye Level?

If you see someone, it is at a natural level for you and who you see you may be shorter or taller than the subject, but when taking a headshot, try to be on the level with their eyes, if you are much lower, they look taler but you see under the chin which is not always flattering, if you look down on them they appear short but it can make them look powerless.

If you dont have a tripod , a few books ,mags and even a item oclothing can be used to cradkle the camera, phone, on top of a dresser, cupboard or shelf.

7. The importance of eyes.

Possibly the most important element in a headshot is the eyes. Make sure they are looking into the lens and are well lit. A white towel or white tabletop can help if the subject is placed below the light, as the reflection from the white surface will help. Soft light from a window in front of you with the camera / phone in the centre of the light is a good way to get an even light. The background may be dark, but you will look good.

8 Posture

An upright back and straight shoulders can help show a good positive look; there are lots of exceptions to this, but if someone is looking dejected or has poor posture, it shows even in a headshot. If you are a rockstar with attitude, a slouch will not be a good look.

Consider turning the body to the side and looking back to the camera, especially for ladies; a strong square-on pose from a guy is good, but a similar pose from a lady can be too masculine, but it can be powerful if that is what you want to portray.

9 How many shots?

Take more than a few shots; even on a phone, it is well worth taking many frames. A slight change of expression can make the difference between a good shot and a great one! Try to delete all the squints, blinks and scowls, they can come back to haunt you at some time.

10 Should I use filters?

We have access to many filters on phones and across a variety of platforms. When producing a headshot, you want to look your best, but you want to look like you. Blemishes can be removed but your headshot should look like you, not a plastic Ai version that fools you and others till the real you is seen.

11 DIY headshot

If you have to take your own headshot and only have a phone, use a few books to prop your phone on a surface unless you have a tripod or phone stand. Put it on timer and use the front lens, they work the best. Try to have it at eye level and as I suggest a good few feet away. Like in a Photobooth you can sit to get the angle right, The light from a window behind a mirror where you do your makeup can be a great solution, especilly if the window is large and has diffused light from a soft white curtain, just ensure the camera, phone is stable and can be reset easily, iPhone watches have a remote that could work well in this case .

If you have followed these tips, a decent headshot can be achieved, and remember. You are never going to be as young as you are today ever again, so get the headshot done; it’s going to be the image you look back at and appreciate how you looked now!

Have fun getting your headshot. I hope these tips are helpful, and when you are ready, get a portrait session with someone who is a professional headshot photographer that you can trust, check reviews, how good is their folio and have a chat. If they are professional they should have time to find out about you and what you want without the hard sell.   

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?