Capturing 'once in a lifetime' photographs again and again. What does it take?

Everyone has to find their own way of seeing the world. I photographed this youngster at a Brass Band festival in Delph, a small village in England.

How do photographers get those great shots? Most writers focus on the obvious answers like photographic technique – composition, lighting and enhancing images in the digital darkroom. Obviously these are important but there's something perhaps even more important that barely gets a mention.

So let me a share a few 'secrets' about getting 'once in a lifetime' images again and again. It all comes down to luck. You were there and everything fell into place perfectly, just at that moment just as you pushed the shutter button. Look at many of the astounding photographs of our time and what do you think? Yes, that photographer was darn lucky to be there at that moment.

Why are some photographers luckier than others? Well there may be an element of pure chance but on the other hand there are several strategies you can use to improve your luck. As Samuel Goldwyn said, "The harder I work, the luckier I get."

It takes determination, perseverance and effort to make good images. You need to prepare your mind as well as your camera bag. Here are the strategies I use when preparing for an editorial assignment. The principles can be applied to any photographic mission.

The first thing I do is work out what the story is really about. I try to nail down the essence. Then I develop several themes that will help me tell the story visually. Depending on the type of story and depth of coverage there may be up to 15 themes. The next step is to think of picture ideas that fit under each theme. Breaking everything down like this gives you a systematic, logical and targeted approach.

Research is critically important. I try to find out exactly what I am getting into. Having an idea of what other photographers have done provides a benchmark. I know you have to do better. Editors don't want to see me producing the same image as another photographer did. They want to see something unusual that excites them. I aim to take a shot that nobody else has done before.

So with the main themes in place and loads of 'knock em dead' picture ideas and research done I move onto the next stage, the logistics of ensuring that I am in the right place, at the right time with the right equipment, the right people and environmental conditions. Did I mention determination, perseverance and effort? You need a hell of a lot of it to get things done. Actually taking the photographs is often the easiest part of the assignment!

Once I do get to the photography I am constantly looking for ways to make the images stronger, more exciting, interesting and beautiful, while never losing site of the theme of the shoot and the essence of the story. I am 100% focused on making the best image possible. All that technical stuff is a reflex and happens unconsciously. Probably the biggest challenge photography enthusiasts face is to move past thinking about their equipment and the act of taking pictures, and to instead direct their full attention to how best to use a photographic opportunity to communicate with the audience.

After the shoot I reflect on the images I've taken and how they can be improved further. Often the key to getting those 'once in a lifetime' shots is to use the knowledge you gained the first time shoot and go back and do it all again, if you have the opportunity. And then go back again. And again. Always refining and pushing it further. Never settle for second best.

And once you've got the shots, lavish them with tender loving care. Make every pixel count toward the final impact. That's how you get lucky in photography. Making your own luck is hard work. The ability to get things done and determination to succeed are as important as a 'good eye' and technical ability.

If you find this article interesting and helpful please let me know. Leave a comment or send me an email via the contact form on my website. I would also be delighted to discuss assignments with picture editors and art directors.

Cheers,
Paul

Photojournalism today and the World Press Photo competition

A man lies collapsed in the street, attended by a policeman who put him in the recovery position and stood by him waiting for the paramedics. Click on the images to see a larger version.

This week I came across the event above and took two different images. The first is a clear no frills photo journalistic image. The second image uses photographic language and aesthetics to create an emotion. A friend said of the second image, "I would not qualify it as photo-journalistic as it is too artsy (in the right way) to be published in a newspaper. But man, it does have a strong impact!"

I found that interesting. Thinking of the beautifully lit images that W. Eugene Smith made. Would they be considered too artsy for a newspaper these days. Which brings me to the recent debate about the beautifully lit image of the Thai prostitute discussed in Adam Broomberg and Oliver Chanarin's hotly debated article "Unconcerned but not indifferent", which goes behind the scenes at the World Press Photo Awards.

There is a a tension between aesthetics and content. The judges differ as to where the emphasis should lie in deciding which pictures are in and which are out, and no doubt the debate will continue for as long as photojournalism exists.

The arguments are complex and well worth delving into if you have any interest in the current state of photojournalism.

I highly recommend you read the following excellent articles published on Foto8

• Unconcerned but not indifferent by Adam Broomberg and Oliver Chanarin
• Any Means Necessary by Tim Heatherington
• Photojournalism: Living with Questions and Tensions by David Campbell
• World Press Photo, Repetition by Leo Hsu

Also take a look at Reuters, Bearing Witness: Five Years of the Iraq War

So what's my take on things. Well I like to keep it simple. To me photojournalism is about communicating information as effectively as possible. The way the communication is received depends on the context of the viewer, their social awareness, beliefs, morals, knowledge and intellect.

Just an image is never enough. Photojournalists rely on words to support the communication brought by their image. Viewing and judging images purely on aesthetics divorced from context renders the value of a photo journalistic image purely in terms of artistic merit. I would argue this is a rather pointless exercise given that the photojournalist is out there risking life and limb to bring us the "story". Anyway, I've never come across a magazine, newspaper or news broadcast that doesn't use any form of caption to explain photo journalistic images.

Having said this it is clear that in recent years the World Press Photo competition has evolved into a soapbox to highlight important issues and there is of course no harm in doing so. The more ways we can make people aware of issues the better.

Fundamentally though the aim of the photojournalist is to bring the story to a wider audience and all methods are valid and necessary, whether it be the more abstract post event approach or the hardcore eyewitness. Whatever approach we use, ultimately the effectiveness will depend on how receptive the audience is and their context.

I hope this provides food for thought and look forward to reading your comments.

Cheers,
Paul

True emotion

Ken and his border collie, Pinch, stride through along the Bempton cliff tops in Yorkshire. Click on the image to see a larger version.

Man and dog have a centuries old relationship, with dogs working alongside us and earning the title "man's best friend'. I think this image illustrates that special bond with Pinch looking up at Ken waiting for his next instruction.

She was so attentive. A typical border collie - fast, intelligent and ever willing to please. This image to me has real emotion. Ken strides confidently along through the field. He looks down at his dog and she spins round to look up. The connection between the two of them is as clear as daylight. The image has space to breath, texture, light and a pleasing composition, all working together to tell us the story of man and dog.

I hope you like it too. In the coming months I'll share more of my images and tell you why I think they work. Hopefully my thoughts and pictures will interest you and perhaps even inspire you.

Cheers,
Paul

Wedding photography again

On the swings. Click on the image to see a larger version.

The radiant bride. Click on the image to see a larger version.

I had stopped shooting weddings and now I'm back at it again. Never say never again.

There's something really wonderful about sharing these life changing precious moments with people. In a way its a gift to be able to record and document the couple's special day.

And then when you deliver the wedding book and see everyone in the family pouring over the over it, tears of emotion and joy in their eyes and they want to give you hug - what more reward do you need for your work.

As wedding photographers the images we produce become part of family history. In the same way that you and I look back at photographs of our grandparents and great grandparents, in generations to come people will look at our wedding pictures and wonder about the people in them. The photographer will be long forgotten but our images will continue to touch and intrigue.
Wedding photographers have an awesome responsibility. We have to capture the spirit of the day in a modern exciting way that suits the style of the couple and yet has the gravitas to stand the test of time. Our images have to be authentic and meaningful as well as creative, exciting and interesting.

We combine studio lighting techniques with on the spot photojournalism, portraiture and we apply the creativity of an advertising photographer, and there's absolutely zero chance of doing a re-shoot. It's high pressure, its exciting and it genuinely affects peoples lives.

I'm looking forward to the next one.

Cheers,
Paul

Attention to detail

Spurn Point sea defences. Click on the image to see the larger version.

Sometimes you see a great shot on the net. You know instantly the moment you see the thumbnail. In anticipation you click on the thumbnail and as the larger version displays you get hit by a feeling of intense disappointment.

The picture is not sharp in the right places, there are dust bunnies or some areas have been badly cloned or manipulated. And you think, damn it! What a waste. This has got potential. If only the photographer loved their image as much as I like it. If only they had put a bit more care into the way they worked on it and paid attention to every detail.

We've all come across people doing their jobs who have that, "I can't be bothered, I don't really care, it's not worth the effort" attitude. I don't understand it. My motto is, "If it is worth doing then it is worth doing properly."

In my experience one of the biggest differentiators between an average and a brilliant photographer is attention to detail. If you get all the small things right then the big things take care of themselves.

If you as a photographer feel the slightest niggle about something in your image that is not working then you'd better do something about it because that's what people are going to see and lock on to. That tiny problem in your image is all that they will see.

Go for perfection every time. Make each image better than the one before it.

I sincerely hope that I've inspired you to take even more care of your images.

Cheerio,

Paul
www.indigo2photography.co.uk

There are two types of photographers

Spurn Point lighthouse. Please click on the image to see the larger version.

There are two fundamentally different approaches to photography. Identifying which type of photographer you are could help you focus your approach and remove inner creative conflicts that you were not even aware of.

You have to ask yourself whether you prefer observing and capturing what you see happening in front of your lens or do you prefer to control your subject matter and direct the action to produce the result you envisage?

Once you decide which type of photography best suits your temperament, creative approach and mindset you can focus your energy on playing to your strengths. Don't struggle against your nature. Go with it.

The split between the two fundamental approaches is of course as old as photography itself. On one side we have the photojournalists, documentary photographers, street photographers and landscape photographers out to capture that special moment. And on the other side we have commercial, studio, advertising, editorial and artist photographers seeking to control every aspect of the final image.

Of course you have a complete spectrum of photographers who do both but I think everyone, if they honestly examine themselves, will ultimately have a preference for one side or the other.

You should acknowledge which side your heart is on and then turn that into your strength. However there is a proviso. By exploring the other side and using the knowledge you gain you can enhance your photography. For example a photojournalist can benefit from using a bit of off-camera flash to improve the image or an advertising photographer can get something new and fresh by allowing an element of spontaneity on a photo shoot.

The above covers capturing the image. Post production using software or in the darkroom is a different realm. There everyone tries to get their image to radiate quality and beauty.

So have you decided which type of photographer you are? Remove the clutter and frustration from your creative process. Do what you want to do, recognise where your creative strength lies, and make every image better than the last one.

I hope that if you feel in conflict with yourself when you read this article you will feel a weight lifting from your shoulders and you will be liberated to pursue your authentic creative vision with renewed passion.

Till soon,

Paul

Approach to taking a portrait

Portrait of Amitabh Bachchan. Click on the image to see larger version.

Every portrait is different but there are also elements which are the same, whether you’re shooting the famous or the locally famous.

Fame is of course all relative. It depends on profession, accomplishments or media celebrity status. Whoever the ‘famous’ individual is there are millions of people in the world who will never have heard them.

For example I photographed the legendary Indian Bollywood actor Amitabh Bachchan, who amongst his many accolades was awarded the Legion d'Honneur, the highest civilian award of France. But I’m positive that many people in North America will not have heard of him – although he has more fans than Tom Cruise, Jack Nicholson and Robert De Niro put together.

I find that however well known a person is cracking through egos and insecurities is really important when it comes to getting authentic strong portraits. However I hasten to add that when it came to photographing Amitabh the experience could not have been better. He is a gracious, warm, friendly and actually very interested in photography being a photographer himself.

Some photographers like to arrange every single thing before the photo shoot and they know exactly what they want and how they are going to get it. I’m different. I like spontaneity. I like to set the stage for interesting things to happen. Sometimes though you do have to take a more rigid approach particularly if time is severely limited, like when you’re photographing a well know individual who has decided to spare you ten minutes for a portrait shoot.

Taking an open approach to a photo shoot however doesn’t mean you can ignore preparation. It’s absolutely essential. Here are a few things to think about:

Background. Find out about your subject. Whether you’re photographing a politician, an actor or a school teacher, it’s good to have common ground that you can talk about and the more you know about them the better. By the way if you’re photographing a football player, don’t chattily say you’re not interested in game. Tact is important!

Equipment. Only take what you need and make sure that it all works properly and you’ve got a backup plan if something goes wrong with a camera body, flash or lens.

Location. Some will say it is essential to scout locations. I think it depends on the circumstances but you should have an idea of what to expect. Make sure you know where you are going and that you get there in plenty of time. Nobody likes to be kept waiting.

To show or not to show. Shooting digital means that you can show the portrait session to your client/subject as you are taking the shots. Be careful not to kill the flow of the shoot though by stopping and starting too often. There will be natural breaks during changes of clothes and lighting. It can be good to show what you’ve been up to and sometimes this leads to great creative collaboration. Always keep control of the shoot though.

Making magic. In essence when your subject is in front of your lens they are acting themselves and you’ve got to help them give you something special. One well known portrait photographer used to speak very quietly and the subject would lean forward straining to hear, and at that moment the shot would be taken. The result was the subject looked alert and attentive. Another photographer makes his subjects stand for hours in a swimming pool before taking their portrait – thereby stripping away all facades and expressions. Whatever strategy you use it is up to you to direct your subject and create the right environment for something special to happen so that you have a unique portrait that is meaningful and has authenticity.

There is much more to write on this subject but for now I hope the above has provided you with food for thought and that you’ve found it useful.

Till soon,

Paul Indigo
www.indigo2photography.co.uk