chrismalcolmhnd2c

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#something #somethingnew

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#wait

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#grid

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#tabloidbs

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#photojournalism

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Say What You See

Contextual Photography

Say What You See

It's easy to not pay attention to the world. We lower our eyes when we walk and avoid eye contact in the street.

For most of us, our default state tends to be ignoring what's around us. But doing so makes us miss out on inspiration and fails to develop our curiosities. No use if you want to be a photographer.

We know that getting out and taking a walk can boost creativity and a little mindfulness can help with all sorts of things. But neither of those is useful if you're still gazing at your navel/phone. Being observant means watching people, situations, and events, then thinking critically about what you see.

We miss a lot in the world while we're busy shuffling between here and there. While there's no way to quantify how that affects our well-being, it's clear the more you pay attention, the more often you'll come up with new ideas. If nothing else, you'll expand your worldview. First, you have to train yourself to pay attention again.

Within Kelvingrove Art Gallery and Museum you’ll find a plethora of artefacts, sculptures and paintings.

Choose one. Sit with it for a while and consider what you see. What do you know you see? What do you assume you see?

Take a photo on your phone. Don’t look at the name of the artist or year it was made - in this instance, it doesn’t matter.

On the back of this paper, write down your observations, NOT your opinions. This is an exercise in looking.

What is the object made of? How do you know? What does it depict? Are you making assumptions? Deconstruct the elements of the piece. It might be helpful to imagine you are describing what you see to someone who can’t see.

• Upload the photo of your artefact, painting, sculpture to your blog along with a photo of your written observations.

Further Reading ‘Ways of Seeing’ John Berger London, England : British Broadcasting Corporation : Penguin Books, 1973. ©1972

“Say What You See”

The work I chose to study and observe today at Kelvingrove is “Wives of Fishermen”, carved from marble by Pierre Braecke in 1914.

I was drawn to this work as it struck me as very powerful. To me, the way the figures merge into each other demonstrates the unity and bond the community must have had with each other at this point in time. The expressions of all the characters show extreme dread and anguish at the scene unfolding in front of them. Bodies hunched up and hands clasped towards their mouths as if to stifle a scream, while being unable to help or assist with the horror they are witnessing. The use of grey marble helps convey the rough seas and overcast skies during the storm that is causing their husbands boat to sink. Composition also tells me a lot about the relationship of the women in the sculpture to each other. The tallest member of the group is at the front, however, is pulling away from the distressing scene and shrinking her shoulders in while clasping her hands over her chest, as if in prayer. The wife at the front centre is huddled in tight between the other two as if to be partially shielded from the horror she is witnessing, with her hand clasped to her mouth possibly trying to stifle a scream. The figure on the left looks on, almost with acceptance of the scene she is viewing or at least with the resignation that she is unable to affect the outcome of the situation. Finally, the figure at the back appears to peek through the space between the figures heads at the front, her body shielded behind them giving her a viewpoint that perhaps makes the scene feel less real to her.

#say

[chrismalcolmhnd2c]

Editing Workbook: Folio One Introduction

BRIEF: People Make Glasgow

Where might you find good resources/ tutorials for the following? Name at least 3 sources of good online tutorials.

https://helpx.adobe.com/uk/photoshop/user-guide.html

https://helpx.adobe.com/uk/photoshop/tutorials.html

https://phlearn.com

https://photoshopcafe.com

https://helpx.adobe.com/uk/bridge/user-guide.html

https://helpx.adobe.com/uk/support/bridge.html

https://spark.adobe.com/page/ZYS1NsR6NKqfH/

https://www.photoshopessentials.com/basics/what-is-adobe-bridge/

https://helpx.adobe.com/uk/lightroom-classic/user-guide.html

https://helpx.adobe.com/uk/lightroom-cc/tutorials.html

https://www.theschoolofphotography.com/courses/lightroom-course-online

https://www.photoblog.com/learn/lightroom-tutorials/

Other programs: Make a list of other programs that photographers might use to edit enhance photographs.

1/         Capture One

https://www.captureone.com/en

2/         Affinity

https://affinity.serif.com/en-gb/photo/

3/         Pixlr

https://pixlr.com

4/         Gimp

https://www.gimp.org

5/        PhaseOne Capture One Pro 20

           https://www.captureone.com/en/products-plans/single-user/capture-one-pro

Mobile apps: Make a list of useful mobile apps for photographers.

1/         Adobe Phone Apps

https://www.adobe.com/uk/creativecloud/catalog/mobile.html

2/         Snapseed

https://snapseed.online

3/         Geometry Club

https://geometryclub.org/app/

4/        PicsArt

https://apps.apple.com/us/app/picsart-photo-studio-picture-editor-collage-maker/id587366035

5/        Pixlr

https://apps.apple.com/us/app/pixlr-photo-collages-effect/id526783584?irgwc=1&aosid=p239&cid=aos-us-aff-ir&irchannel=13631&irpid=221109&clickid=WLGziny4LxyORNRwUx0Mo3ERUkE0B72Vm2YOVg0&ircid=7613

File types refresher:

File type

RAW

+ The best quality image file is captured

+ Extensive options in post-processing and image manipulation

- Time needed to convert and edit photos

- Bigger file sizes mean more storage needed and longer post-processing times

JPEG

+ Small file size so good for social media and emailing

+ Universal format that doesn’t need proprietary software

- Loss of quality due to image compression

- Less opportunity for image manipulation in photo editing software

TIFF

+ Ability to manipulate photos extensively in photo editing software

+ Option to print at the highest quality and at much larger sizes

- Much bigger file sizes (more storage needed)

- Longer transfer and loading times due to file size

GIF

+ Small file sizes makes these ideal for use on the web

+ Files can contain animation

- Limited colours means it is not the best choice for photos

- Does not support partial transparency like drop shadows

ADOBE PDF

+ PDF can be opened on any device with any operating system in exactly the same form in which it was created

- It’s not free to edit PDF files

- It’s easier to edit files in other formants than in PDF, because PDF files must be edited in specialised programs

Choose another that you might use

DNG

+ Ability to use image processing software such as Lightroom and Photoshop

+ Possibly guard against inability to open or access files in future

- Extra time needed to convert camera raw files to DNG (if your camera does not have the option to supply files in this format)

Choose another that you might use

PNG

+ Lossless compression means good image quality

+ The ability to maintain transparency

- Quality will not be good enough for printing at any size

RAW workflow: In photoshop.

Add an appropriate diagram from the web.

Source: https://chriseyrewalker.com/my-complete-photography-workflow-in-10-steps/

Explain the need to develop a good digital workflow.

Why workflow matters

Photography workflow is the sequence of steps and actions you take to edit your photos, work them up to a result you consider finished, and share them with the world. Editing photos can be like baking a cake or assembling flat pack furniture. You start with raw ingredients, or loose parts, and use an ordered sequence of steps to put the thing together. In a good photography workflow, the end result is a perfectly crafted image, securely stored for future use, all with the least possible effort.

Efficiency is important. Without a good workflow, at minimum you’re wasting time. Worse, you run the very real risk of losing your most precious photos. Forever. A couple of years ago I knew a wedding photographer, then aspiring to become professional, who lost an entire wedding shoot because of relatively simple errors in her workflow. (In short, the mistakes derived from a convoluted importing method and totally inadequate backups.)

Maybe you’re only taking pictures for fun? If you’re planning to continue with photography, you still need to use an effective workflow. If you don’t, your photo archive will become a beast, very difficult to tame. And your images won’t look as good as they could. No fun.

When you’re starting out in digital photography, you need to develop good habits early.

Source: https://digital-photography-school.com/digital-photo-editing-workflow-better-images-capture-output/

1/ What software did you use to optimise/ name/ select these? Where did you store them?

File management

Name Three places where you will store your images.

1

Memory Card/USB Drive

+ Small and portable.

+ Easily share files documents with other devices.

+ Simple to operate.

+ Cheap to buy.

- Easily infected with viruses or malware.

- Easy for users to lose or break them.

2

Computer HD

+ Fairly affordable and easy to use.

+ Higher capacities than those available with small USB drives.

- This type of physical storage doesn’t last forever.

- Don’t usually come with password protection or advanced security features.

3

Cloud Based Back-up

+ Your data to be accessible from anywhere.

+ Allow clients to view select files through cloud sharing platforms.

+ Off-site storage so useful in disaster recovery.

- Security is a major concern for businesses using cloud storage solutions.

- Possibility of remote failure of server.

- Can be expensive.

Name File management software.

1/        Adobe Bridge CC

2/        CyberLink PhotoDirector 10

3/        Magix Photo Manager Deluxe

Explain the need for good clear file management.

Good file management is important to allow you to quickly and easily locate images.

1. Everything is easier to find

2. See how you’ve progressed

3. You’re forced to review the good with the bad

4. It will teach you to avoid recurring mistakes

5. Discover ideas you want to revisit

6. Find themes and begin developing a vision

Source: https://digital-photography-school.com/8-reasons-organize-your-photo-collection/

People make Glasgow: Editing tasks.

Manage files:

Store and rename you files.

Where have you saved these images?

Camera Memory Card, External Hard Drive and One Drive in the Cloud

Contact sheet:

What software did you use?

Adobe Bridge

Place an of your ‘People make Glasgow

How straight forward was it to make this in your selected software?

Quite straightforward, I selected the shots I wanted in Bridge’s “Output” tab, selected the number and size of images I wanted on a sheet and exported them as a PDF file.

Explain two methods of Black and white conversion from an RGB original.

From Bridge, an image can be opened in Camera RAW and converted by selecting the “B&W” option in the top right-hand side.

In Photoshop, a new “Black & White” adjustment layer can be selected.

BLACK AND WHITE CONVERTION:

Choose three of your ‘People make Glasgow’ images and show before and after edits below.

Before: file name: _DSC0464.NEF

After: CMalcolm_HND2C_PMG1_103.jpg

Before: file name: _DSC0483.NEF

After:  CMalcolm_HND2C_PMG1_007.jpg

Before: file name: _DSC0496.NEF

After:  CMalcolm_HND2C_PMG1_044.jpg

Evaluate how the edits have changed/ enhanced the feel of the image.

For these shots, I first corrected the image in the “Optics” tab of Camera RAW to correct any chromatic aberrations. Next, I converted to B&W and checked the exposure and colour temperature. I then added a small amount of clarity and adjusted the contrast, shadows, whites and blacks. Next, I opened them in Photoshop and cropped them a small amount.

I think all the edits have worked well and by making the adjustments described above, I feel I have met the brief by providing more high contrast “gritty” and engaging images of Glasgow’s people.

People make Glasgow finished canvas, make a selection of your best images and display on one A3 300 ppi canvas.

How do you feel about your final series of images?

I think the final series of images work together well to give a flavour of the different characters that make up Glasgow’s people.

#editingf1

[chrismalcolmhnd2c]

Visiting Speaker Report

Date

23/09/20

Guest Speaker Details:

Simon Murphy – The Govanhill Project

Identify an element of the guest speaker’s talk that resonated with you in some way.

I think the main thing I took away from his talk was overcoming the initial fear of approaching potential models to ask if they are happy to be photographed. He explained the best way to approach them and his usual practice of being seen often in the community and explaining his work which made it much easier for him to be more accepted and his models more willing to participate.

What question will/did you ask the visitor?

I asked the speaker what his lens of choice was for his street photography work and was surprised to learn it was a 23mm lens. I had assumed a much longer lens or even a zoom to give him more options, however, he explained he like to use such a wide angled lens to allow him to incorporate as much of the background (usually walls) in the shot.

How do you think this will impact your own practice as a photographer?

I will definitely employ the many tips Simon gave for both gaining consent to take the shots and also a variety of ways for posing and executing the shots. I will also take on board the importance of finding an audience to view the work and importantly, keeping them engaged to hopefully also grow your audience.

#speaker

[chrismalcolmhnd2c]

Oscar Marzaroli Exhibition

Date

18/09/20

Name of exhibition

Oscar Marzaroli

Location of exhibition

Street Level Photoworks

How does the flyer/poster advertise the exhibition?

The image above shows one of the posters/flyers advertising the exhibition. It was taken by Oscar in 1963 and shows two young boys playing on a wall behind tenements in the Gorbals. It successfully gives a flavour of the exhibition’s gritty shots of a very run-down Glasgow while still showing the joy and innocence of youth, seemingly unaware of their ghetto like environment.

What is the suitability of the gallery space? How is the exhibition laid out?

The gallery space is well suited to the exhibition and is well laid out over two separate but linked areas which both cover different aspects of his work, grouped together by subject matter.

First section of the exhibition.

Opposite wall of first section.

Second section of exhibition with framed prints mounted on a very large canvas showing a protest concert from the late 1960’s. (featuring Billy Connolly on banjo).

Selection of celebrity portraits in the second section of the gallery.

How has the work been mounted? Is this appropriate for the work?

The work is all mounted, some with and some without white borders, in matt black frames which works well with the monochrome images. Unfortunately, there were quite a lot of distracting reflections being cast onto the glass of the frames due to the natural sunny daylight from the windows.

Who made the work?

Oscar Marzaroli took the shots to document the rapid changes in Glasgow in the 1950’s, 60’s and ‘70’s.

50,000 negatives have been curated and archived by Glasgow Caledonian University and they have worked alongside Street Level to produce the laser prints for the exhibition.

Who did they make it for, who is the audience?

Primarily, Oscar shot most of these images for himself, as a hobby, and also to preserve and show the stark contrasts as the city dramatically changed and modernised but also showed the very human side of the characters that lived in this environment. Future generations are now the audience of this massive, informative and emotive body of work.

The Castlemilk Lads.

How does it make you feel?

It’s hard to believe these shots were taken so recently when you look closely at the derelict tenements and impoverished children. I feel a mixture of nostalgia (I remember seeing many derelict and half demolished tenements on the south side of Glasgow growing up as a child in the ‘70’s) and sadness at the ghettos these people had to live in at the time. I also feel sad that the new concrete towers that rose out of the ashes of the tenements would also prove not to be fit for purpose and be demolished in the coming decades. On the flip side, there is a real joy and exuberance of youth in a lot of these shots as many of the children seem quite content and happy playing, as any other children would, and having innocent fun, seemingly completely oblivious to their desperately impoverished surroundings.

If the work has a title does it make you think about the image/s differently?

Most of the work’s titles are fairly vague, such as “The Castlemilk Lads” or “Playground Ring” so really are only descriptors or give a little more information about the shot. Oscar didn’t normally tend to find out much about his subjects when photographing them, he merely liked to “pass through” the scene and take his image. I think the images speak for themselves and as such, don’t really particularly think about them differently when I know their titles.

Selection of portraits shot in the Gorbals in Glasgow in the 1960’s.

How would I describe it to someone later?

I would describe the exhibition as a brilliant snapshot it time showing the transition of a city slum into a modern housing area through gritty, high contrast black and white shots that also shows the people who lived through this transition, in an affectionate and very relatable way.

Does the photograph make you want to ask questions, what are these questions?

On viewing the exhibition, my main question was, “Why were people living in these overcrowded slums so recently in our history, why was this allowed to happen?”

Is the photograph valuable? How do you know?

I think the photographs main value lies in the fact that they document a time of great transition of the area and show a wonderful snapshot of the inhabitants carrying on with their lives in as normal a way as possible in spite of their extremely harsh environment.

Is the work for sale and who might buy it?

The work is for sale in a variety of formats from relatively inexpensive posters costing a few pounds to hand printed copies signed by Oscar’s family which sell for thousands of pounds. The main collectors of this work are probably Glaswegians who have memories of these places and people who enjoy high contrast, gritty, black and white urban photography.

What information is available about the artist/s?

In the gallery, there are handouts and large free-standing prints which provide a lot of background information on Oscar, his life and his career. There is also a lot of information on the internet relating to the photographer and his work.

Who organised the exhibition and who selected the work?

The exhibition has been organised and images selected by Street Level Photoworks with the assistance of Glasgow Caledonian University who are cataloguing and digitising the archive of over 50,000 photographic negatives.

#oscar

[chrismalcolmhnd2c]

Stock

“Making money is art and working is art and good business is the best art.” Andy Warhol

Research the Narrative

There will be a presentation and tasks required through the Contextual Studies class.

Tell the Story

Here is a chance to start making money from your photography!!!!

In this part of the course you will be introduced to the idea of stock photography and consider some of the pros and cons to having your images available on a stock library.

Alamy are one of the most ethical libraries out there and their student support scheme is fairly unique!  You are probably already sitting on thousands of images that may be appropriate for library use.

Following your investigation of stock libraries choose a suitable theme.

You should produce 10 images to the required standard, considering the following,

·       Theme

·       Equipment and materials

·       Planning

·       Lighting, composition and viewpoint

·       Exposure calculation and control

·       Captioning

·       File optimisation

·       Image quality

Edit and refine

Professional Practice: keywording, metadata, workflow, file management, quality control.

Submission Details: Acceptance of your 10 images to Alamy – upload acceptance page to MyCity

#stock

[chrismalcolmhnd2c]

Something New

©NESPRESSO

©DUALIT

“Learn something new. Try something different. Convince yourself that you have no limits” Brian Tracey

Research the Narrative

Point of sale product shots demand a high degree of photographic finish and quality.  They should represent a product at its highest quality.  

Within your blog/workbook, research product shots and advertising photographers. Demonstrate through annotation, your understanding of detail and presentation of perfection. 

Tell the Story

Choose an item that is brand new and blemish free and photograph it to the highest quality possible.

Your object should be photographed with a plain white background to show maximum quality.

Care should be taken to ensure that the best lens and viewpoint are used to maximize the product shape.

Edit and refine: Complete worksheet

High level retouching will be necessary as the object must be as close to perfect as possible. (even brand-new items will have flaws that need fixed)

Be prepared to use a range of retouching techniques to optimise this final file for use as an advertising shot.

The object should be easily dropped into other background so we will look at ways to cut out and present the object as a vector cut-out.

Submit: Final image on A3 canvas, and the object cut out of the background as a PSD. Upload to my city: Upload to my city.

Research

TOP 5: PRODUCT STILL LIFE PHOTOGRAPHERS

January 19, 2016 admin Brands

This week, counting down on our TOP 5, I am going to be listing my favourite product still life photographers, these are purely based on their portfolio and on their popularity.

STILL LIFE PRODUCT PHOTOGRAPHERS

1. Nori Inoguchi

http://www.norimichi.com/

Born in Japan, NORI Inoguchi was educated in New York where he refined his passion for photography. His love of luxury and desire to create visually stunning images inspired him to become a still-life product photographer; NORI seeks to find beauty in all of the objects he shoots. With his sophisticated eye and minimalistic approach, he has exploded onto the world stage and has earned bookings from the best names in fashion, cosmetics and electronics. His career has brought him to Paris, London, NY and even back to his native home of Japan. Using clean, clear and crisp techniques, NORI has created numerous campaigns since 2009 and he has since become a trusted name in the field.

2. Sam Kaplan

http://www.samkaplan.com/

Since striking out on his own in 2011, the 29-year-old Boston native has eschewed high-concept aesthetics and taken a more hands-on approach built around exacting precision—a sculptor’s finely honed interest in process and material. His approach might seem throwback, but that’s part of Kaplan’s appeal. Unlike many of his photographic peers, he had a rather low-tech schooling, studying fine art and art history at Wesleyan University.

3. Lucas Zarebinski

http://www.lucaszarebinski.com/

Lucas grew up in Bielsko Biala, Poland, a small city famous for goose down comforters. When he was 17, he dated an photographer named Olga who later inspired Lucas to become an artist even though he said ” I always wanted to be an artist but I was horrible at drawing.” In the few months he was around her, he realised that he had a talent for still life photography. He then moved to Michigan when he was 20, got a degree in Fine Arts and Photography while he parked cars at night and learned English from his 3 roommates. Fast forward 10 years later. He now live in New York permanently and creates images for a living.

He says in his biography  ” I love creating conceptual images, pushing the boundaries of still life photography and resolving client’s problems with an inspiring imagery. I still like red beet soup and blueberry pierogis, but I also like beef with broccoli and spicy tuna rolls these days. ”

4. Jonathan Knowles

http://jknowles.co.uk/

Jonathan Knowles is one of the leading photographers of his generation. Specialising in graphic still life, liquid and beauty, Jonathan’s unique photographic style has earned him award-winning advertising commissions worldwide.

In the past ten years, Jonathan has consistently featured in the ‘200 Best Advertising Photographers in the World’ books. He is one of the top 10 all time award winners in the Graphis Annuals.

Notable commissions include campaigns for many globally recognised brands, such as Coca-Cola, Guinness, and Smirnoff. He is also the creator of the famous O2 bubbles.

He shot the Black Sabbath 13 Album cover, as well as directing and filming the footage that is currently played on stage during performances. Black Sabbath loved the imagery and invited Jonathan to the album launch in New York, where he received a friendly strangle of gratitude from Ozzy.

5. Zachary Goulko

http://www.goulko.com/

Like a modern Chiaroscuro master, beauty, product and still life photographer Zachary Goulko harnesses the power of light to infuse two-dimensional images with drama, shape, and volume. His moody, provocative photographs illuminate the power of a single moment: the arresting beauty of a face, the grace of a sculptural curve, the fluid interplay between light and color and form. It is the Moscow-born photographer’s mission to capture the essence of each subject, and to present its beauty to the world in fresh and unexpected ways. He is an exhaustive experimenter, conjuring moods, intertwining lines with rhythm, exploring the architecture of shape and light. His still life and product photographs are clean and precise, yet startlingly intimate. They achieve a level of visual poetry that is unique in the commercial photography world. With a fully equipped high end studio, based in the New York City area, he photographs product and still life images for many world renown beauty and cosmetics brands. Among Goulko’s clients are L’Oréal, Lancôme, Clinique, Estée Lauder, Strivectin, Shu Uemura, Frederic Fekkai, Patek Phillipe, de GRISOGONO, Roger Dubuis, and Zac Posen, . With a background in design and interactive programming, he is constantly seeking new ways to push the technological boundaries of his medium and give full expression to his creative vision.

Source: http://claphamstudiohire.com/top-5-product-still-life-photographers/

PRODUCT PHOTOGRAPHY IDEAS

Unusual and even extraordinary product photography ideas are what make many leading brands stay demanding and make people talk about their creative product shots and buy their products. Let me tell you how to do product photography like creative product photographers do. I’ve gathered 20 original product photography techniques and ideas for any product.

What Is Product Photography?

Product photos belong to a branch of commercial photography which is about advertising a product. There are several classical ways of shooting products: product photography on a white background, ghost mannequin,  lifestyle product photography, motion images, photos of the product line, tabletop photography, photos of the product being packed, 360 product photography, etc.

Creative Product Photography Ideas

High-quality product photography is important for you and your client. Therefore, it is obligatory to choose the right strategy to demonstrate each product. But many photographers have a moment when they need to diversify the photos or add some creative elements. Here are some different product photography ideas for your inspiration:

1. One Second Before

This is an example of creative product shots that are taken right before something unexpected: an explosion, fall, etc. That is why you as a photographer should manage to catch the moment in the second before it happens.

2. Use Smoke

This product photography idea is a good way to make your product look dramatic. Use the coloured smoke if it is suitable for your product design. To make smoke more accurate, use Photoshop brushes.

3. Floating Products

You may hang some goods to make them look three-dimensional. Hang a product using a line, wire or rope. Then remove background or a line from the photograph of a floating product in Photoshop.

4. Association Game

If you need extraordinary product photo for a fashion magazine or billboard advertising, what can be better than funny surrealistic illustrations. Such photographs are typically taken in the studio using special product photography lighting kit and digital drawing techniques in Photoshop.

5. Motion Product Photography

This creative product photography idea is realized by means of short exposure and quick photographer’s and assistants’ actions. The photos are striking for a lot of reasons, but the thing that sticks out at first is how adding motion makes images pop.

6. Photo with Models

Give your product character and show the features that make it unique. Use different product photography ideas and creative lifestyle to highlight the product usage.

7. Combined Background

In addition to the familiar white background, I frequently use the background tone that is in harmony with the color of my product. These two product photographs are a good example of colors combination. You may combine the background depending on the product color increasing the image contrast.

8. Crashed or Broken Product

It is pretty a specific idea for product photos and not everyone decides to use it. It attracts people’s attention and evokes pity and interest to the product. It is better to get a shot at the beginning of product crash.

9. Use Reflection

You may use smooth plain covers with high reflectivity as the surface. For example, your product photos may be taken on an average ceramic tile. Make sure, you work in good lighting. In order to take such image, it is necessary to choose the right angle and lighting to get excellent reflection.

10. Product Absorption

This product photography idea has something to do with putting an object into the sand, water or other materials when you intend to put an accent. You may also use different tiny thematic items in which the product may drown.

11. Product Series

Grouping product images creates almost the same effect as zooming. Comparing several products in one photo a customer understands their main differences, volume, shape, size and other features. Moreover, it can persuade your potential customers to buy the whole kit.

12. Symmetry and Dynamics

To take this kind of product photos you have to put a camera at different angles. However, you should be careful while shooting obscure angles in order not to misrepresent the product. Put other products relatively symmetrical mixing them up with different small details.

13. Emphasize the Product’s Colour

Showing the contrast between the background and the product looks fashionable. But the main difference of this photo is an angle between the surface and the background, which creates a three-dimensional image of the lipstick. This dimensional curved shimmering paper underlines the color and the dimension of the product.

14. Sand Print

This product photography idea requires a special background. It may be usual clay, snow, sand, mastic or similar material.

15. Use Associations

Be as much creative as you can. Here Photoshop is you best friend who will help to realize even the craziest product photography ideas as to shape ketchup in the form of a tongue or a lipstick in the form of ice-cream.

10 Famous Product Photographers

https://spark.adobe.com/page/98pcx7gV8QkNW/

#somethingnew

[chrismalcolmhnd2c]

Something Told

©Mat Colishaw

©The Guardian

“Time stand still best in moments that look suspiciously like ordinary life” Unknown

Research the Narrative

Within your blog/workbook, research historical still life painting.

Note the techniques used by ‘The Old Masters’.

Examine and discuss how contemporary photography still utilises some of these techniques.

There will be a further example presentation and support within your Contextual Studies class.

Tell the Story

Create a still life image using natural window light.  This can be done in your own home.

Create an image that tells a story through the objects used.

Careful consideration of placement of objects, surface, backdrop, colour, texture, and light should be evident in the development of the project.

Practice controlling the light with homemade diffusion materials, curtains and flags.

A tripod MUST be used.

Edit and refine: Complete worksheet

Careful attention to colour grading to increase and enhance the mood and atmosphere of your shot will be supported and discussed during Professional practice class.  Post-production techniques should be explored to give your image the ‘feel’ it deserves.

Upload your best image to MyCity.

#somethingtold

[chrismalcolmhnd2c]

Sense of Place

©Hiroshi Sugimoto

©Fay Godwin

“The only real voyage of discovery consists not in seeking new landscapes but in having new eyes”. Marcel Proust

Research the Narrative

Within your workbook/blog, look for landscape photographers, both historical and contemporary who interest you. Collect example of their work and make annotations on their motivations and processes.

Tell the Story

What is the irresistible magnetic draw that drives us to record the places we go to in photographic form?

Landscape photography is one of the most common types of photograph we see – we are compelled to record the places we visit.  But why?

A beach, a forest, a mountain, a sunset.  Grand sweeping vistas, often devoid of human presence, these scenes sum up the most common idea of what a landscape photograph is.

The landscape is one of the most obvious subjects to point a camera at.  Paradoxically it is often cited as one of the most difficult of genres to master.

There are landscape photographs that offer more than just a pretty view or a striking sunset.

Patience and stillness are often required, finding the right location and waiting for the right light are a huge part of the process.

Based on your contextual research findings, make a series of landscape photographs.

You should explore a range of techniques in your approach, long exposure, wide angle, micro landscape, panoramic landscape, square format, colour, black and white, etc.

Tripods should always be used to allow you opportunity to explore viewpoint, exposure and time.

Edit and refine:  Complete worksheet

Note down and explain your workflow choice of edits.

Edit your series of images and present 2-5 final choices

Upload each image as an A3 300ppi Jpeg to my city.

#sense

[chrismalcolmhnd2c]

Beauty in the Banal

©Robert Adams

©Stephen Shore

“How does the poet form her banal thoughts into such stunning forms? Into beauty?” Joyce Carol Oates

Research the Narrative

Within your blog/workbook research the New Topographic movement and its lasting influence on contemporary photographers. There will be tasks and support for this research through the Contextual Studies class.

Words to consider – manmade landscape, typology

Tell the Story

Landscape photography is most commonly seen by the public as dramatic examples of nature at its romanticised best.  

Sunsets, sky, river and mountain… there is a primal instinct in us to long for places that offer peace and connection to a vast and empty nature.

However these exotic places can seem so unreachable for most of us that their purpose and meaning become purely visual.

It is hard to truly escape the impact of humans in our own landscapes.

Seeing beauty in unexpected places, everyday places that most would walk past without a second glance is one of the main aims of this project.

Looking for your own interpretation of beauty in the urban/suburban spaces you know you should record a series of landscape images of the banal in the tradition of the New Topographics.

Edit and refine: Complete worksheet

You can submit a series of 3 related individual images or a typology of 9.

Selection and edit is vital to this projects’ success.

#beauty

[chrismalcolmhnd2c]

Lighting the Dark

©Jadikan

©Gregory Crewdson

“Photography is truth. Cinema is truth 24 times per second” Jean Luc Godard

Research the Narrative

Research the ‘constructed’ image within photography. There will be presentation and discussion about this within you Contextual Studies class.

Words to consider – authenticity, narrative, tableaux

Tell the Story

Photographic light painting as a technique is very similar to an artist applying paint to a blank canvas.

Consider how you might exploit the spaces around you and capture them in a different light?

Explore your environment, interior or exterior, at different times of day. Experimentation is a must. You will need to discover how to use and modify the lighting available to you effectively.

The direction, as well as size and quality, of your handheld light source/s is key in creating a sense of ‘space’ and revealing the elements of colour, shape and textures with-in your chosen environment.

Consider moving or adding objects to create a more ‘unexpected’ image?

The location can already be illuminated by existing ambient light or not but must include supplementary lighting flash, torch light or any other supplementary lighting you have available.

Edit and refine: Complete worksheet

Adjustment layers, Layer masks, noise reduction, balancing exposure, RAW workflow.

Research and evaluation.

Submission: 1 x original raw file unedited. 1 x Edited version on A3 canvas 300ppi Jpeg.

#lighting

[chrismalcolmhnd2c]

Geometry Club

©Dave Mullan

©Adrian flickr

“Embrace nature’s brutal perfection”  Boyd Rice

Research the Narrative

The research required for this brief is simply to gather inspirational images from other practitioners. Add this to your blog/workbook with clear information as to where the images were sourced and who the copyright belongs to.

Tell the Story

Shape and form in environmental photography underpins the overall aesthetic, considering the underlaying composition of an image allows the photographer to explore the subject in new and exciting ways and help you see the photograph as a unique representation of the subject you choose.

Simple geometry can be found everywhere, the shapes formed by the play of light, structures intertwining, objects passing each other… training your eye to look out for strong shape to compose your subject is an important part of constructing strong, bold photographs. Waiting for the correct moment to press the shutter release is a skill in finding the right moment.

Look around your environment to find strong geometric images. Shoot 100 photographs with the main focus being on strong geometric shape, within an outdoor environment.  

Edit and refine: Complete worksheet

Make a contact sheet of the best images.

Study and ‘mark-up’ the contact sheet, making aesthetic decisions on your final selection.

Optimise your best TEN images Describe your decision-making process.

Submit: Series of TEN images on ONE A3 canvas 300ppi. Upload to my city.

Geometry Club Research

What Makes a Great Fine Art Architectural Photograph?

JUNE 22, 2018 · SHARON TENENBAUM

Every person you ask might have a different answer to the question, what makes a great fine art architectural photograph? However, in my experience, there are a few key factors that are necessary for transforming a good image into a great one.

Great architectural images often follow these 3 features:

·       Composition. In architectural photography, you need to use the language of geometric lines and shapes. These elements must create a harmonious balance within your frame. Without this component, not much can be done to salvage an image.

·       Simplicity. Once the shot is made, ask yourself: “What elements in the image are not adding to the story?” In other words, try to simplify your scene by eliminating unnecessary details.

·       Post-processing. Once the two factors above are covered, the work on post-processing begins. If you are familiar with my work, you might be aware that I’m a strong advocate of ‘creating’ an image and not ‘capturing’ one. This means accentuating and exaggerating the compositional elements mentioned above, and creating depth, volume, and balance through selective lighting.

Image 1 – BEFORE: cluttered, unprocessed and without a person in the frame. Even though the compositional foundation is present, there is still much work to be done on decluttering and gradient lighting.

Image 2 – AFTER: ‘cleaning’ the image of unnecessary details and implementing gradient lighting.

Until recently, this is where my creative process stopped. I don’t want to elaborate too much on the features listed above; instead, I want to talk about an element in architectural photography which I’ve only lately begun exploring.

Creative Shift

As architectural fine art photography is my passion, it’s been the subject of my images for over a decade now. My path of creating this body of work was a path of self-discovery. Even though some of my earlier architectural images are stellar and I would not have done anything different with them today, in my newer work, I am embarking on a creative shift. This shift is taking my architectural images in a different direction, so now, they are not just about celebrating form, but also about human interaction with the architectural environment.

Architectural structures, by their nature, are designed to serve a purpose for people. By eliminating people out of the composition, the photographer is celebrating the art of geometry and engineering above anything else. As magnificent as the design might be, by including a human element in the composition, the image takes on a new (and different) life form. The benefits are three-fold:

First, it adds a sense of life and warmth to an otherwise cool scene. An architectural image is naturally cold, comprised of concrete, steel and/or wood. By including even a single person in the image, we are warming up the scene and crossing the boundaries from the inanimate to the animate.

Second, it gives a structure a sense of scale and comes closer to the architect’s original intent in design, which is serving people for a specific purpose. For instance, Middle Age Gothic churches were designed to dwarf the scale of a human in comparison to the House of God they were entering. A church was designed to be of an enormous scale to give the parishioners an ‘otherworldly’ experience. If you walked into a Middle Age church and did not get that feeling, then the architect did not do his job right. This was done with the intention of making one feel small in the presence of the Almighty God. Likewise, an image of a church that depicts the sense of scale by including a human reference would convey that concept whereas the image without one would not.

Lastly, by adding a single person, we are giving the viewer’s eye a resting point. The psychological reason for this I can’t say, but it’s a fact. We tend to first spot the person in the image and use the rest as a background. That makes the image more intriguing on a few levels. First, as the photographer/artist, you now have the power to direct the attention of your viewers. You are saying to them: “Start here.” Second, it helps to simplify a scene that otherwise can be too busy with lines and shapes (as in the image below). Third, and maybe most important, it adds asymmetry or shifts the ‘center of gravity’ of an image to create a more intriguing composition.

Looking at the image below, we can see all the points I stated above exemplified, as the image without the cyclist is lacking warmth, a sense of scale and a resting point.

Image 1: With Cyclist

Image 2: Without Cyclist

Sharon Tenenbaum teaches Fine Art Architectural Photography Workshops around the world. To learn more about Sharon’s work and details about her upcoming workshops, please visit: SharonTenenbaum.com

Source: https://www.thephotoargus.com/what-makes-a-great-fine-art-architectural-photograph/

Matthias Heiderich

A self-taught photographer, Matthias Heiderich (b. 1982) explores urban environments, finding surprising angles and colours within cityscapes. His shots are framed in a distinct way, focusing on corners, sides and small sections of buildings. Consequently, he does not just record what he sees; rather he transforms the ordinary into dream-like spaces that suggest a futuristic universe. The minimalist images bring attention to symmetry, lines and patterns prevalent in the urban landscape. Primarily working in the realm of fine art, his pieces have also appeared in architecture and travel publications, such as Wallpaper* and Cereal. Since 2011, Heiderich’s images have been exhibited at galleries in Berlin, Barcelona, San Francisco, St Petersburg and Zürich. In 2014 Spektrum Berlin was published with the Parisian publisher Editions Intervalles. The images selected are an overview, illustrating how exploring lines, structures and space rejects the banality of city scenes, reforming them into an awe-inspiring collage of geometric shapes. www.matthias-heiderich.de.

Source: https://aestheticamagazine.com/geometric-architecture/

Architecture photography corner – in pictures

In 2014, Sheffield-based photographer and graphic designer Dave Mullen Jr started Geometry Club, a collaborative Instagram project in which people submit images of buildings forming carefully composed triangle shapes. Mullen is now creating an app to simplify the meticulous formatting process, and says the project is “a test of building an audience based on curating the same thing”. The account has attracted more than 25,000 followers and welcomes contributions by professional and amateur photographers. “I quite like the fact that sometimes you look at the photos and it’s not obvious that it’s architecture straight away,” says Mullen.

Photograph by @grg_mlll (US).

Photograph by @ferrypasschier (Netherlands).

Photograph by @mismaria (England).

Photograph by @davemullenjnr (England).

Photograph by @jagamac266 (Singapore).

Photograph by @marcclish (Scotland).

Source: https://www.theguardian.com/artanddesign/gallery/2017/jan/28/architecture-photography-corner-in-pictures

7 Tips to Spice up Your Photography Using Geometry

MARCO DE GROOT

October 9, 2017

Finding yourself in a photographic rut? Add value to your images by keeping these geometric principles in mind.

SYMMETRY

Symmetry lies at the heart of the laws of nature. It’s calming and pleasant to the eye when an image features a symmetrical composition. But a photo doesn’t necessarily need to be split directly down the middle to successfully incorporate symmetry. When an image feels balanced, you can achieve the same (and sometimes more interesting) result.

Look around on your next trip; you can find symmetry everywhere.

SHAPES

Using shapes is another way to creatively frame the subjects in your photos.

Squares and rectangles suggest conformity and order. Keep an eye out for these shapes and use them to enhance that feeling.

On the other hand, the circle represents unity, completion, and perfection. When used in an image, circular shapes can help draw the eye inward and keep the viewer’s attention on the subject.

Finally, triangles are a good way to focus attention toward a certain point. And, depending on the way a triangle is angled, it can evoke a calm or energetic feeling for the viewer.

CONVERGING LINES

Converging lines can be used to add depth and guide the viewer’s attention in a specific direction. These lines don’t need to be physical, per se, but can be created using a pattern that directs the gaze forward.

PARALLEL LINES

The use of parallel lines evokes order and rhythm in photography. Parallel vertical lines give the illusion of growth, while horizontal lines give the impression of calmness or tranquility.

INTERSECTING LINES

Diagonal or angled leading lines can make an image seem more dynamic. By highlighting these lines, photos become more active. Depending on your angle, intersecting leading lines can also help connect more than one subject or add depth to a photo.

PATTERNS

Patterns are a useful tool for both framing and composition in photography. When a frame is filled with shapes it can add to a photo’s drama or, when aligned, its order.

You can find patterns in window arrangements in buildings, shapes of tiles, pebbles on a beach, bricks on a wall etc.. When you know what to look for, you can find them all around you.

PERSPECTIVE

Sometimes, even a perfectly-composed shot can end up looking a bit boring. If that’s the case, try changing the perspective by flipping or rotating the image to find the view that makes it most intriguing.

Source: https://passionpassport.com/spice-up-your-photography-with-geometry/

Shoot 1 Contact Sheets

Contact sheets marked up with images chosen for optimisation 

I feel the above selected images could work well when optimised as they contain strong and repeating geometric patterns. The images are high contrast and colourful, while the ones chosen from the contact sheet below contain intricate patterns in the shadows created by the strong sunlight.

Most successful optimised images from shoot

Marked up contact sheet from 2nd shoot

Most successful optimised images from shoot

#geometry

[chrismalcolmhnd2c]

Doorstep Portrait

©Annie Dresner

©Julie Michaelsen

“In time of test, family is best.” – Burmese Proverb.

Research the Narrative

In your workbook or blog, research Social Portraiture. There will be further tasks and support through the Contextual Studies class.

Tell the Story

Organise a group shot that will involve a minimum of three people.

Following restrictions imposed by lock down, photographers have been finding neW and inivitave ways to continue their practice of social photograhy, and in turn documenting the current situation.

You may interpret this brief in a variety of ways however the end product should display a group of sitters photographed safely on location.

The location will be the sitter’s residence or work place however consider the best place at the location to photograph the sitters. Windows, doorstep, garden shed? Have fun with the posing.

Good location, controlled lighting, co-ordinated styling, effective communication, and effective posing/composition will all add to the ‘experience’ for your sitters.

A parental consent form should also be created when any members of your group are under 16.

Edit and refine: Complete worksheet

These images should be of a quality suitable for a private client to purchase and print, retouching flaws, great composition, sharp and properly exposed.

Submission: One Final A3 folio print ready canvas with 2 significantly different images of the same group.

Initial research for Social Portraiture for “White Shirt”

https://chrismalcolmhnd2c.tumblr.com/tagged/white

Further research on Doorstep Portraiture

Coronavirus: Doorstep photo diaries capture life in lockdown

Published 21 May 2020

Magnus and Jenny have enjoyed spending more time together during the coronavirus lockdown.

Over the last eight weeks doorstep photos have provided some of the enduring images of Scotland's lockdown.

Families, couples and housemates are having socially-distant photographs taken at their front doors in an effort to record these unusual times.

Among those following the trend to create snapshots of modern life is Glasgow photographer Caro Weiss.

"I now have more than 100 shoots booked over the next four weeks," she said.

"I've done a great mix of people, artists, makers, couples, people with dogs, kids. I have been booked for an anniversary shoot, a 'should have been our wedding day' shoot, birthdays, and ones that friends have booked for their friends to cheer them up if they are finding it really tough.

"I can't wait to meet everyone. It's the highlight of my days now."

We asked some of her subjects to tell us about their lockdown experience.

Alison and Willie McBride

Alison and Willie McBride, both in their 60s, can't do their regular jobs at the moment.

"We've recently moved to this flat which fortunately has its own private garden which we are thankful for during lockdown and we spend time there reading and playing Scrabble. We sent our doorstep photos to our daughter and family living in America and our son, daughter-in-law and another daughter living in Manchester. We are trying to face this crisis with quiet resilience and the photos show a sense of being in it together and looking after each other."

Susanne Bell and Stephen Gallagher

Musicians Susanne Bell and Stephen Gallagher wanted to document lockdown with a growing bump.

"I'm currently 36 weeks pregnant and we wanted some photographs to document our lockdown with our growing bump! We've not been able to visit friends and family for three months now so we're really missing seeing them and showing off the baby bump. We are both musicians who play in bands and teach music so we are working from home with Stephen's son Johannes who is 12. We've been really lucky to have lots of musical instruments and projects to keep us busy. Stephen is in a band called Scaramanga and has been writing, recording (remotely) and releasing new music."

Jenny McLean and son Magnus

Jenny, 38, wanted to record Magnus' sixth birthday during the lockdown.

"We're coping well - we face Queen's Park, so we never feel too isolated with all the people coming and going for their daily exercise. We've kept busy through a combination of juggling work, craft projects, schoolwork and a worsening online shopping habit (I bought a 1960s swimsuit the other day… when I'm next going swimming, I have no idea!). We've been lucky to stay healthy throughout. It was Magnus's sixth birthday at the weekend so it seemed the perfect way to remember his day, and a time where - amidst the pandemic - I've felt really lucky to have more time with him, away from our usual busy lives."

Barbara Smith, Chris Macfarlane, Innes and Ishbel

Barbara, 37, Chris, 38, and their children Innes, 6, and Ishbel, 4, loved their "daft" photos.

"We are so pleased with our photos, they're so informal and more than a wee bit daft. Kids get big so quickly, it's a real treat to have a record of this time, even if it has been quite intense in parts! We are all healthy and enjoying having more family time, although I'm not sure I'm quite cut out for home schooling. I'm a wedding florist, so my business has been affected drastically, everything is either cancelled or postponed. Which at least means that I am able to take on childcare now that Chris has to work from home. He is a college tutor and is having to adapt to teaching his students online."

Cecilia Stamp, Greg Paterson and Leo

Cecilia Stamp is looking after her mum in nearby sheltered housing and has lost a family member to the virus.

"I'm a jeweller and I don't have full access to my workshop at the moment so I have been working as best I can but I really miss my workspace - especially as there's equipment I don't have at home. One of my main priorities has been looking after my mum who lives nearby in sheltered housing, doing food shops for her etc, as she can't go out. We've had a family member die from the virus down south, which was a huge shock as he was in good health, so it's been especially difficult for her too. We couldn't go to the funeral and trying to sort things remotely was a challenge."

Kenji Kitahama and Till Stowasser

Till, 42 and Kenji, 44, are both working from home.

"We're hanging in there and trying to make the best of the situation. We're very lucky in that both Till and I are able to work from home. Till is a professor and has been holding all of his lectures online since the beginning of March. I'm a bookbinder who makes bespoke photo albums and books. I run my small business from my home studio, so the lockdown hasn't affected my daily work routine a great deal. However, this is a time when I'm usually busy making wedding albums but since all of these celebrations have been cancelled or rescheduled, it's been a bit quieter. We're so grateful for all the frontline workers and of course, the postal service—who are making it possible to keep my little business afloat."

The McGarrigles

Eamon, 40 Claire, 40, Nancy, 5, and one-year-old Nena are getting used to sharing their space a lot more.

"We are currently adapting to the new way of life with Eamon now working from home. I'm no longer able to work as my place of work is temporarily closed due to Covid-19, so I am now attempting to be a home school teacher to Nancy who was in P1. We are missing our families and friends so much as we are both from Northern Ireland originally and have no family here in Glasgow. Our kids keep us sane and drive us mad in equal measures. I hope they will remember this time in their lives as the time we all got to hang out more, baked cakes, clapped with all our wonderful neighbours on a Thursday night and painted rainbows."

Terri Hawkins and Ernst

Terri Hawkins, 31 and Ernst Wolf, 2, have a flat full of flowers.

"I am a florist and rely mainly on weddings and events, so my business has been hugely affected. Me and my partner Angus fell through the cracks for government funding so we had major money panics. My business was the only way we could earn money, so we turned our living room into a dried flower workshop and came up with these flower arranging kits that people can make at home using dried flowers. They are great and keeping the whole family just afloat right now! Angus has started working for me, he's in charge of the logistics, computer stuff, ordering and I do all the making.

"Our house is a mess filled with flowers, our poor two-year-old has to watch TV every morning whilst we frantically work, we try and get it all done for lunch time then spend the day playing with our son Ernst! The online flower shop has been our families saviour, we are extremely grateful."

The Evans family - Mhairi, Maeve and Joe

Mhairi, 35, Joe, 36 and Maeve (who will be six next week) have made the best of a bad situation.

"Joe and I are working from home and juggling home schooling. We've all been lucky to be quite well but did have some mild symptoms near the beginning so went through isolation. It's pretty full on. Some days are fun, some days are really hard and we've all been up and down. Maeve is beginning to really miss her friends and her school. We're just trying to make the best of it but we miss our families and friends a lot. I have so much respect for all key workers and I'm happy to stay at home for as long as we have to if that keeps them safe."

Hazel Jane and George Windsor

Hazel Jane, 23 and Dr George Windsor, 29, had only moved in together in February and say their lockdown was a "cohabitation of fire".

"We're both lucky enough to continue working full-time from home throughout lockdown and we do this by rotating spaces between the kitchen table and the sofa. Neither of us have shown any symptoms so it's been a smooth ride in that sense, but we have certainly suffered the mental health dips that come with quarantine and won't be unhappy to see the end of it. We moved in together in February so this has been a cohabitation baptism of fire. Also, these are not the haircuts we went into quarantine with. Mine is now considerably longer, while George's DIY cut leaves lots to be desired."

Claire Jonston-Dawson, John and Eddy

Claire, 33, John, 30 and Eddy, 2 have enjoyed more time together in their "flat bubble".

"We co-own a tiny pizza restaurant with a friend, so life is completely different for us in lockdown as we are closed right now, and have been since mid-March. It has had its ups and downs, as we, like so many others, still wait to find out what financial help we're getting for our business, but restaurant aside we've adjusted to slower, much simpler days and getting to hang out together. And we know we are some of the lucky ones in this situation, so really just spend our days swinging from guilt to gratitude for our small but cosy flat bubble, to being overwhelmed and angry at the UK government."

Source: https://www.bbc.co.uk/news/uk-scotland-52706375

Further Research

Photographers taking 'doorstep portraits' capture candid picture of life in lockdown from Kent's towns and villages

By Sean Delaney

Published: 27 May 2020

Photographers across Kent are taking candid shots of households on their doorsteps in a bid to document precious family memories and drum up funds for the NHS.

The industry was among those hardest hit by the lockdown restrictions as studios, weddings and other public places were all deemed out of bounds.

Couple Charlie and Lauren Moore in Snodland Photo: Strawberry Photography

But now so-called "doorstep photoshoots" are providing families with the chance to capture some priceless memories during these difficult times.

It has also afforded snappers a safe space in which to engage with clients and neighbours while also bringing in some much needed cash for their businesses and the health service.

New mum Sarah Hunt is currently running her business Strawberry Photography from her home in Snodland.

The 32-year-old usually focusses on weddings but as these have all now been rescheduled until next year the doorstep project has been providing a new outlet in-between caring for her three month old daughter Margot.

Each session is conducted outside and in line with government guidelines on the two metre distance, although in reality Sarah says it’s closer to four or five metres because of the quality of her camera lens.

Tony Legg and Jane Pullinger-Legg who is a nurse assessor in the NHS Photo: Strawberry Photography

"It was a little bit slow at first. I think people couldn't quite grasp the idea of how it worked," she said.

Work soon began to pick up and Sarah has been booked in for various sessions around Snodland which she times around her baby's feeds.

"These have been a lot of fun and gone down really well," she said. "My approach is very relaxed and informal which enables me to create real and candid photos."

"I was doing virtual shoots and these were okay but they are just not the same as getting out and taking photos".

Sarah has snapped everyone from a funeral director to a nurse assessor and her pet pooches.

But a group she has taken shots of regularly is mums-to-be and includes one expecting mum who found out she was pregnant just days before going into lockdown.

Funeral director Gray Reigate, pictured with wife Zoe, daughter Molly and Boris the boxer Photo: Strawberry Photography

She said: "As well as family photoshoots, I have also photographed mums to be which has been so great as many of them have been in lockdown since the start of their pregnancies, so this has been a lovely way for them to show off their bumps.

"Otherwise there is going to be people being like 'oh my god' you're pregnant.

"Adapting my business to be able to create these images for people in these unprecedented times has been extremely rewarding – It's also great to just get back out there with my camera."

Payment is collected through contactless means and £5 from every shoot is donated to the NHS.

Sarah is also part of a team of Kent wedding suppliers who are putting on a wedding worth £35,000 for one lucky NHS worker.

The competition is the brainchild of Lou Finn, owner of Ashford-based Bake To The Future who has brought together 52 suppliers to donate their services for free.

The Champion family photo: Estelle Thompson Photography

Another photographer who has been doing her part for the NHS is Sevenoaks-based Estelle Thompson.

The 46-year-old has been capturing a frank snapshot of what lockdown life has been like in the small village of Fawkham in Longfield.

Estelle's calendar would usually be booked up with weddings and baby shoots at this time.

But when the Coronavirus struck her business Estelle Photography ground to a halt and as a self-employed worker says she did not qualify for government relief.

She wrote on her blog: "My heart broke every time a bride contacted me to discuss new dates for a wedding that was long awaited and now would be pushed back further."

Scarlett and Harry used the photos to wish their nanny a happy birthday, as they couldn't be with her. Photo: Estelle Thompson Photography

The snapper filled her time taking shots of her dogs and birds on the garden feeder but said nothing could match up to the joy of "capturing the personalities and cheeky smiles" of people.

"We are never photographers because it pays the bills, we are photographers because we love it," she said.

Estelle noticed people talking about a project in America called "Doorstep portraits" and decided to emulate it in her own tiny village by posting on the Fawkham community Facebook page.

The response was simply overwhelming, she says, with so many people wanting to be photographed – mostly to document what the current time is like for their children.

It was this which was to serve as her main motivator throughout the period, she adds "for those kids to be able to turn around to their own kids and show them this is what it was like".

In return Estelle asked villagers for a £10 pledge to the NHS and has now amassed more than £500 thanks to various generous donations.

Adele Barker is the new priest-in-charge at Saint Marys Photo: Estelle Thompson Photography

She said: "So, I had photographed the village, the people that live here, the rocks and the rainbows.

"It is kind of my gift, to the village that I love, where both my home and my business is."

She recalls how even her husband became a hero in the village after dressing up as a Tyrannosaurus Rex and surprising a three-year-old boy from afar while having his birthday party in lockdown.

The photographer says the idea has since "spiralled" into a time capsule, with her being asked to bury a USB containing some of the doorstep portraits.

She even snapped the new priest Adele Barker who arrived at the local church St Marys in Longfield not long before lockdown.

"So much has changed," she said. "If you look back now the first photo had daffodils, now there is blue bells."

Estelle's husband dressed up as a dinosaur to celebrate neighbour Josh who was celebrating his third birthday in lockdown Photo: Estelle Thompson Photography

But even though she misses her family and friends Estelle says she is incredibly grateful for her village neighbours.

She added: "The community during this time has just been incredible –to have their experience to document."

David and Jemma Rannard of Click:Create Rannard's Photography and Design have been offering to take family portraits outside homes but also to record important events during lockdown.

David said: "The family photos have really taken off. It is a way for people to keep in touch during these terrible times.

"When we realised people were making the effort to stage VE Day parties at home we thought it could be a natural extension of what we do."

David and Jemma Rannard and daughter Eva of Click:Create at Iwade offering VE Day photos on your doorstep

Wife Jemma, a graphic designer, is usually on hand and the couple now have an apprentice in the shape of their nine-year-old daughter Eva.

The couple charge £20 for a 10-minute photo shoot and donate £5 to the NHS.

It’s an emotional pledge for the family who sadly lost a friend to Covid-19.

And while offers of work are now coming in from different parts of the county the couple say they are having to decline them.

He explained: "It really only started as a bit of a service to villagers in Iwade where we live. We have done a few in Sittingbourne but I didn't think it was right for us to travel too far.

"It really angers me when people don't take this situation seriously and ignore the advice we are being given. The more we all sacrifice now, the quicker it will be over."

Source: https://www.kentonline.co.uk/authors/sean-delaney/

#doorstep