Members of UK Uncut in Sheffield show their support for the public sector unions by occupying Dorothy Perkins, The Vodafone Shop and Barclay’s bank on June 30 in a good natured peaceful protest.
As the rally is about to begin at Barkers Pool a local man, with coffee in hand, decides to hold a one man anti June 30 protest. After making his feelings known to the crowd and arguing with a number of people he was lead peacefully away from the rally by members of the South Yorkshire Police Liaison Team.
Some of the Key Speakers at the June 30 Protest in Barkers Pool Sheffield (below)
Unteroffizier “Wolfgang Spengler” in command of the Eight man squad plus one “Kreigsberichter” of the Panzergrenadier Division Großdeutschland somewhere in NorthYorkshire
Point man “Stefan Kollers”
Above: From a gulley on the tree line Feldwebel “Otto Henning” looks for any unexpected movement as two of the squad move forward across open ground to the wreck of an old tank. Below: Having safely made it to cover Gefreiter “Hans Altmann” looks back as his comrade checks for enemy movement to the front, before calling up the rest of the men.
The remainder of the squad wait anxiously for the signal to make their way across the open ground and into cover.
Having made it into woodland without being ambushed the men of Panzergrenadier Division Großdeutschland take a breather. Above Right: Using an Esbit stove and German mess kit Gefreiter “Johann Rechenmacher” and other members of the patrol share a coffee while others (Above Left and Below) rest or chat quietly so as not to give their position away.
Below: The Großdeutschland squad anxiously wait for the return of point man “Stephan Kollers” who has been sent ahead to investigate gunfire.
Unteroffizier “Wolfgang Spengler” orders his men into position as they advance on an “enemy position” that is already involved in a fire-fight with other elements of Panzergrenadier Division Großdeutschland, 21st Panzer Division and 1st Fallschirmjäger.
One Panzergrenadier attempts to work his way towards the strongpoint and find an effective firing position. Below: Feldwebel Otto Henning has already spotted one target.
While attempting to get around and flank the allied strong point, with Grenadiers “Stefan Kollers” and “Hans Muller”, our battle was cut short by fusillade of well placed rounds from element’s of Fox Commando Royal Navy and US 101 Airborne (below).
Above; The long walk back to the camp at the end of day one. Left to right: Fallschirmjäger from the NWW2A, Grenadier “Hans Muller”, Grenadier “Stefan Kollers” and Unteroffizier “Wolfgang Spengler”
NWW2A consists of a number of different groups or“units” ranging from the US and British Airborne troops, French Resistance, British and Soviet infantry, German 21st Panzer Division, Infantry, Luftwaffe and Fallschirmjäger and the Panzergrenadier Division Großdeutschland. Moving away from front-lines units there’s the German Field Police, Deutches Rotes Kreuz , Ensa Moonlight Seranaders and 40’s Civilians & Home Front Auxiliaries.
Something that seems to have become an endangered species in Public Relations Photography is booking two jobs in a day. According to my diary it was going to be a fairly straightforward day with one booking. The brief shoot “behind the scenes” images of the 888.com sponsored Premier League Darts at Sheffield Motorpoint Arena for Sky Preview Magazine, a publication aimed at licensees who use Sky sporting broadcasts to help bring in customers.
Public Relations Phone Call
The day before the Darts my phone rings and a second clients needs a Public Relations job shooting the same day as Skys. At this point Murphy’s law will generally kick in dictating that either
The two jobs are at the same time and on the same day.
The two jobs are the same day, aren’t at the same time but they do overlap
The two jobs are the same day, don’t overlap but the distance between locations makes photographing them both impossible.
It looked like number three would be the problem. The second Public Relations job was in Cleethorpes on the east coast. A client needed the interior layout of Halletts Lifestyle convenience store and some of their staff photographing. The store had just won a national award as Blakemore Wholesale/ Lifestyle Retailer of the Year 2010/11. The job was urgent, a plus for me as it meant the client was happy with a morning shoot and booking number two had just become booking number one. I had, for once, given Murphy the slip and had two jobs on the diary.
By 09:45 I had driven the 75 miles to Cleethorpes and was already working. By 15:05 I had made it back to the office edited, processed, captioned and distributed the digital images to the client. With just enough time to produce an invoice and grab something to eat I was off to the Premier League Darts.
One of the countless things I love about being a full time professional Press & Public Relations Photographer is the variety. Going from shooting the aisles of traditional a seaside corner shop, to the showmanship and razzmatazz of televised Premier League Darts is nothing if not varied.
Some of you may have noticed that I have an interest in most all things military, I also have an interest in the 1940’s, more specifically the second world war. This has led me to invest in a “new” camera, well new to me. Its actually a 38 year old Kiev range finder, a postwar Russian copy of the famed German Contax range finders which were introduced around 1933 and were once the main competitor for Leica.
I intended to buy one of these Russian Contax or Leica clones as a display piece but attempts to find a good looking non working display camera for under a fiver soon evolved into a little bit of a quest to find a reasonable working camera and preferably a Keiv. I wasn’t actually worried about the age of the camera but I did want it to work on 1940’s technology. Then thanks to eBay a Kiev 4, a Contax IIIa copy, arrived along with a very odd desire to put a roll of film through it.
I think I actually imagined I was going to stick a roll of film in this 1940s vintage piece of technology and instantly be able to use it just like my Nikon equipment. However to give you an idea of the differences between this camera and any modern digital SLR or compact I thought about writing a short list of what you don’t get with a Kiev but forget the list. If your camera has the word “auto, automatic, program, mode or electronic before one of its features take it as read the Kiev doesn’t have it. It does have a built in light meter but its not very reliable and you have to read it, work out the exposure settings then manually enter those settings on the camera. Its design requires the camera to be held in a specific way, known as the Contax hold, so the fingers of your right hand don’t block the range finder window and make focusing impossible.
To swap from my Nikon D700 to the all mechanical and manual Keiv for a couple of days was to say the least a culture shock. I am used to knowing my Nikons so well that I pick them up and work them, almost without thought, leaving me free to concentrate on creating images. With the Keiv I was forced into a much slower pre planned, less instant, pace of photography. Not just less instant in the sense you don’t get to see the result straight away but you suddenly realise you have to move the camera away from your eye to set the shutter speed and aperture then again to wind the film on. You are forced to think much more about the image you are about to shoot or want to shoot and makes the grab shot so much more valuable. It has also left me wondering how famed war photographer and Magnum founder member Robert Capa managed the images he did from a pair of Contax II cameras. Despite the totally different way of working forced on me when using the Kiev I think I may just be looking for a Zorki or Fed Leica copy now to sit alongside my Keiv or maybe Ill look for a Kiev clone of Capa’s Contax II.
Its been an interesting start to April, a sudden influx of jobs bucking the trend of the past 12 months or more. Its still a long way from business as usual but it would be nice if things carried on the way they have over the last ten days. The month started with call to cover the Spots vs Stripes challenge for Cadburys in Meadowhall then it was a shoot for a company who has sold their 500,000 curry which we shot at Chef Hallam. Job number three came in via email requesting coverage of the Torvill & Dean Dancing on Ice 2011 tour photo call at Sheffield Motorpoint Arena.
From there it was a quick drive back to the office to get the photos edited captioned and out to the client and off to celebrity shoot number two. Lookers the new Alfa Romeo dealership on Saville Street Sheffield had celebrity chef Mr Aldo Zilli on hand to help them celebrate their opening with an evening of “fine Italian food and wine”. Had he not made it as a chef I think he would have made pretty good Comedian. Having got the images required from the Aldo Zilli shoot its back in the car and back to the office to get a few images out from the evening so they would be waiting for the client when they get in on Friday morning then off to bed just before midnight.
Friday was an office day finishing the edit, post production, captioning and distribution of the Aldo Zilli Photographs while fielding calls, emails and taking delivery of a new camera and getting invoices out. Saturday was back to Meadowhall for celebrity shoot three and oddly enough another Italian celebrity chef this time it was Gino D’Acampo who was doing a cooking up a storm and by the look of it he certainly managed to get one ladies heart racing when he asked her to check if his pasta was al dente.
Some where in amongst all this I actually found time to buy myself and take delivery of a new toy, a Kiev 4 range-finder film camera. Cosmetically its in very nice condition with original leather case and 5cm F2 Jupiter lens. Everything seems to be in working order I just need to put a film through it. If it all works as it should I have a feeling that it could end up as a blog for another day.
Elbow is not only the bit in the middle of a human arm that allows it to bend. Its not just, as Philip Marlowe said in The Singing Detective “the most sensuous word in the English language; not for its definition, but for how it feels to say it”.
Elbow is the British alternative rock bandwho have received vast critical acclaim and the respect of major artists like Radiohead, Coldplay, Blur, R.E.M. and U2. The five piece took to the stage at Sheffield Motorpoint Arena on the 5th night of their tour (19 March 2011) the night of “a full moon when its the closest it has been to the earth for 20 years”
Elbow front man, Guy Garvey, informed the packed Motorpoint Arena.
Consisting of Guy Garvey Lead vocalist and lyricist, Mark Potter on guitar, Craig Potter playing keyboards and organ, Pete Turner playing bass guitar and keyboards and Drummer Richard Jupp Elbow have come a long way since they first played together at The Corner Pin pub Stubbins, an industrial village in Lancashire 20 years ago. Asleep in the Back Elbow’s début album was released on V2 in 2001, and won them a Mercury Music Prize nomination and a BRIT Award nomination, performed at Glastonbury in 2002, went on tour in Cuba in 2004, by 2008 they won the the Mercury music prize for the album “Seldom Seen Kid” Supported U2 in 2009.
Now in 2010 Elbow rolled into town on their “Build A Rocket Boys” tour Sheffield Motorpoint Arena. Starting on the Tuesday 15th March at Glasgow’s SECC then moved on to, Newcastle
and Nottingham landing in Sheffield on the full moon
Elbow “Build A Rocket Boys” tour dates
Saturday 19-Sheffield Motorpoint
Sunday 20 – Liverpool, Echo Arena
Tuesday 22 – Birmingham, National Indoor Arena
Wednesday 23 – Cardiff, International
Friday 25 – Manchester, MEN
Sunday 27 – Brighton, Centre NEW DATE
Monday 28 – London, O2
Tuesday 29 – London, O2 EXTRA DATE
Elbow’s support was the Irish band The Villagers. Formed and fronted by Conor O’Brien they look to be on course to reach same successes as Elbow. Last year, 2010, saw the release of their first album “Becoming a Jackal” and their nominations for The Q Awards Breakthrough Artist, The Mercury Music Awards. Becoming a Jackal was also nominated in 2011 for the Choice Music Prize and Irish Album of the year Award of 2010
Last nights Full moon referred to by Elbows Guy Garvey
How To Create A Good PR Photo people actually want to publish?
Recently I wrote a guest post “What Makes A Good PR Photo” for Leeds based Quest PR’s blog. Bloggers will tell you that posts work best at around 300 to 500 words and it was while trying to work within these constraints I realised what I do, what all good PR photographers do, is far too complex to impart as a “How To” in 500 words or less. I was barely scratching the surface of “What Makes A Good PR Photo”let alone how to produce one and that led to this post.
How does a professional PR Photographer Create A Good PR Photo people actually want to publish? He or she considers all the things below and more, though not necessarily in list order.
Is the image sharp?
Where should I focus for best effect?
Shall I use a wide aperture or narrow aperture?
Fast or slow shutter speed?
Natural light or Full flash, Fill-in flash?
Will anything fool the camera meter?
Do I choose Wide Angle Standard or Telephoto lens?
Which camera will be best for the job?
Is it best Mounted on a tripod, monopod or hand-held?
Use camera mounted flash or portable studio flash?
What elements best tell the story?
Which do I include, what gets left out?
Is the background relevant?
Can it be made relevant or is it just distracting?
What’s the best way to set this up for maximum visual impact?
Do I put movement into to an image?
If I do should movement be frozen or allowed to streak ?
Shall I isolate the subject with a blurred background?
Use front to back picture sharpness?
How many people do I use and why?
What’s the message my client is trying to get across?
How do I get the branding in?
Does it look natural or forced or just ruin the picture entirely?
What style do I need to shoot in?
Where will the images appear?
Have done Upright and landscape shape?
Beyond considering all of the above the professional PR photographer needs people skills in bucketfuls. Some people are lucky they just enjoy being photographed and/or are simply photogenic. Many are not, good results are required even when the subject hates being in front of a camera. Photographers need to work with people from all spheres of society all ages all outlooks all political persuasions and a good photographer can deal with just about anyone. Sometimes the image will require getting people to do things they wouldn’t normally dream of doing. Other occasions it will require the photographer do something they wouldn’t normally dream of doing.
In short How To Create A Good PR Photo…..
Understand your equipment, use it to best technical effect, understand the brief, interpret it creatively, work well with people and get the best from them in what can sometimes be quite difficult situations.
Images from day two of the demo outside the Liberal Democrat Party Conference in Sheffield. The slide show includes photographs of Patrick Streeter, a Liberal Democrat Party Conference delegate, who decided to gatecrash the beginning of the demo at Devonshire Green. He tried to address the protesters but was escorted away from any potential confrontation by South Yorkshire Police Liaison Officers, at the request of the demo organisers. He was however followed by a sizeable press contingent who were already covering the invited speakers and start of the Demo.
The Liberal Democrat Party Conference came to a close on Sunday within the so called “Ring of Steel. Despite fears of potential trouble the weekend passed of relatively peacefully with only around 5000 demonstrators on the Saturday while on Friday an smaller demo of only around 800 people materialised. One of the final tweets on sunday from South Yorkshire Police read
#libdemconf closed. No signs of protest this morning. 1 arrest made throughout. Thank you to all those who kept it peaceful #libdempolicing”
Sheffield District Commander, Chief Superintendent Simon Torr said there had been around 5,000, largely peaceful, protesters in the city centre On Saturday with only one arrest for public disorder.
Have you ever wondered why professional freelance photographers keep their copyright and talk in terms of intellectual property and licensing? After all the whole idea of hiring a professional photographer is so that you can use the pictures you paid them to take for you right? Yes it is and during the snows of 2010 I received a call asking if I would be free to photograph Deana Sampson a past UK National lottery winner for use on the winter cover of the Lottery winners own Magazine and to accompany an article about her in a national newspaper. The trouble was snow and ice was causing traffic chaos, the sky’s were generally grey and cloudy resulting a flat uninteresting light and a to make matters worse the photography was to be out of Sheffield so the roads I would be travelling on were very likely to be untreated. This looked like it may well be a job destined for disaster, but I have always loved a challenge and hate letting any client down. With that in mind I said yes to the job and pointed out the potential pitfalls, checked the weather and between myself the client and Deana we put in place a plan ‘A’ and plan ‘B’ One of those two two plans was a good one and resulted in some really nice wintry Christmas images images that fulfilled the clients brief.
So what does this have to do with photographers keeping copyright?
Well when Woman magazine got in touch with Deana asking to do a story about her during that process she very kindly pointed out to them that I already held some nice images of her and gave them my contact details. The result was a call from their picture editor who looked through the images and chose two to accompany their double page spread. I could do this because I keep the copyright of the images I shoot.
This all probably seems very unfair to the original client who paid for the images to be shot but in actual fact its the opposite. The original client only paid to use the images as they needed to. The magazine did exactly the same they paid for the use they required.
Still not making sense? Try thinking of it this way. A small tin of baked beans might costs 35p and realistically it will feed one person one meal once. If you want to feed two people you have to buy two small tins or one large tin. Either way the manufacturer and retailer of the beans get paid every time you want baked beans. If you want all the beans you can eat for the rest of your life you have to pay even more money, either to buy enough tins in bulk or weekly or if it works out cheaper to buy a baked bean factory which produces cooks and cans your baked beans. Any which way its a lot more than 35p. So the original for the original client and the magazine it was really a little like them paying for the “beans” they required. OK this isn’t an exact analogy but it does go some way towards explaining the situation.
How does that help anyone thinking of hiring a PR photographer? It shows there is no need to be afraid of licensing embrace it, its good. You only pay for what you need. If you are commissioning a photographer think about why you want the photographs, how and where you want to use them. Don’t be afraid to pick up the phone, call a photographer and ask, all the photographers I know are flexible when it come to licensing agreements. You tell them what uses you do and don’t need and they can tailor a license fit your needs. Photographers are just like any other small business they trying to make a living in difficult times.