Leeds Event Photographer | Teach First Summer Conference in West Yorkshire

The brilliant Teach First organisation aims to address educational inequality in the UK by training and supporting young people to help them become brilliant teachers. My latest job was in Leeds, to do the conference photography for the welcome ceremony at its 13th annual residential training event, Summer Institute, followed a commission earlier this year to track a young Teach First teacher at Thorn Academy in Cardiff and relate a day in her life through pictures. 

The Summer Institute’s Impact Conference is the UK’s largest and most ambitious teacher training event and hosts over 3,000 delegates including Teach First 2014 and 2015 participants, university tutors and school and business leaders. The last two years have seen the event contribute a £5.5m investment to the city of Leeds.

In my work as a North East commercial photographer I work across a patch from Yorkshire up to Northumberland and Leeds is just a short car ride away from my Stockton on Tees base. I arrived early at the venue, Leeds Beckett University, introduced myself to the client contact for the day and did the all-important task of checking the brief hadn’t changed since the booking was made. Clients sometimes surprise me with a change of speaker or running order, and I like to make sure I’m fully up to speed with any new developments before I unpack my camera gear.

The audience was enthralled by a range of speakers, including Teach First’s Founder and CEO, Brett Wigdortz OBE; John Lloyd, the television producer behind Blackadder and QI; and Nicky Morgan MP, Secretary of State for Education.

My brief was to capture the engaging spirit of the launch of the two-week event, with shots of the speakers and audience. Speaker Dave Bunting is an experienced Everest guide and gave a particularly interesting presentation about teamwork and building relationships and trust, all vital skills that teachers will need as they progress their career.

I had taken several camera bodies and some fast lenses so I could work at slow speeds to cope with the dark lighting conditions in the hall, and get a mixture of crowd and individual shots. I’m always looking to add longevity to a photoshoot and as the delegates filed out of the auditorium I used the light flooding in through the open doors to get some generic ‘leaving’ shots that will come in useful to promote next year’s conference – a kind of ‘it’s been great, see you next year’ theme.

Set just off Woodside Lane in the heart of Leeds and close to the First Direct Arena, the campus has some great outdoor spaces for group shots and I even had a bit of fun taking pictures of people taking the obligatory selfies that are now part of every occasion.  

The students were a good-natured group and keen to join in the fun. And of course no student photos would be complete without a picture of everyone cheering so I was happy to add that one to the portfolio.  

Around 1700 delegates were at the welcome ceremony, and everyone left feeling invigorated and inspired. I was glad to have played my part in recording an event set to continue the good work of Teach First and to further its aim to combat educational inequality.

North East Creative Photographer | Corporate Photography Neednt Mean Dull

With a dash of creativity, corporate photography needn’t mean dull, stereotypical shots. I often start by thinking about where the pictures will be used. An annual report or press interview shot can require a very different feel to those used on the web or in e-DMs (e-mailshots).

Another consideration is whether to shoot in landscape or portrait. An upright shot would be no use for a web banner, although if I’ve done my job the designer can often use part of a landscape picture by cropping it. Some pictures are ideal for converting into gritty black and white shots, for a band or fashion marketing for example.

Whether I’m doing exhibition photography at the Harrogate International Conference Centre, arts photography at the Sage Gateshead on the banks of the Tyne or a networking event at a small venue I try to use my years of experience to bring something fresh to a picture, illustrating something like a speaker on stage quite simply, but in a different and engaging way.

From a designers point of view I also put some thought into how they might want to use the pictures in page layouts, and often include some space around the subject so the picture can be overlaid with words if necessary. For instance the shot where someone is reflected in the table surface would be ideal. This is a good example of a multi-purpose shot, with its fresh blue colouring and light feel making it ideal for a summer newsletter, even though it was actually shot in winter. 

Although I always carry a portable lighting set, the light conditions I’m presented with when I arrive at an event can deliver a very different look, as evidenced in the back shot taken in a dark room with the Evolution branding highlighted on the wall.

The picture taken through some vertical blinds was a group of people looking round a new building, and because I was careful to frame this visually very pleasing shot you wouldn’t know the building wasn’t finished. It’s a generic shot with many potential uses. 

At the MIMA gallery in Middlesbrough the spotlighted framed piece with vienneted edges created a striking shot that showcased the artist’s work. You could even have some fun with this style, using a client’s own picture in the same frame.  

Taking creative corporate photographs is not about getting the tight, bright shot of PR photography that newspaper and magazine picture desk editors want. For instance the shot taken from behind the man facing out towards the crowd at a Middlesbrough Business Forum event gave the viewer a bird’s eye view of proceedings and while it probably wouldn’t be used to illustrate a news story, it’s perfect for a range of other purposes and I’ve seen it used several times. 

My aim is always to take a thoughtful look behind the actual event and spot picture opportunities as I work. For example the shot of Ranulph Fiennes’ name badge was taken as part of a set to cover a talk at Crathorne Hall in North Yorkshire, for a petrochemical company based in Aberdeen.

I’m really pleased when I get comments from client and designers, who appreciate pictures that give them flexibility of use and I like to think the reason I get so many enquiries coming in from new and existing clients looking for creative corporate photography is that people can see how my pictures have a lot of mileage in them.

A professional photographer must be able to read each client, they are all different and have different expectations from a photography shoot so it’s important to add value to every single job I do.

Equipment Investment | Canon Camera Kit and Elinchrom Studio Lights

I started my career as a North East freelance photographer with a basic kit consisting of a couple of lenses and a Canon 20D camera.Over the last 8 years I have developed my skills working in many sectors including Editorial, PR, Commercial, Architecture, Portraits, Sport, Education, Corporate and Industrial Photography across the North East and Yorkshire area. Therefore over the years I've built up a extensive professional camera kit, now helping me produce the best possible pictures for clients ranging from advertising and PR agencies to industrial plants and local authorities. 

After cameras and lenses, studio lights are the next most important kit. A location magazine photography shoot might take 1-3 hours in total, to set up the right lighting and create the right look and feel – sometimes it could be a simple white or plain background for maximum flexibility. 

I often have to work quickly and effectively so I’ve fine tuned the kit that I use. I have a set of four lightweight portable Elinchrom lights, usually only using three of them, but carry a spare in case of emergencies. I’m often faced with fluorescent light issues which is a nightmare to work with as it gives a yellow cast and a flicker that totally ruins the images especially on the Canon 5D III. I invested in a powerful 1000w and 500w kit that can light up even the biggest of spaces, such as a games hall or a large gym beautifully. This helps me to strike the medium between needing good light and not wanting to battle with the mixed colour balance. 

I have 10 Canon lenses in my collection, from a 11mm extreme wide angle, tele-convertors to a 300mm F2.8 IS lens, giving me optimum flexibility and quality for sport, commercial or architecture work. One of my favourite and my least expensive lens is the 85mm F1.8 portrait lens that delivers fantastic quality portraits. I used the Canon 100mm F2.8 IS lens for commissions such as a recent Teesside photography job to document a jewellery exhibition at the Middlesbrough Institute of Modern Art (MIMA).   

The key to creating the right set of camera kit is to build a collection that allows the photographer to work fast without sacrificing quality. I have two camera bodies, a Canon 5D Mk III which delivers high quality performance in very low light.

I eagerly awaited the launch of the new Canon 5DS this year, but it’s proved a big disappointment for me! Canon have gone for increasing the megapixels rather than boosting low light capacity or other elements that professional photographers look for and since the quality remains really the same as the previous model I don’t see any benefit in spending £6600 on two new cameras. The changes seem to be aimed at landscape photographers rather than documentary and PR photographers.

My camera kit is versatile enough to produce pictures with a wide range of types and uses, and at quality levels good enough for large format work such as billboards, and for event photography ranging from indoor awards ceremonies and outdoor sporting occasions through to royal visits and night-time ‘fire and ice’ winter festivals.  

Continuous investment pays off as in most walks of life, but of course it’s not always about the gear, it’s about how you use it (cliche I know). Even a £300 camera can produce great quality pictures in the right hands and in good light. There can be an element of snobbery about what camera kit someone is using, but when you cover many jobs a week you want it to work well and not let you down. 

These days I’m not afraid to admit that I can get excited about camera bags than technical kit. Being able fit all the cameras, lenses, lights and other paraphernalia into two lightweight bags makes me one very happy commercial photographer.

Gadget Show Jason Bradbury launched Tees Valley 'Get Your Head into Digital' Event

The Tees Valley ‘Get your head into digital’ campaign scheme aimed to boost digital skills in North East businesses, and when award winning Cool Blue Brand Communications wanted a North East PR and commercial photographer to cover the launch events in Middlesbrough and Darlington, they booked me to do this job.

The morning event saw me do a two-hour photo shoot at the Thistle Hotel in Middlesbrough, before covering the second event at Teesside University campus in Darlington. Channel 5’s Gadget Show presenter Jason Bradbury was a guest speaker at both events, where the audiences had gathered to hear more about the free digital skills workshops that are being held for businesses in Stockton, Middlesbrough, Hartlepool, Darlington and Redcar and Cleveland.

Jason was a great speaker, demystifying digital and informative about how using digital tools will help businesses grow and be more effective. He was joined on the speakers panel by Bob Coff, Managing Director of the Middlesbrough Gazette, a good speaker and very down to earth; and Michael Ryding, Director of DigitalCity, who spoke about the economic benefits to businesses of all sizes and sectors. 

To fit with the theme and get some freshness and originality into the photos I asked Jason to take a selfie with his iPad and then turn the screen towards me, so I could get a shot of him behind the screen and match up the images. I was really pleased with the results, which Jason declared to be ‘awesome’ and he even liked my tweet about it, which was subsequently retweeted over 600 times.

I used the same technique to photograph members of the audience, and I was pleased to see the photographs used across North East newspapers and online media.

A couple of weeks before the events I had also been out to take some case study photos of local employer Terry Goldspink of freight and international shipping company Evolution Forwarding, which is on track to achieve a £1m turnover, with 90% of its business coming from the internet.

It was my pleasure to cover the launch of a scheme that could benefit thousands of businesses in the region. To find out more about the scheme visit www.headintodigital.com and see how your business could benefit from adopting digital tools. 

North Yorkshire Commercial Head Shot Portrait Photographer | Annual Reports, Social Pages or Press Releases

For my commercial head shot photography sessions around the North East and Yorkshire I start by identifying what particular look and feel the client wants to achieve, and secondly how they want to use the pictures. For instance the commercial portraits for an annual report for a law firm will be very different to that of a digital design company’s social media feeds like Facebook, LinkedIn or Twitter. The client might need different portrait photography for certain people too.  

I might photograph the Chief Executive looking solemn if the brief is a photo to go out with a news release involving poor financial results,  but take the same shot with different lighting and add some movement and energy for a piece about the company’s charity support.

If I’m working with a new client I do some research on their website and in the press to give me a feel for the style of images it prefers. A US-based pharmaceutical business may want a very polished and corporate look, while a UK call centre wants its pictures to give a warm, inviting impression, and a graphic design company prefers to give off a creative, edgy vibe.

Where senior executive portraits are concerned I’m always conscious that they are busy people, so it’s important to get the job done quickly but still return the shot that meets the brief. Whether I’m working with the board of directors or a young subject on work experience I’m always confident and relaxed, I’ve been doing this for three decades and my background as a press photographer based in Middlesborough and Scotland, gave me the  ability to work quickly and under pressure comes in very handy.

The shot I’m looking for will often dictate the angle I use for commercial portrait photography, as this can change its whole feel. I might give the shot a slight tilt, or shoot the subject from below. Or if I’m looking for a warm, less authoritative look I might photograph the subject from above. Business people don’t want to have to travel to visit a portrait studio, so I’ve put together a portable, flexible range of camera kit that gives me all the tools of a studio, in a small amount of equipment. I call it my studio in a box and means I have everything with me if I decide to use a telephoto portrait lens or Lastolite light reflectors to add atmosphere and contrast to a shot.

Sometimes I meet the client beforehand to discuss the job, or we speak on the phone so I get a feel for what they want to achieve from the commercial head shot portrait session. I often visit a locations before the photo shoot too with perfect locations on our doorstep - say an industrial background of Billingham, North Yorkshire Moors landscapes or maybe Durham city retail centre getting across what the business does. For example if I’m photographing the chief executive of a car parts manufacturing business the client will probably want me to do those pictures on the production line, and for the managing director of a fitness gym I’d be looking for shots in a busy studio with people exercising in the background.

I believe commercial portraits are a form of photojournalism, they need to tell the story and that means getting the setting right, to create a type of environmental portraiture.  

There are as many ways to shoot a portrait as there are people. Commercial Portraits over the North East don’t have to be boring studio shots, and my client feedback over the years shows that clients hire me because they know I will use all my skills and experience to inject some energy and life into the photos, and deliver the shots they need.