What a fabulous year! We started at ended the year at two different colleges!
Way back at the start of the year we finished our course in Digital Marketing, Content Creation & Copywriting and Marketing Planning. We wanted to know how to do it properly, so that it really works for our clients and they don't waste money on "hear say" about how to plan their marketing. Marketing that really works! We seriously believe in continuous professional development and lifelong learning and this gave us a huge appetite for more.
We finished the year at a different college in another county, this time studying for a CMI award in Coaching & Mentoring. This will also be invaluable for our clients who want to progress their photography careers in directions that will work for them and not wasting time and money following the latest trends in photography. We want to help them build a sustainable and profitable business in the photographic industry.
We rediscovered our love for learning! Not that we had really lost it.
Bergit always had an interest in music, but she was actively discouraged as a child and was told she was not musical and couldn't sing. To prove them wrong she learned to read music and play my synth keyboard, and not satisfied with this we bought a piano and installed it in a spare room which we are turning into a music room. Next step guitar!
We bought a second-hand acoustic, and she took to it straight away. Hungry for more, she bought a brand new electric guitar, very similar to the one I used to play when I performed in a band many years ago. And to complete the trio we found a home for beautiful Fender electro-acoustic guitar which serves the best of both worlds.
Now we play music together for the first time at Christmas. TV off. No distractions, and just playing Christmas Carols for the sheer love of learning new music and then playing it.
She joined a choir in the summer and sung in public. Really sung! Never let anyone say you can't do something. I know it's a cliché but the biggest thing holding you back is yourself.
I've really enjoyed my journey into creating more digital art.
Armed with a pressure-sensitive graphics tablet I can draw and paint what I want, in all sorts of mediums and textures.
Some of my art has been published internationally and I have even sold some!
It's a great discipline for learning to see light and how it works in scenes, and I can use this insight in my photography. Furthermore, we can use this knowledge when we mentor our photography clients, and so everyone benefits.
Articles we write for professional photography magazines now seem to be gaining pace, and we are also writing for some very prestigious magazines in the US. Something we never thought possible. You never know until you try!
It's all about continuous development and learning. It's never standing still. Complacency will actually move you backwards.
2025 is already well under way and lots of plans and things in the diary.
First, we have, once again, the wonderful honour to be selected as the Official Photographers for the largest photographic convention in Europe. Held annually in London, The Society of Photographers event attracts the big-name brands, niche individual companies, and award-winning photographers from around in the world who fly in to be there. It's great to start the year on a highlight!
We both have our own personal photographic projects underway. Mine is something deeply personal to me and the memory of my father, and it's proving to be a challenge - but this is the year that I must bring it all together. Watch this space!
We also did some dog portraits for a dog rescue charity calendar!
Apart from servicing our usual clients, providing shoots for businesses and individuals we also want to be working more with new start-up businesses and getting their brand and images in the place they want to be to make a real success. This is in addition to working with established businesses to keep them at the top of their game and ahead of their competition.
It all starts with a chat.
Tell us about your business and how it is doing and where you would like it to be. If you’re a photographer tell us about your ideas and goals and we can also help with that.
There are all sorts of challenges with inflation, lack of economic growth, or cost-of-living - so it is vital that we make success stories out of each other.
We've got a great feeling about 2025. Let's go on this journey of success together. Drop us a line and tell us about your dreams and ambitions for 2025.
Have a great Creative New Year!
All the very best for 2025,
Adrian & Bergit
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As a photographer, finding new ways to express creativity and visualise ideas is always an exciting challenge. I've been exploring a lot recently about what creativity is and how you can exercise it to get it in better shape. Going to the gym for the creative mind - and for the SMART photographer. We're planning on launching a Facebook group and a free "member's only" area on our website. More of that in future weeks and months.
Digital art tools like Painter, Krita, Natron, and Blender offer a whole new level of creative freedom, allowing me to storyboard scenes, experiment with compositions, and visualise how I want my photographic images to look before ever picking up my camera. In this post, I’ll share how these tools help me enhance my work as a photographer, from generating ideas to crafting dynamic scenes. The Digital Fantasy Artwork I share from time to time are products from my time stretching my imagination in my private "Photographer's Gym".
I don't want, and certainly don't need, AI to do the thinking for me. That's the way our brains will cease to exercise and become reliant on AI systems to think for us. BUT, I can harness the power of existing software, some of which is AI-trained, in using elements I choose for myself, and utilising them in ways that I wish in order to stretch my mind and encourage it to generate new ideas.
Storyboarding Scenes for Photography
One of the key advantages of using digital art tools is the ability to storyboard and pre-visualise scenes. Whether it’s a portrait shoot, an outdoor landscape, or an intricate editorial concept, having a storyboard helps me map out the mood, colour scheme, lighting, and composition of the scene.
I had a conversation with someone on social media saying I should just rock-up to an unknown location I hadn't visited before, with a model I had never met - and just start shooting with whatever light was available. That's a great way to learn, and think on your feet. It will certainly stretch your skills - but in this instance I was after a particular outside location where I knew how I would set the lights up, and where the leading lines would fit into the composition. So many great films are meticulously story-boarded for months, even years, before a single frame of film is shot. Director James Cameron is just one person who spring to mind who adopts this approach. It has served him well!
I'm not here to promote of extol the virtues of any particular software, but I have created the images on my fantasy art page mainly using Painter and a Wacom graphics tablet, and often using elements of scenes which have gone through Lightroom and sometimes Photoshop, but very often Lightroom is all I need. Painter is excellent, but doesn't come cheap. There are alternatives such as Krita. As a free and open-source tool, Krita provides a canvas where I can sketch out quick concepts or more detailed compositions. Its intuitive brush engine and layer system allow me to create rough drafts of how I want my scenes to look. The Big Daddy is, of course, Painter. With its vast range of brushes and realistic textures, Painter helps me visualise the textures and surfaces of a scene, from the fabric of a model’s dress to the lighting effects on a landscape. It's excellent for getting a more tangible feel of the environment I'm going to shoot in.
Of course, the spin-offs are the scenes that I create which can't be photographed conventionally. I produce images for clients and for other projects that combine real imagery with painted scenes, ideas that originated in the film industry with the use of "mattes" - terms that are still use today when part of an image are masked out to be replaced with imagery created elsewhere and seamlessly combined.
Photographing modern architecture around the big cities or ancient temples and tombs recreated in The British Museum or V&A often find their way into my compositions as starting points to get the visual aspects correct. Don't forget as children in art lessons we were taught about leading lines and vanishing points in paintings in order to create perspective. They are also a very good starting point where I just have to fill in the gaps with brickwork, tiles, windows and neon signs and before you know it a city scene is taking place! Reflections also help to light a scene and avoid dark areas of nothingness. In cinematography they will use a technique called a "wet down" where the streets and pavements are deliberately soaked with water to create more pools of light within a scene.
Enhancing Compositions and Colour Palettes
When it comes to creating compelling images, composition and colour are critical. Sometimes, envisioning how these elements will look in a final photo can be difficult when you're limited to real-life elements. Digital art tools offer a flexible way to explore these aspects before committing to a physical setup. It's also good for clients because I can show them in advance the ideas before wasting their time and money on something that they aren't entirely satisfied with. This is a great bonus for everyone.
Sometimes, I use Blender to create 3D mock-ups of scenes to better understand the depth, perspective, and angles I want to capture. Blender’s 3D capabilities allow me to rotate and adjust the scene to find the best shot before the actual shoot takes place. This has been especially useful for architectural and interior photography. I want to use Blender more and to greater effect - I am by no means an expert, so any feedback from other users out there would be greatly appreciated!
When playing with colour palettes, both Painter and Krita allow me to visualise the mood of a scene through colour grading. By creating digital paintings or quick mock-ups, I can experiment with complementary or contrasting colours to see how they influence the overall atmosphere of the photo. You will notice how I tend to favour the neon blues and pinks from films like Blade Runner. That's no coincidence! I can also use this to help visualise the colour grading and emotions in scenes that will be shot for clients, making sure that colours and tone stay aligned with their own brand colours.
Bridging the Gap Between Digital and Physical
One of the most rewarding aspects of combining digital art with photography is the relationship between both mediums. While photography captures the real world, digital art allows me to explore fantastical ideas, modify reality, or bring abstract concepts to life. That's a really powerful ability and helps me to visualise scenes a whole lot better instead of having to "make do".
Of course, there are many situations where I have to work with what I've got and think on my feet, but time spent creating digital art is never wasted as it really helps when I have to adjust quickly and look for opportunities to capture the best shots.
I often combine digital sketches or 3D renderings from Blender with my photographs in post-production. This technique allows me to push the boundaries of realism, creating hybrid images that blend photography and digital illustration. Films like Avatar and Alita:Battle Angel take these ideas to the very limits of what can be achieved. It's no wonder I like these films so much!
Boosting Creativity Through Experimentation
Using digital tools has significantly enhanced my creativity as a photographer. With no physical limitations, I can experiment with wild ideas, unusual perspectives, and complex lighting setups. This creative freedom inspires my photography to push beyond the conventional. The other advantage is having a portfolio of Digital Fantasy and Sci-Fi artwork which I have created along my journey. In response to requests for people to buy some of this artwork I have put a selection of my favourites available for purchase - see the link below.
By using tools like Painter, Krita, Natron and Blender, I’m able to extend my creativity as a photographer. From pre-visualising ideas to fine-tuning compositions and experimenting with colour and light, digital art opens up endless possibilities. Whether you’re a seasoned photographer or just getting started, incorporating digital tools into your process can spark new ideas and take your photography to new creative heights.
We'd be delighted to know if, and how you use digital tools as part of your own creative workflow. Get in touch and share ideas!
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In our last blog on the 8th September 2024 we discussed about how it's preferable to have better clients, rather just simply MORE business. Better clients can make things in your business run more smoothly, with more efficiency, less stress, and less need to market, market, market all the time!
Less Marketing!Less Marketing!
If you find something that people really desire and are willing to pay for then you have solved a lot of your problems. You don't really want to be selling to people all the time. You don't want to be that market-trader shouting at the top of your voice and saying "come on, you want to buy this, you know you do - look at all the things it can do . . . ". Sure, these traders are good entertainment in the London street markets, but often people are there looking to buy something anyway. On the whole, people don't like being sold "at". I was told in my early days of training in advertising on a small local paper that when people say "no" on the 'phone, they are really saying "please tell me more"! I disagreed then, and even more vehemently now! I know I don't like being pushed into purchases, and it may well result in me walking away from something I may well have bought. Find something that people really want, and they almost convince themselves that they need to buy from you. You are simply there to offer them the warm reassurance that they are doing the right thing.
Quality over QuantityQuality over Quantity
So - we know "Niche is Good". There is a good market for limited editions of many products.
1. Identify and Refine Your Niche. Do your research. Identify a niche with high demand but limited competition (e.g., luxury wedding photography, fine art portraits, or high-end property photography). Bear in mind, if you are going after this client base then your work better be exceptional. If you are charging luxury prices, then everything you offer must be luxurious to match. Have a high-end website - not a cheap "self-built" site. Use expensive looking business cards, not cheap & cheerful mass-produced cards. Your albums, your prints, everything about you must look like it is worth the price. And NEVER neglect your photographic skills. There are thousands of "togs" out there - so you need to put real distance between them and you and leave them far behind. ALWAYS look to improve your photography skills and set yourself apart from the competition. The Societies of Photographers, for example, offer free photographic mentoring for their members.
Consider the types of photography you excel at and enjoy. It could be luxury weddings, fashion photography, babies or animals. Your niche should be something you’re passionate about and where you can offer something unique. It should never be about the latest trend where you think you can make money. If it's the trend, then others will be doing the same thing, and often willing to undercut you. Leave them to it. Find your niche.
Again, Research the Market! Identify gaps or under-served areas in your chosen niche. See who your competitors are and what they’re offering. Aim to stand out with a specialised service that caters to a particular type of client. If you are the specialist, and offer the quality that others can't then you don't need to market hard, and can also command a premium price.
Understand your ideal clients and their needs. Position yourself as a specialist in that area to attract premium clients.
I know that perhaps sounds like the complete opposite from what you would think. You might assume that you limit your potential clients, but that is not the case. If you try to speak to everybody, you reach nobody. If you have your specific niche you can use your limited resources (time and money) most effectively.
Target AudienceTarget Audience
2. Create a Business Plan! Define Your Business Model. Outline your services, target market, and value proposition. For example, what makes your photography unique and worth a premium price?
Set Financial Goals. Determine how much you need to invest initially (equipment, marketing, etc.) and set revenue targets. Factor in pricing strategies that reflect your premium position. Use spreadsheets to help you focus. If in doubt, drop us a line. We help many photographers build successful businesses.
Don't forget your Legal and Business Setup. Get your qualifications, register your business, obtain the necessary licenses, and decide on a business structure (sole proprietorship, Ltd Co, etc.). You may also need insurance specific to photography. Do not use house insurance for your equipment and never forget Public Liability and Professional Indemnity! We can recommend a really good insurance service, and if you are referred by us then you will receive a discount. Another reason to get in touch!
3. Build Your Brand! Design Your Visual Identity. Create a cohesive brand that reflects the high-end nature of your business. This includes your logo, website design, and overall style. Do NOT get an on-line instant logo that looks flash. Don't use an on-line template for design and illustration - what you decide on as your identity could well be used by someone else. Get some proper branding and design advice, and make it personal for you.
Elements of a BrandElements of a Brand
Develop a Portfolio. Build a portfolio that showcases your best work in your chosen niche. If needed, do some test shoots with models, locations, or products that represent the premium quality you want to offer. Time and money spent now is a real investment in your business.
Establish an Online Presence. Invest in a professional website that reflects your brand. Highlight your portfolio, services, and contact information. Your website should look as polished as your photography!
Obviously, you should always invest in training - and good lenses. The latest fancy camera is not so important, but the quality of glass you put in front of it matters most of all. And learn the characteristics of all your lenses thoroughly. Discover what all your lenses can do at every aperture, and where they fail and what they excel at. We recommend "Prime" Lenses. They are faster, lighter and can offer better quality as there are fewer elements of glass inside which can degrade an image. You should really know about lighting and composition. Don't rely on editing software to fix things! If you can get everything right at the time of shooting you will not only look impressive, but you will save time - and money - and be able to command higher prices and not spend hours fixing everything with expensive software! The way that photographers always used to work - and the way they always charged proper prices!
Finally - know your audience inside and out. Know everything about them - their shopping, viewing, eating and watching habits. Know what tickles them and what things they value and are important to them. Know what they are willing to pay more for.
You don't need fancy things and gimmicks. You don't need mass-marketing saturation and endless marketing templates saying exactly the same as everyone else. Be your very best self - know your worth - and keep working, keep training and learning. Never stop still - you are only as good as the last photo you took.
This is the path that the truly great and successful professionals follow. It is a marathon and not a sprint - and it won't happen overnight - but do it right and you will have a job you love which will also bring you money as well as satisfaction.
Bergit Barnett at work in the studioBergit Barnett at work in the studio
So, think carefully before you start running away with ideas and get caught up with some hype you have seen on-line. Build your brand to last a lifetime, and consider carefully how you want to approach and engage with your specific target market.
Do not copy & paste from Chat GPT! Check your words and spellings. Be thoughtful and considered and don't sound like all the rest of the photographers out there!
Any Questions? Of course you have! Just get in touch - we'd love to have a chat with you about all this and explain more about how it works!
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I think we've all been tempted to click on links or read social media posts about having "More Business" - but is that what we really want? Do we really just want more and more enquiries, more work demanding all our attention and leaving us frazzled at the end of the week?
If we are really honest, we actually want better business. Something more rewarding, and, of course, proper profits. We don't need to be millionaires, but we need to cover our operating costs and make a profit on top that gives us a nice lifestyle and is a reward for our hard work.
So, just having more business is not really an option. It's not inherently wrong to want more business, but focusing solely on increasing the number of clients can have drawbacks. Here's why pursuing "better and more profitable" business is often more advantageous than just chasing volume
Quality Over Quantity
Quality over QuantityQuality over Quantity
Would we really like to go to a restaurant and have a massive amount of okay-ish food on our plate, or would we prefer a smaller amount of something magical? As photographers do we want an endless stream of clients trundling through the studio every hour, on the hour, and offering every client 300 images? I have seen wedding photographers offering in excess of 2,000 from a wedding! A shot every few seconds? No time or trouble taken in paying attention to detail and setting up the perfect shot? Try shooting on film and having to pay for it. That's an instant lesson in self-restraint! Your best clients will be prepared to pay more for an image which you have taken the time and trouble to capture just right. When done properly, you won't have to edit for ages afterwards - that's a double bonus.
More clients don't always lead to more profit, especially if they bring in low-margin work or require disproportionate resources (time, energy, personnel). Having fewer, higher-quality clients who pay well and respect your services often leads to better profitability. At Barnett Photo Studio we love it when a client comes to us wanting a good job done well and are prepared to pay for it. Sometimes a client will come to you because of your great reputation, and through seeing your gorgeous work, or through a delighted referral. Your satisfied clients are the best advertising you can get. The client that comes to you because they have heard you are cheap wants you only because they don't want to spend money - but they are usually the ones who will want a bit more, a bit more still, then a bit more discount, and then take what they get without a second thought or "thank you".
Although we need to make a profit for ourselves, we have received many great "thank yous" of flowers, bottles of wine, chocolates, food hampers even! All this goes to show we are appreciated for what we do - and our clients know we are a long way from being the cheapest photographers, but they pay and also reward us as well. They see our services as value for money.
If I buy something cheap and am disappointed, then I know it will be budget value, and probably won't go back again - and then kick myself for wasting money. When I pay a bit more for something really worth while then I feel it is money well spent. Somehow it is more satisfying to spend a bit more, but be really pleased. That's the kind of feeling you should aim to instil in your clients. Generate the feeling that their hard-earned money will be well spent - not that they have got something cheap.
Less Busy - What Now?
More Business?More Business?
So, now you have "Less Business" - what's the point? The real benefit is Customer Retention and Loyalty: Building deep relationships with fewer, high-value clients leads to better retention and loyalty. Satisfied clients may spend more and refer you to others, driving long-term growth. I never tell other people about cheap and low quality products or services. If anything, I am more likely to recommend avoiding purchases which I think might disappoint. We've actually had people who have used other photographers, been disappointed, and then come to us. They've also been telling their friends and connections about the other person who only provided the services of a "tog". That can't be good for their business! They also never talk about the photos which are okay and up to photographic standards but the ones they don’t like.
My late father had a regular client who was once lured away by the promise by a cut-price competitor. They were let down badly, and they came back to my Dad, deeply apologetic. He said he would return as their regular photographer but would have to charge more in the future (just so that they appreciated him). They completely understood and agreed to his slightly higher prices. They remained loyal to him after that. It was a price worth paying, and there's a value in that. There's a great lesson in business to be learned there!
But MORE BUSINESS is always good, right?
Not at all! In business we often talk about revenues and turnovers and profits - but they rarely boast about simply being busier because that somehow sounds desperate. In fact, "turnover" is somewhat misleading. If a company turns over £1M then it sounds impressive. However if their operating costs with premises, staff etc are nearly £1M also, then their PROFITS may only be a few hundreds of pounds / dollars.
Every business has limits in terms of time, staff, and operational capacity. Taking on too many clients can stretch resources thin, impacting service quality and possibly resulting in unhappy clients and your own burnout. As a photographer do you really want to be rushing from client to client, or ushering them through your studio like a conveyor belt?
Handling a large volume of clients can lead to a lack of focus on your core competencies. Trying to be everything to everyone can cause your service quality to drop and your brand to lose its niche appeal.
Brand Reputation
Essential Elements of a Niche BusinessEssential Elements of a Niche Business
It might sound good to say you are busy, but when people tell me they are really busy it doesn't always mean that I am impressed. Expanding too quickly or taking on too many clients can dilute your ability to deliver high-quality service, leading to negative reviews or damage to your reputation. When photographers have told me how busy they are, I wonder if they are actually earning money, or rushing around being "busy fools". Sometimes I suggest they raise their prices and take on less work in order to earn the same amount. Often, this strategy leads to more profits, growth and a sustainable business!
Perceived Value: A business that is selective and caters to a specific niche often commands a higher perceived value. When you focus on quality and expertise, it enhances your brand's reputation, allowing you to charge more for your services and build a stronger market position.
Luxury sports cars or Swiss watches are not mass-produced, and neither are they sold cheaply. There is a certain kudos in owning an expensive Rolex that is a limited edition. Or special Nike trainers. Or even paying a premium for Oasis tickets that are in short supply!
Less business can make you in short-supply, and therefore in demand. BUT, only if your offering is good enough and worth paying for. If you are offering something similar that can be found elsewhere then you won't be doing yourself any favours. Sitting in a niche where others can't do what you do, or offer what you offer, can always command a premium. And premium niche business have known this ever since people first started trading.
Now - go and do it for yourself!
Next time we'll talk about some practical and realistic ways you can achieve this in your business. Sharing some of the simple steps that created a premium business.
If you can't wait for the next blog want to find out NOW about how creating a business with less work and more profits could be just the thing for you, then please get in contact for a free chat.
www.barnettphotostudio.co.uk/contact
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How to Charge More - And Get Your Customers to Love You For It!
Some of you may remember the TV programme of the same name where contestants had to guess the "price" of the objects shown. Some of the prices varied widely, and sometimes simple items had huge prices attached to them.
So how should you go about setting your prices in your business?
When we are mentoring and advising other businesses outside of photography about building and promoting their brand, we always cover the dreaded subject of pricing. It doesn't have to be daunting, we all have to look up and ask the prices of all sorts of things in everyday life.
Somehow, some of us get into a real fix about how much to charge. If a business has a price list they often dither before confirming their prices. With trades and services people ask about prices and some people don't know how to answer. They charge per job, or per hour? What if they are slow at the job? What if they want to complete quickly to make more money and in doing so, cut corners? Sometimes new businesses post in social media groups describing the job and asking other people what they should charge!
However, it doesn't have to be this way. If we understand the economics behind our businesses then we are in a much better place to educate our clients, but if you have your branding spot-on and you know the clients who want what you have to offer, then you don't even need to do that.
People often ask "what did that cost"? When they really mean "how much money did you pay for that"? The COST of something isn't necessarily reflected in the PRICE. Also, you must consider what the VALUE is in what you are offering.
Luxury Cars - Armstrong Sidley and FerrariLuxury Cars - Armstrong Sidley and Ferrari
A luxury sports car costs roughly the same to produce as a mass-produced family car. That includes materials and everything that makes the car. The luxury model may have more expensive leather seats, and some hand-finished touches - but the difference in costs will not be huge compared to the dealership prices which may be eye-wateringly enormous!
If you have a client who questions the price of your products, or services, never forget that they are not paying simply for an item, or just doing a "simple job" - they are paying for "Time & Talent". They are paying you to provide something for them - but in their head they sometimes believe they could do it themselves, or they are doing you a favour. That you would be glad for a sale, or it gives you something to do in providing a service. That's the bit to be considered when deciding the price of what you do. What is the value of the item or service? Is it something they really need, and will save them time, money, stress - or give them great pleasure? It shouldn't be the price of something + a "mark up" - it should reflect the value of the finished product and everything it entails, and everything it will do. How ill it be used? Is it a necessary evil or something that will bring joy?
That's how we charge in our creative advertising business - producing images and videos so that we craft Emotional Magic™. We design something that will wow customers, get noticed, generate business and increase profits. That's where our value comes in.
We've been lucky enough to photograph a number of celebrity TV chefs, and I never lose sight of why their one piece of chicken or fish is priced at £50, when the actual cost of the said fish is only a few pounds. That's not what the customers in the Michelin starred restaurants are paying for. It's the time, the talent, the experience that they give to the client and the VALUE that comes with that. That's something we should never lose sight of when running any business. That's why we should set our prices accordingly.
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This artisan jewellery maker came to us for something different from the plain white background images she had been taking herself in a lightbox. As a result of her images showing she really valued her craft, her prices and her sales rose exponentially! |
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Spreadsheets are your friend!
It's important to consider all of your business expenses when setting your prices. This includes not only your base costs, but also your time, your premises, wages, energy, consumables. What's the cost of your website, and domain? What is the price of your business insurance (Public Liability and Professional Indemnity all should be included). Are you trying to do the photography and marketing yourself? Is this really cost-effective if it is not your main business? If you are running a retail shop, would you try and do the electrics and plumbing yourself? Of course not, then why waste time on peripherals when you money would be better spent in making your business better and your prices and profits better? You should factor in a fair hourly rate for your time and make sure your prices reflect the cost of doing business. Do you really want to be cheaper than your competitors just to get in the business, and then end up frazzled working seven days a week?
We all know of someone who will regularly try and poach clients from us and quote a few pounds less, just so that they can try and pull people away from us. It's happened to us! Therefore, we changed our strategy into quoting a price for the whole job that factored in all our costs as well as the VALUE we brought to the clients. That "tog" did us a great favour! If you can offer an unforgettable business experience, whatever you do, you can create something that will set your business apart from your competitors and establish your brand as a name synonymous with quality, or service, or style, or anything that speaks directly to the heart of soul of your customers. The customers who love what you do. Then the monetary figure you put on something becomes less important.
The easiest way to illustrate this is with the Price v Desire graph.
Price v Desire GraphPrice v Desire Graph
In its simplest form, people start with thinking about prices. That's nearly always the first sentence in an email or phone call. If you do it correctly and show your potential clients the VALUE of what you can do, then eventually the desire to do business with you will outweigh the price factor. Once they have fallen in love with the whole idea of having something you offer then the price becomes an irrelevance and they will find a way to afford you. Just think how people save up for something special. They could probably make do with a cut-price alternative, but it won't bring them nearly so much satisfaction. That's the place where you want to be!
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This is a local view for us in Cornwall! The hotel in the valley just behind the car commands high prices because of the value its clients place on having such a wonderful location. |
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The Value Proposition.
In the good old days of vinyl music sales we bought discs of plastic. However, what we were really buying was the music contained in the grooves, and the way it made us feel, and the memories it held for us. It was far more than the record. However, these days there are complaints from music artists saying they should charge more for downloads or streams of their music. This is where the big "but" comes in - people who download or stream do not place the same attachment to this ephemeral way of accessing music. It feels cheaper and easier and more disposable.
I remember saving my money from working in my Dad's photographic studio and darkroom and spending my money on vinyl. An album cover with beautiful photography and artwork was something special to be treasured. Even better was a gatefold album, maybe with a poster, or lyrics sheet slipped inside. It would only cost a few cents more to produce, but the excitement was immeasurable, and therein laid the value.
Duran Duran Arena Vinyl AlbumDuran Duran Arena Vinyl Album
If you can offer this extra value to your clients then you will be operating in a different area where price is not the dominant factor. This is exactly why we are seeing such a resurgence in vinyl sales - the purchaser sees far greater value in what they receive, and that justifies a higher price than a simple mp3 download.
Start Low and Get High?
Starting with really low prices to get you established with the aim of ending up high is a really bad idea! Here's why. You can get yourself established quite quickly this way. But you need to realise that you will be established for being a "Bargain Business. Customers will come to you because you are cheap. Word of mouth will recommend you for your prices. Remember, referrals go out sideways. Then, when you increase your prices to what you really want to charge, you will find that people will cough, splutter, mutter obscenities about extortionate prices and you will be left in a wasteland. You can alienate clients at both ends. Your enquiries can dry up, and you surely won’t suddenly get new enquiries because you are somehow expensive overnight.
The Pound Store that suddenly charges Harrods' prices is surely doomed. Its existing customers will go to other discount stores, and the customers that loyally stick to their favourite department store won't give it a second look, even if it has raised its prices.
Discounts?
Again - it's a big NO!
It's important to have a clear pricing strategy in mind when setting your prices. Offering huge discounts or setting prices too high and then offering discounts later can actually make you look less professional and lower the perceived value . There's something that smacks of sad desperation by offering big discounts. It looks like you have ideas above your station, can't get the customers and are therefore realising your shortfalls and failings by reducing your prices. We all know that the furniture companies aren't really offering a £20,000 couch for £200, but we go along with it, and they never believe their furniture is really worth that much in the first place. When people want a £20,000 piece of furniture they will buy one at that price, and the quality will probably reflect what they paid.
Maybe you want to build your brand and reputation as being the business that offers luxury goods or a Platinum Service at unbelievable knock-down prices? Good luck with that, but that would take some guts in marketing and promotion, and you would have to convince people you were genuine, and if you are serious about running a profitable photography business then probably not recommended!
Instead, consider offering packages or tiered pricing options that offer a range of services at different price points. This can give clients more options while still ensuring that they understand the value of what you do.
The Lipstick Effect
In times of inflation and a cost-of-living crisis such as we have now, people will naturally cut back on expenses. This is where we see a very interesting phenomenon that finds its roots in the economic hardships faced during the Great Depression of the 1930s. At a time when the economy was in shambles, cosmetic sales, particularly lipstick, surprisingly experienced a surge. This phenomenon caught the attention of analysts who observed that consumers sought inexpensive luxuries to uplift their spirits amidst financial adversity. Despite their limited disposable income, individuals continued to invest in small indulgences, such as beauty products, to maintain a sense of normalcy and boost their psychological well-being.
Luxury Red and Gold LipstickLuxury Red and Gold Lipstick
People may have less to spend and you may have to adjust your offering accordingly. Don't just cut prices, but maybe consider your base costs and adjust those, but offer a greater value in what you do - something that needn't cost you more, but will be valued by your clients. That way you can mitigate the drift away to cut-price wannabees.
In general, it's best to set fair, consistent prices that reflect the value of your work and business expenses. A Michelin starred chef can justify higher prices, and qualifications with professional organisations and trade bodies can certainly help.
Finding your niche is also extremely important. Having something that is desired and in short-supply will always command premium prices. Knowing the demographic of the people who want what you offer is vital. I don't believe that you choose your clients and then sell to them. It's hard work. Think of the people who want what you have to offer. Always put your client at the centre of everything you do. What do THEY want? Do not decide what clients you want and then go after them! Let them come to you - but make sure you are visible to them. Whatever business or trade you work in, finding your niche can make all the difference.
Avoid setting prices too high or too low, and be transparent about what clients can expect to receive for their investment. By staying true to your goals and your brand, you can attract the right clients and build a successful and profitable business.
Bergit Barnett - Barnett Photo StudioBergit Barnett - Barnett Photo Studio
Adrian I Barnett LSWPP - Barnett Photo StudioAdrian I Barnett LSWPP - Barnett Photo Studio
Bergit grew up in East Germany behind the Berlin Wall but after the collapse of Communism she moved to West Germany to study International Business & Economics in which she achieved a Master’s Degree - skills she uses today to analyse what her clients really need within their businesses, and providing inspirational and creative solutions to grow the businesses. Adrian is the son of Film Producer & Director G Ivan Barnett. His experiences with his father have influenced his styles and approaches to photography and video, and working in advertising in London gave him an insight into producing images which really connect with people to convey a message. After running their own successful creative photography and video business together for nearly 15 years, they are always on hand to give advertising, branding and commercial business advice.
Contact them today for a free, informal chat about where you can take your business.
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"Don’t expect a creative idea to pop out of your computer" - George Lois (the original "Mad Man")
AI is all around us now, and although it still surprises and sometimes amazes me, it is still very recognisable and obvious what it is. I believe that is because it fundamentally does what it is asked as long as you give it clear instructions and you use your own ideas. Ask it to use it's own imagination and it quickly fails.
Ask it to produce images of Cars or Cats, and it does amazingly well. Ask it to produce impossible images of Cats doing the Can-Can, and again it produces what you tell it to. Ask it produce an emotion such as despair or wonderment and then it falters. It is not actually intelligent. It assembles creativity from others - and nothing more.
At Barnett Photo Studio we sometimes get enquiries from businesses about using AI images in their advertising and promotional materials. They usually want to save money and don't want to invest in professional photography. That's fine, we understand. Really good photography and video doesn't come cheap - but the marketing and promotional advantages that come with using professional and personalised images are the only things that can bring money into a business - everything else is just an expensive, an overhead.
So we discussed about where AI sits in all of this. How can it help? What can it actually do? We set about giving it some tasks to create images we had previously created ourselves from our mood boards and creative briefs we have drawn up with existing clients.
Our Original ImageOur Original Image
AI LemonsAI Lemons
For a start, we gave it our famous image of the knife and the lemon - clear and sharp and to the point. How would it handle such a dramatic and well-recognised image such as this one created in our studio? Well, it got the knife and the lemon, but that's about it. For something that's supposed to be "intelligent" it still cannot understand what hands are supposed to look like. Even members of the British Royal Family managed to make a mess of hands in Photoshop, and maybe there was an element of AI editing involved? So, if you want to creative images tailored to your specific business, service or product - then AI is not the answer here!
Artisan handmade luxury ringArtisan handmade luxury ring
We did some very specific product work with an artisan jewellery designer. Our brief was to create something different. Anything except the boring white background that every other item of jewellery is shown against. Anything different from what everybody else was doing - which was simply copying and never creating. So, what did AI do with jewellery?
AI Image of ringAI Image of ring
Very boring, standardised, generic images of what a token item of jewellery could look like. It just took it's cues from the millions of other boring images that our client so desperately wanted to differentiate herself from. The AI images are worse than bland, and not suitable for our young jewellery designer who is getting herself noticed within the industry. Certainly not reflecting the creative passion of someone who lovingly creates bespoke pieces from inspiration all around them.
AI JewelleryAI Jewellery
So, we tried to be a bit more specific. We took the original images outside in nature, with our beautiful mini Rotolights clamped to our tripod and a macro lens and went in search of natural and inspirational backgrounds that nature had provided for us. Then we gave the AI program the same brief that we had to create for ourselves anyway - so we had already done a lot of the work. The result was only very slightly better, but obviously not the actual ring that our creative girl had made by hand, and when you are purchasing something don't you want to see the actual item? There are only certain circumstances where an artist's impression is acceptable.
Professional photographers bring a unique creative vision that AI lacks. They interpret a brand's message and translate it into compelling visuals. Real photographers interact with clients to understand their specific needs and preferences, which allows for personalised and tailored images.
A good Advertising, Brand and Commercial photographer will get to know and understand their clients, and draw up a creative brief that communicates their "Big Idea" simply and effortlessly in a way that engages and drives interactions and sales. Not all advertising and marketing images do this - but all the successful ones do!
Citrus Splash - Advertising ImageCitrus Splash - Advertising Image
AI Citrus FruitsAI Citrus Fruits
AI Lemons and LimesAI Lemons and Limes
Photographers possess in-depth knowledge of composition, lighting, and post-processing techniques that AI cannot replicate. Also you need to consider industry experience. "Seasoned" photographers working with food have a wealth of experience in various advertising projects, providing insights and ideas that AI lacks. Working in the advertising industry in London gave me some real knowledge of the "dark arts" of subliminal messaging that is essential in effective visual communication. AI can't even begin to get it's head around subtle persuasion techniques using emotions.
Spices of The EastSpices of The East
This image of the shallots and spices was sketched and re-sketched many times. The colours were carefully chosen to bring harmony as well as excitement, and the angles and lines carefully adjusted millimetres at a time to provide a pattern where the eye is lead around pleasing parts of the image. The AI equivalent has the basic ingredients, but unfortunately nothing more. It lacks so many elements of what made our original image so effective.
With any business it is vital to recognise and really understand Brand Consistency and Identity. We spend a lot of time at Barnett Photo Studio really getting to know our clients and what makes them tick and we need to understand their problems in order to be able to solve them. I don't know of any AI program that sits down with people and gets to know them and their back-story over a cup of coffee!
Green Chillies and SpiceGreen Chillies and Spice
Understanding "Brand Identity". We believe it is essential we work closely with our brands to ensure images align with brand identity and marketing goals of our clients. People buy from People! The power of good creative advertising imagery relies on real humans understanding what real humans are offering, and then buying into that promise, whether it's goods or services or something else. AI simply can't do this. Ever been really annoyed by a Chat Bot that simply doesn't identify or understand your pains and frustrations when trying to sort something out?
AI VegAI Veg
AI Fruit and VegAI Fruit and Veg
AI Red OnionsAI Red Onions
Another great advantage of using a professional company, either ourselves or someone else with a great track record is that of "Maintaining Consistency". We believe that it is vital to maintain visual consistency across all advertising materials, strengthening brand recognition. The brand needs to be easily identifiable and the message repeated simply and often. Your customers will buy into you if you offer the reassurance of consistency. AI images tend to generate something new from scratch every time, and make multiple attempts.
Of course, AI images can be endlessly fascinating. I have seen wondrous things. I have also seen beautiful, creative and joyous creations while wondering round art galleries in London or Manchester, (and many other places).
AI has it's place. But not in the creative universe.
Please comment on this by all means - we'd love to hear your thoughts. YOUR thoughts - not AI generated ones!
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The Dark Art of Persuasion
Running and growing a business isn't easy, but it is achievable if you understand a few things. First, have a look at why some brands are more successful than others. What makes a great brand? It is more than simply being "good at what they do". They persuade people to use them and buy from them.
How exactly do they that and how can you do the same for your business?
1 - Having a strong brand identity is essential. The brand is NOT the logo, despite what many people think. It is the ethos, the mission, the values of everything the company stands for. It sets out right from the start exactly what it is and what it does. And it speaks directly to the people who want that brand. Not every brand is for everyone. So if you are running a business don't waste your time trying to convince people who aren't really interested. If you have done your research correctly, then there are plenty of people who do want your product or service. Your brand identity sets this out right from the start.
2 - Consistency is essential. Many business that struggle and ultimately fail are those that try to do too much, or a bit of everything, or be everything to all people. There are examples of strange takeovers where unconnected businesses try something radical and new, and enter unfamiliar territory, and this usually ends in disaster. Your messaging, branding and customer experience should all be consistent because it is this certainty and security that helps build trust, and trust brings loyalty. Every time someone encounters your business they should know exactly what to expect. This applies to advertising, packaging, customer service, and product quality.
3 - Emotional Connections. At Barnett Photo Studio we are all about creating Emotional Magic ™. Successful brands often evoke strong emotional connections with their customers. They go beyond simply selling products or services to fulfil deeper emotional needs or aspirations of their target audience. People are fiercely loyal to particular makes of car, manufacturers of mobile phones, and fast food restaurants. The list is enormous. Get your customers to trust you and love you, and you will have won one of the biggest business battles.
4 - Creativity and Innovation. The most successful brands are continuously innovating and trying to delight their audience.
They always promise something bigger and better than what has been seen before. Apple are a prime example. New products, new ways of doing things. Generating chatter about their new release of a product months or even years in advance. It's going to be great - so it must be good! Do not become complacent. Like The Tortoise and The Hare someone will soon overtake you if you don't keep moving.
5 - Successful brands invest in strategic marketing initiatives to reach and engage their target audience effectively. They don't throw random ideas across the latest social media channel. They understand where their clients are, and they create content that appeals directly to them. This is where Barnett Photo Studio helps many businesses. We have huge experience in business and business growth, in photography and video, as well as working in the advertising industry.
We are also graduates in Digital Marketing with the government-backed Future Skills Institute. So, if you want to make a success of your business and establish a beloved brand then the first step of commitment to yourself and your business is to have a chat with us.
We love hearing about new and exciting businesses, and we love helping out and seeing the results.
We're always up for a coffee and a chat. Send an email, pick up the phone, whatever you want. Over to you . . .
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It’s been a great start to the year. Unusually so.
We are not complaining, but this year people seem to have started earlier with a great desire to get ahead in business, beat the competition, and establish themselves at the forefront of their field of service or expertise. To that end, we have more people wanting professional looking visuals that they can't create themselves without a lot of time or effort, and they want those visuals to have a positive impact and not look like generic stock images that their rivals are also using!
Ever seen those generic, predictable images that look the same but represent any number of different businesses? We call them the "Same Old Shot" - maybe with slightly different wording. Is this something you are guilty of?
In essence, this is all about great advertising .
It comes under all manner of names, such as digital marketing, social media marketing, brand marketing etc - but at the end of the day it is all advertising. And advertising is everywhere, yet we all have a favourite advert. One that we remember and gives us a warm glow. Something where we stopped and said "that is genius".
Of course, here at Barnett Photo Studio we don't want to influence you, because we have our own favourites. There are some truly great award-winning adverts that have transformed the fortunes of large and small companies, simply because they caught a mood, created some magic and were welcomed into people's lives.
This can be done in stills or as a short video. Today it is even more important, especially with all the marketing chatter everywhere we look. Yet there are adverts, promotions, call them what you will - that just stick-and-stay.
We would love to learn about you and your business, what drives you, what expectations you have - and what obstacles you face in getting there. We love solutions.
They are so satisfying.
When we work with our clients we love to get to know you and create some Emotional Magic™ for you to use as your advertising. It's starts with a conversation. Tell us about your favourite advert and the impact it had on you. Then tell us how you would like your own advert to look - and together we'll create something unique that speaks directly to customers who desire what you have to offer!
Another year at The Societies of Photographers' London Convention. It's the largest event of its kind in Europe and attracts top photographers from all over Europe, the US, Australia and Canada.
My wife, Bergit, and myself are the founders of Barnett Photo Studio, and we produce Advertising, Brand and Commercial photography and video for many diverse business, and we are incredibly proud to be the official photographers for this event. Proud, honoured, and ever so slightly ecstatic - you bet we are!
Of course, it's great fun, but also incredibly tiring and sometimes stressful. So, why do we do it? Maybe we are crazy? But we are also passionate about photography, creativity, business and pushing ourselves forwards. We learn from others, and in return we have always helped other photographers - we love giving back and seeing our clients grow and be successful. And The Societies of Photographers is the place where we can do this best.
If you are serious about being a photographer, and not just a "Tog", then this is the place to be.
There is a wonderful community, a family of photographers who all share one thing - and that is the desire to learn, improve, and create magic in the genre of photography that they love. This is all down to the network of people and the sharing of knowledge and information. And it always works better in person.
Things changed for us in those few days we were in London. A few conversations, some introductions, and some exchanges of creative ideas and suddenly we are incredibly excited about new opportunities that have opened up for us and the business. We have plans for this year and beyond that we are extremely enthusiastic about, but we won't reveal the details just yet. Just to say we are incredibly excited - but none of this would have happened if we hadn't taken our creative business seriously.
This is not about the "money, money, money" (to quote Jessie J) - "I wonder how they sleep at night, when the sale come first and the truth comes second". If you pursue this career for the money then you've got it wrong. Neither is it about style over substance. The hard truth is that you need good and solid business skills and acumen and put that hand-in-hand with photographic craftsmanship.
You will find it a hard slog if you are producing endless marketing without a purpose, no clear vision and lack a solid business foundation. The good news is that you can make money in any genre of photography you have a passion for. But you need to build it on proper photographic knowledge and a sound understanding of how business works (and not social media get-rich-quick posts).
Serious bit over - it was also great fun. Crazy, mad, and full of genuine love and passion for this industry which is simply the best.
If you don't believe me then just look at the images and the galleries and watch the video - and then ask yourself where do you want you and your business to be in 12 months time.
Don't forget, we are always up for chat! Speak soon.
Don't miss the video underneath the link to the Galleries!
https://www.barnettphotostudio.co.uk/the-societies-of-photographers-london-convention-2024
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We are often asked how we go about a Photoshoot.
Some people think we turn up somewhere nice with a model and snap away. Then we spend hours with our heads welded into Photoshop at the expense of all social life. Some people may do this - actually I know for a fact that some people do this! Not us.
For the most part I suspect people know that it is not all about editing for hours on end. A shoot for a hour will produce about 15 - 20 images, and probably about 10 - 15 minutes worth of editing. I have a life, and would rather prepare a nice three-course meal, have a cold cider, eat some home-made chocolates and watch a great film.
The majority of time is spent beforehand in planning and executing the shoot. For us, it's all in the preparation and planning. Finding a great location is one thing. But also we have to consider the time of day we will shoot, and the direction of the sun, and any changes in weather. It's also good to consider when the location may be busy and overrun with people. However, in the case I am going to go through here, we chose Sunday afternoon, in daylight, in a very busy area just outside Camden Market where the canal goes past. We don't like to have things too easy! This was the only time we could be there, the only time our client (the model) was available, so we needed to be aware of all the joggers and cyclists going past, and also the fact it was daylight - which wasn't at all what we wanted. But, onwards and upwards.
Our client was the model. We were shooting for her and her portfolio, so it wasn't a case of hiring a different model that was available at other times - the client comes first - and she wanted Camden Market at that time on a Sunday afternoon. It is the job of a photographer, filmmaker, or any small business to build everything around the client and their wishes. A satisfied client is one who will love you forever, recommend you to others, and return again and again. It's something that some small businesses overlook. But I am not here to give you business advice, but to talk you through what actually happens on a pro photoshoot.
We have the location, with this very thought-provoking graffiti. Our mood board with all it's sketches and plans have the theme of "Das Mädchen unter der Lantern". It's the original German version of "Lili Marleen" the song made famous by Marlene Dietrich, who also gave her name to a type of lighting pattern used in portraiture. Basically the "The Lady Under The Lamplight" - there are several versions of the song, the original German and well as English and alternative translations to suit different propaganda viewpoints. Lily may be a street walker, or she may be waiting at home for her love who is away at war, and this is the version I prefer. It also fits in with the artwork on the wall.
We already are working in a space that is quite tight, with the canal right behind us, and the choice of lens is the next consideration. Wide angle for this, but also watch for distortion and leaning verticals. Light - this is always important. We don't want the daylight - so to get rid of it we have to overpower it. Powerful heavy-duty flash heads like our Elinchroms with High-Sync capabilities are wonderfully useful and versatile - but they can be somewhat heavy, and ideally the heads set up on lighting stands, and there are too many people jostling around each other to risk this. Quick question - how many of you photographers have Public Liability insurance? If someone falls over your equipment there is always a solicitor who will advise them to make a claim. It's shocking how many photographers aren't insured against this. And I swear I once had a man who was doing his utmost to come around barriers, ignore warning signs and all attempts by me to tell him to go away just so that he could try his luck at falling over something in order to rinse me for cash. Luckily nothing happened and he got fed up and went away - probably to try making a nuisance of himself somewhere else.
Anyway, can't risk that here - so a hand-held flash head on a very long pole held by my assistant was the order of the day. I love the old Metz 45 "Hammerhead" flash gun. Very powerful, not too heavy, and built to last. Full power, fairly close to the model client and held at an angle from the sloped walkway overhead as if it were streetlight. We used a simple CTO filter (Colour Temperature Orange) over the flash for a slightly warm feel, like the old Sodium orange street lights. We set the colour temperature of the camera slightly above this so that it still registered orange. We couldn't set the temperature to 3200°K (Tungsten) because then it would have removed the lovely warm glow. Never set the camera to Auto Colour Balance as it will do it's best to try and cancel out the effect of any colours you are trying to create for mood.
Expose for the light coming from the flash head. Use a meter! You need to know the volume of the light coming onto your subject. Never the amount bouncing off and coming into the camera. If you have the model wearing white or black then you will get two different readings even if the amount of light remains the same. And what you need to know is always the amount of light!
Expose for the light falling onto your subject, and if it is greater than the amount of ambient light just bouncing around during the day and minding it's own business, then it will have little effect on the image. Hey presto - you will have overpowered the daylight! Obviously bright sunlight in the middle of the day is best avoided if possible, and it may be necessary to have super-powerful heavy-duty flash heads and a very high shutter speed. You will also need special
flash heads as well as specialist flash triggers to fire the lights. These can be very expensive and probably not necessary unless you are shooting full-time for high-quality advertising and commercial work. They are lovely to work with, and make our life easier - but in this case, at this location, we can get just as good results with a workaround solution.
This is all very intense, and we have to be pro-active rather than reactive. We have to see the shots, change the lighting subtly, check that there are no shadows or other distractions which we may discover later when we can't alter anything. Our heads are running like the rev counter in your car when it begins to enter the red zone. How we do manage to keep going at such intensity? Simple - caffeine and sugar. That's where the Red Bull and Snickers come in. I know, health warnings! It's only for a short while, and we don't shoot day-after-day. We have client meetings, pitches to make, brand strategies to develop, mood boards to create for advertising photography campaigns, and story-boards to draw for commercial films. Not least the campaign schedules, the video production, even recording the music and sound effects where necessary - and a lot of this audio production is also done in-house.
The Finished Image!
But, for a shoot, our regular clients know us for bringing along bottles of energy drinks which we swig from with wild abandon, and also packets of chocolate snacks which we also devour with gusto. We've become known for this way of working! There, I've given you photography tips as well as an insight into how Bergit and I really work on a photoshoot!
PS - it doesn't have to be Red Bull & Snickers - other brands are available!
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Photographs are a unique form of artistic and documentary expression. They have the power to encapsulate a moment, an emotion, or an idea with remarkable precision. Some photographs, however, transcend the realm of ordinary pictures to become iconic, etching themselves into the annals of history and the collective memory of humanity. What makes an image iconic and what does it need to leave an indelible mark on our hearts and minds?
The Timeless Power of Photography
Photography, as an art form and a means of documentation, has been instrumental in shaping our understanding of the world. The ability to capture a fleeting moment in a single frame has revolutionised the way we preserve history, emotions, and the human experience. Iconic photographs are those that distil the essence of a story, an event, or a feeling, making them accessible and relatable to people from all walks of life and across time. Why have some images such a powerful meaning to us?
The Language of Iconic Images
In a world filled with words and information, iconic images stand out as beacons of meaning and emotion. They are a universal language that transcends linguistic and cultural barriers. An iconic image can convey the horrors of war, the triumph of human achievement, or the beauty of our planet in a single frame. These images often serve as a visual shorthand for complex ideas and emotions, making them instantly recognisable and relatable.
The Birth of Iconic Photography
The history of iconic photographs can be traced back to the 19th and 20th centuries when photography gained popularity and accessibility. One of the earliest iconic photographs is “Valley of the Shadow of Death” taken by Roger Fenton in 1855 during the Crimean War.
In the 20th century photographs from other wars changed the opinions of ordinary people like “The Terror of War” from Nick Ut during the Vietnam War. The image of a young girl, Kim Phuc Phan Thi, running naked and terrified after a napalm attack became a symbol of the horrors of war. This photo transcended national borders and political ideologies, making it a powerful anti-war symbol.
Iconic Photographs of Human Suffering
Some iconic photographs have a tragic backdrop, yet they serve to create empathy and awareness about the harsh realities of life. "Migrant Mother," captured by Dorothea Lange during the Great Depression, depicts Florence Owens Thompson, a distressed mother of seven. This image symbolises the struggles of countless families during the economic downturn and remains a potent reminder of human resilience.
Another more recent example is the portrait of Sharbat Gula - better known as Steve McCurry’s “Afghan Girl”.
Iconic Photographs of Triumph, Hope and Unity
Not all iconic photographs are grim; many capture moments of hope, unity, and triumph like “The Red Flag on the Reichstag” from Yevgeny Khaldei showing a Russian soldier raising the Russian flag on the government building in Berlin showing the end of the Hitler regime in Germany. This image encapsulates the joy, relief, and exuberance felt by people worldwide at the war's conclusion.
Some photographs serve as symbols of hope and inspiration. Take, for example, the photograph of Buzz Aldrin standing on the lunar surface, with the American flag planted next to him. This image captures the moment humans first set foot on another celestial body during the Apollo 11 mission in 1969. It embodies the spirit of exploration and achievement, symbolising the limitless potential of human ingenuity.
The Emotional Impact of Iconic Images
Iconic images have a unique ability to evoke powerful emotions. They can make us feel outrage, compassion, awe, or nostalgia. The photograph of Aylan Kurdi, a Syrian refugee child who drowned while trying to reach Europe, shook the world and ignited discussions about the global refugee crisis. Likewise, the image of the "Tank Man" from the Tiananmen Square protests in 1989 remains a symbol of resistance and the fight for freedom.
Iconic Images in the Age of Digital Media
In the 21st century, iconic images have evolved alongside the rapid growth of digital media. As technology has evolved, photography has become more accessible to the masses. The advent of digital cameras and smartphones has allowed individuals to capture and share iconic moments in real-time. Social media platforms have played a pivotal role in the instantaneous dissemination of iconic images, from political protests to acts of kindness. Iconic images can now emerge from everyday people and events, further democratising the process of image creation and dissemination.
The Responsibility of Iconic Photographers
With great power comes great responsibility. The creators of iconic photographs, whether professional photojournalists or ordinary individuals, hold the responsibility of ethically representing reality. These images have the power to influence public opinion and affect change, and thus, they must be crafted with honesty and sensitivity. . Iconic images are not just records of history; they are active participants in shaping it.
Conclusion
Iconic images are not just pictures; they are windows into our shared human experience. They reflect our greatest achievements and our darkest moments. They capture the emotions and ideas that define our culture and history. In a world filled with words, numbers, and data, iconic images stand out as potent reminders of our capacity for compassion, courage, and creativity. As we continue to create, share, and discuss images in the digital age, it is essential to recognise the enduring power of these visual symbols in shaping our world. Iconic images are more than just pictures; they are the threads that weave the fabric of our collective memory.
]]>A while ago we created an image to illustrate what we mean by "Branding".
The term originates with farmers branding cattle to be uniquely identifiable and have an ownership. To help illustrate this we had the help of a local farmer in Cornwall make us a prop Branding Iron we could use for fun in a shoot. We had it made in the shape of a letter "B”.
These days branding is seen as the process of giving a meaning to specific organisation, company, products or services by creating and shaping an emotional connection in consumer's minds.
In the studio we saw that a spotlight shining through the branding iron would cast a perfect shadow of the "B", and Bergit volunteered to offer her back for the shot. That was as completely innocent as it was. It could as well have been a man. The image was created during a Covid lockdown and we were not allowed to mix with others or to use models. So, we had to make do with what we had available. And Bergit was available! It never crossed our minds that it made any difference if Bergit posed with her back towards the camera and I held the branding iron or the other way around. One of our core values is to be gender-neutral. We believe that we all are different and work best together in a diverse environment with people from different ethnic and cultural backgrounds coming together to share their different experiences and skills.
We edited the "branding" image with some heat in the iron, a bit of texture on the skin, and a few wisps of smoke. A powerful image. An eye-catching image. Simple, but effective.
We shared the image in some social media posts, with text about branding and what it means in the context and business and advertising. So far so good. Then, suddenly we experienced a backlash from people who said it was sexist and demeaning. It is because it was interpreted, by a few people, as being a man branding a woman. Putting his mark on her. Making her his property.
Obviously that wasn't our intention at all. In fact, thinking back, we believe it was Bergit's idea to sit as the model. It could just as easily have been me sitting there. Except it wasn't - and that seems to have made all the difference. As I said earlier in this blog we don’t believe in stereo-typing people. In our opinion there are no men or women specific jobs or trademarks. We are all different and that is a cause for celebration, because it drives creativity and innovation.
We were told it is obviously a male hand who is holding the branding iron. That's maybe, but what does it matter?
We showed the image to a group of people we are working with who are all digital marketeers, and of the fourteen people in the group, only three are men. They agreed it was a powerful and thought-provoking image, but none of the females in the group were shocked or upset by it. But my problem is that some people, somewhere, were moved to comment negatively.
We would rather not upset anyone! And it got us thinking. We don't want to say it's someone else's problem and not ours, but we can't go round thinking of everything in case someone, somewhere, anywhere, might take exception.
A lot of our work is designed to be edgy and eye-catching, stopping people from scrolling endlessly on Social Media and to grab their attention. This one image, in one area, caused a reaction that surprised us. Did we get it wrong?
Since then the image has been used as the headline in an article about Branding in Business (more specifically "How to Brand Ourselves"), and this was published in an international magazine that is printed and sold across Europe, the US, Canada and Australia. We didn't receive any negative comments to the image when used in conjunction with the article.
Perhaps the image was viewed out of context and an instinctive reaction made without reading further. That is not to say I am blaming anyone for not looking deeper.
So, I'm putting this out there. What are your views? Edgy or provocative? Creative or controversial? All this is subjective, of course, and we can never predict the reactions of everyone as everyone is different.
We would love to read your comments.
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In today's fast-paced digital world, businesses face the challenge of standing out among a sea of competitors. One powerful tool that can help them leave a lasting impression on customers is professional Brand Photography. Beyond just visually pleasing images, correct brand photography plays a vital role in establishing a strong connection between businesses and their target audience. In this blog, we will explore how professional brand photography can make a real difference to businesses and enhance their ability to connect with customers. It's only by connecting and engaging that you can become a "Beloved Brand" - something that we at Barnett Photo Studio are continually telling our clients.
Emotion is Key: Creating a Lasting Impression In a world saturated with content, visual storytelling is crucial. We all love stories, even from a very young age. Simply saying something is one thing, but making it relevant and interesting is another. Professional Brand Photography enables businesses to tell their unique story in a visually compelling manner. By capturing the essence of a brand through carefully composed and high-quality images, businesses can instantly grab the attention of their target audience and leave a lasting impression. From capturing the vibrant culture of a company to showcasing its products or services in action, professional brand photography adds depth and authenticity to a brand's narrative. Remember, if your potential client doesn't trust your authenticity, then it is very unlikely they will buy from you.
Building Trust and Authenticity: Authenticity is a key element that resonates with customers. Professionally captured images convey credibility and build trust by showcasing the real people, places, and products behind the brand. You should not, ever, use generic stock images that fail to portray the real you and your company. People can spot a fake even if it is only subliminally, and they will stay away!
High-quality visuals that are unique to you instil confidence in potential customers, as they perceive your brand as one that invests in professional photography and is dedicated to delivering quality in all aspects of their business. By presenting an genuine representation of their brand, businesses can foster stronger connections with customers and differentiate themselves from competitors.
Connecting on a Deeper Level: Emotions play a significant role in consumer decision-making. Professional brand photography has the power to evoke real emotions and forge a deeper connection with the audience. At Barnett Photo Studio we always aim to create "Emotional Magic"TM for our clients, and, in turn, their customers. Whether it's through vibrant colours, expressive human subjects, or visually appealing compositions, well-crafted images can evoke joy, excitement, or even nostalgia. By tapping into these emotions, businesses can create a memorable experience for their customers, leaving a lasting imprint on their minds and increasing the likelihood of brand loyalty. That's how you grow from being a mere business into a "Beloved Brand."
Consistency and Brand Identity: Maintaining a consistent visual identity across various marketing channels is crucial for brand recognition. Professional brand photography helps businesses establish a cohesive and recognisable visual language that aligns with their brand values. From website banners to social media posts, consistent and high-quality visuals create a cohesive brand experience for customers. Your message becomes known and trusted. This consistency reinforces a brand's identity, fosters brand recall, and enhances its overall impact in the market.
Elevate Your Brand with Professional Brand Photography: Are you ready to take your business to the next level? Book a free consultation with us at Barnett Photo Studio and have a chat about what we can do for you. We have a background in dealing with international brands as well as many successful advertising campaigns and have dealt with many different brands both large and small in many areas of business.
We can show you how investing in professional brand photography can unlock the true potential of your brand's connection with your existing customers as well as attracting new ones. By partnering with us as experienced photographers who understand your brand's essence, you can create a collection of captivating images that tell your story and leave a lasting impression on your audience.
Professional brand photography goes beyond capturing beautiful images. It has the potential to transform the way businesses connect with their customers. By leveraging the power of visual storytelling, building trust and authenticity, evoking emotions, and establishing consistency, brands can forge stronger connections and make a lasting impact in the marketplace. Don't miss out on the opportunity to elevate your brand's connection with customers—invest in professional brand photography today and watch your business thrive.
Recently we seem to have been hearing a lot about "The Lipstick Effect" - so what is it?
In times of economic uncertainty and downturns, peculiar consumer behaviour often emerges. One such phenomenon, known as the "Lipstick Effect," has gained recognition and intrigue among economists and marketers alike. This well-proven theory suggests that during times of financial crisis, consumers tend to increase their spending on small indulgences like lipstick, cosmetics, and other non-essential items, even when their overall purchasing power is diminished.
The Lipstick Effect finds its roots in the economic hardships faced during the Great Depression of the 1930's. At a time when the economy was in tatters and unemployment rates were soaring, cosmetic sales, particularly lipstick, surprisingly experienced a surge. This phenomenon caught the attention of analysts who observed that consumers sought inexpensive luxuries to uplift their spirits amidst financial adversity. Despite their limited disposable income, individuals continued to invest in small indulgences, such as beauty products, to maintain a sense of normalcy and boost their psychological well-being.
So how does that affect you?
You may be tempted to cut prices, even some well-meaning people have suggested you cut prices because they can't afford you? How can you do this when your own costs are rising? It makes no sense!
Maybe your business can offer something which need not break your bank, but will keep customers loyal to you, and make them feel great as well?
Here are 4 reasons why this is a great idea that really works.
- Psychological Comfort: During challenging times, people often seek solace and emotional support. Purchasing small luxury items provides a sense of comfort and familiarity, acting as a temporary escape from their financial worries.
- Emotional Boost: Cosmetic products, including lipstick, are known to enhance one's appearance and boost self-confidence. By investing in these products, individuals aim to uplift their mood and self-esteem, despite the larger economic concerns.
- Symbolic Significance: Lipstick, in particular, holds symbolic significance as a representation of femininity, beauty, and empowerment. Purchasing lipstick may be viewed as a small act of defiance against economic constraints, allowing individuals to assert control over their lives.
- Affordable Indulgence: Lipstick is often relatively inexpensive compared to other luxury goods. This affordability factor makes it an accessible indulgence for consumers, enabling them to experience a sense of luxury without significant financial strain.
If you can offer a "feel-good" product or service then you can keep customers loyal and feeling good. If they feel good because of YOU then that is the emotional connection that they will associate with your brand and that could be the key to keep them coming back for more.
This will benefit you, and them, and the wider economy of the whole. Business and Economic experts sum it up like this:-
- Consumer Sentiment: The Lipstick Effect reflects the influence of consumer sentiment on spending patterns. As consumers regain confidence in the economy, their willingness to spend on non-essential items can serve as an indicator of economic recovery.
- Industry Resilience: Industries associated with small indulgences, such as cosmetics and personal care, tend to exhibit resilience during economic downturns. Understanding the Lipstick Effect can help businesses adapt their marketing strategies to tap into this consumer behaviour and mitigate the impact of economic crises.
- Economic Stabilisation: The Lipstick Effect, although driven by individual spending on small luxuries, can contribute to economic stabilisation. Increased consumer spending, even on relatively inexpensive items, can stimulate demand and drive economic activity during periods of recession.
- Marketing Strategies: Marketers can leverage the Lipstick Effect by emphasising the affordability and emotional benefits of their products during economic downturns. By understanding consumer motivations, businesses can tailor their marketing messages to resonate with individuals seeking small indulgences in challenging times.
So, next time you are thinking about the rising cost of living, and how your business can respond to these pressure, put on your best "Lipstick", smile - and put these ideas into action!
If you need any help with your business, and getting the "lipstick" working with some great photography that will connect with your clients then please chat to us about what we can do for you!
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This is not what we intended!
This is what happens when things conspire to make a shoot go wrong. Making lemonade from lemons and all that!
We had a great location, absolutely fantastic and out of this world. Difficult to get to and unavailable to anyone for nearly 50 years - but more of that another time.
We sat in a car on the top of Bodmin Moor, before sunrise, waiting for a model to travel a long way to shoot with us, but the rain kept coming. In droves. It quickly became apparent that our planned shoot would not take place as we had prepared.
This is why you always have a Plan B. We've had models cancel on us just because of a bit of rain - but no more!
Our Plan B was to relocate to underneath a huge flyover down in a valley in Cornwall. We didn't know in advance but the road was also closed, despite that a few vehicles came flying down the road anyway, and jamming their brakes on in surprise when they thought they saw "Cersi Lannister"!
Our aspiring model, Red, was all up for creating something with a different mood and feel, and very open to our suggestions and the way we collaborate.
It's always good to have shade from overhead light, even if you don't need shelter from inclement weather. That way you can place the light exactly where you want it.
In this case we were using Elinchrom ELB 400's (Quadras) plus strip-box etc.
Working on an heavily overcast day helped, as well as working shortly after sunrise, although there was no sun that day, it helped provide a soft, diffused light that filled in shadow details.
So, instead of the vast landscape we intended to use, we made do with an urban concrete creation and used it to our advantage. That's what being flexible is all about.
We created some fantasy backdrops ourselves using various software including Photoshop, Illustrator and Painter so that they are unique to us and not available anywhere else. We are able to do this for any of our clients, to create backgrounds exclusively for them, and to design and produce images that won't look remotely similar to anything that anybody else is using.
Our model, Red Winter, is persuing modelling full-time with agency representation, and we cannot recommend her highly enough. You can find more details of her and her Instagram images here - Red Winter
Follow us on Facebook, Barnett Photo Studio - Barnett Photo Studio and everywhere else, for more details of what we at Barnett Photo Studio are creating, and also how we can help individuals and businesses get themselves noticed, whether it's fantasy or reality!
You can see a short video from the shoot below
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When my Dad was alive, occasionally his customers would confirm the date for a particular piece of work, often a wedding or a theatre engagement, and they would then ask "will it be you who is actually doing the photography / filming"?
People had had bad experiences where some slick-talker had discussed everything about photography, and then "handed it over" to one of the team. Dad was amazed at this lack of professionalism. It might be understandable if someone was dealing with a large organisation, but his reputation rested on him and him alone. Sure, I helped him set up the lights, and assisted in the darkroom, but he was hands-on at every stage from initial meeting, discussion of ideas, to photography and delivery.
Everything was produced by G Ivan Barnett MBKS. This was what they paid for. He was the photographer who commanded the highest prices in the South East of England, but it never mattered because his reputation went before him, and I willingly followed him around, learning all the while, while we photographed a whole string of celebrities from Film & TV.
Imagine booking a concert to hear your favourite musicians perform live, and they had decided to hand the gig over to one of their team to do the show instead?
The same applies with Barnett Photo Studio. It is, and always has been, Bergit & myself who are there every step of the way. We are the people you talk to, and we are always the people who do the photography and the filming. The "team" is us - me and my wife. We don't have a team of photographers we would ever dream of handing you over to if we weren't interested enough to do it ourselves. Never.
This is our guarantee to you. Irrespective of how large or small your business, or how much work you are giving us, or how much you are paying. You will get us, ourselves, and that's what we take pride in.
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"Barnett Photo Studio create Emotional Magic™ through innovative but authentic, eye-catching visuals to connect you with people whose desires you fulfil and help you to build a sustainable and profitable business."
We know that’s a big promise but we are confident we can deliver. Read on and we will explain how we do it.
(Free Guide - How to make Marketing Decisions that REALLY Work!)
It's all about preparation and making it effective. Time is money, and both are precious. We at Barnett Photo Studio don’t leave anything to chance. Everything starts with a clear vision of your brand:
What does your business stand for?
What are your values?
What makes you different from your competitors?
They are simple questions, but your answers must be "spot-on" and concise.
It is also important that you know who exactly the people are who desire what you offer and why they want you. After that we work out with you where you can find these people and when they are most likely to listen to your message.
You may have a lot of customers or clients you would love to have, but if they are not interested then you will have a struggle. May it easy - who is out there already who is actually wanting what you have? It's that simple little twist that makes things so much easier. Also, when you know who they are, make sure they are receptive to your message. Not when they are pre-occupied with other things - make sure you are ready to fall effortlessly into their minds when they need you most. Have you noticed how some of the best TV and magazine adverts seem to pop up at the most convenient time? That's no coincidence! When I was working in London on some big ad campaigns we took great care and attention to detail to make everything look effortless and spontaneous!
Like a good marketing agency we work with you 2 to 3 months prior to your brand shoot to research your perfect client and to find the right message with you. That ensures that the brand images and videos you receive from us work for you and your business and bring you a return on investment. You invest time and money in your business and it brings in dividends. That's why our clients return to us again and again. The right images will help you to be seen by the right clients who will see you in the right light and that will enable you to grow your business and to make more money.
It sounds simple - but if you work on it, and do it right, then it really does work!
We summarise what is working in marketing campaigns in a handy guide. It is free for you to download (How to make Marketing Decisions that REALLY Work!) and to measure your marketing activities against it. It also includes a template so you can design your own brief when you are working together with creative businesses. This helps you visualise your brand assets in the best way to use for your website, your logo or brochures, and the rest of your marketing materials.
We love helping the businesses we work with achieve this, and more! And we'd love to hear from you.
It all starts with a simple, no-obligation, conversation. Contact us - and we'll do the rest!
Adrian & Bergit - Barnett Photo Studio
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So, what did we learn?
1. Learn about photography. Learn from the array international judges, and look and learn by seeing the photography of others through different eyes.
2. If you can't learn how to improve your photography - then pray!
3. Take images. Make them your own images. Practice doesn't make prefect, but it can make it better.
4. Show them around!
5. Point it out and shout about it. If they can't hear you, then grab a microphone.
6. If you can't get it right, then blame someone else!
7. If that still doesn't work, then put your head in your hands. Even if you are on stage - don't worry, no-one will see you!
8. Take a deep breath and count to three.
I know that's a pretty light-hearted look at what we did in London, and hope it brought a few smiles to everyone who was there. If you missed it, and want to know more, then find out about The Societies of Photographers here - The Societies of Photographers
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We have been doing work for the site as it has grown from humble beginnings to a much-loved and vastly expanded and exciting enterprise which is visited by fans from far and wide.
As the park has grown and they have introduced new features at an astonishing rate we were tasked with photographing the ever-improving facilities and creating a buzz around the brand which would appeal to both die-hard (no pun intended) gamers as well as those curious and new to the sport.
We needed to make it look exciting, as well as friendly and welcoming, and not to show it in a way that might exceed expectations. It needed to look thrilling, but also very safe (as it is suitable for families with children over the age of 12).
The trick with Brand Photography is finding out exactly what will appeal to the perfect audience (no point in attracting people who are then disappointed with something that promises something else). The images need to promote and sell honestly and accurately. Everyone remembers tales of holiday villas being half-built and not as shown in holiday brochures. Or Christmas Winter Wonderland "experiences" being poorly run, and not as advertised, with disappointed and crying children.
Together with the owners we created mood-boards for the images and story-boards for the video to accurately show the site in all its glory, as well as making it look as exciting as possible and as far-removed from a hand-held mobile 'phone video. Lighting, composition, colours and text were all important.
Part of the remit included filming a video which could be used to promote the venue across a variety of platforms, and would show various different locations around the site, as it has both indoor and outdoor gaming facilities.
To add to the story of this unique venue we created the character of "Deadly Red" who is actually Airsoft gamer herself as well as being a CQB (Close Quarter Battle) Ladies Champion. The Deadly Red character can be used as a distinctive "definer" for Thunder Park and be unique to this particular site in the West Country.
And finally the promo video. For the technically minded, we shot in 1080 (as 4K would be too high a definition for the website and potentially slow to load), on Olympus cameras, and the software used was Adobe Prelude, Premiere Pro, After Effects, Lightroom, Photoshop, Illustrator, SpeedGrade and Audition.
Here's the verdict from the owner:- "Absolutely awesome. Love it. thank you so much. Exactly what I wanted." (Barbara Fahey - CEO Thunder Park Airsoft)
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We don't want to sound boastful, just honoured, but Barnett Photo Studio are proud to announce that we have been asked for the third year running to be the Official Photographers at The Societies of Photographers' annual convention in London.
It is the largest photographic convention in Europe and attracts attendees from all over the world, so to be asked to cover this is not only a great achievement for our company but also to highlight the calibre of business where we live in The West Country.
I know there are many other photographers who would like to have this accolade, and it would be easier, (and cheaper), to hire a London based photographer for the event, but we are so pleased that it is our company that has been chosen.
It shows that the dedication and endless hard work by Bergit and myself can bring rewards. We work with International businesses and our work is seen world-wide, but we keep all our Brand Photography and Video "in-house" and have built up strong relationships with our clients over many years.
I believe it is our personal touch, our quirky sense of humour, and our attention to the tiny details that makes us what we are. And we live in a fantastic part of the world. I am sure my late father, the film producer and director G Ivan Barnett would also be ecstatic.
“Adrian and Bergit have been the official event photographers for our annual London-based photography conference for the past 2 years. They are a professional and highly-organised team that deliver a consistent high-standard of photography for the event. On top of this, they are both friendly and have become part of the ‘Convention Family’. We look forward to working with them on future events.”
Colin Jones - CEO The Societies of Photographers
5. Under Promise and Over Deliver
We've all heard the phrase. While it is very tempting to promise everything to a potential client and say how great everything will be just to get the contract - what happens when it all goes wrong? You can promise all the bells & whistles - but what if your new client gets a rusty cow bell and a tin whistle? They tell ALL their contacts about how appalling you were, and everyone else just for good measure.
Maybe you think you can match your over-hyped sales talk, but if you don't learn quickly enough, or find yourself out of your depth, playing "fake it until you can make it" is an EXTREMELY dangerous game to play, and can ruin you, and your business, overnight. Especially now that social media can spread news about your failings quicker than you can draw your next breath.
Enough of the scare story. Tell your client what you can do (and be honest about this), and what to expect, and charge accordingly. If you can go that extra mile they will be delighted with the surprise, and if you stay within your limits at least they won't be let down, and everyone is still happy. Err on caution with all your promises, and where you exceed expectations then it can only work in your favour. It's that bit of the encore, the extra special finale, the one outstanding magic trick - it's that show-stopping bit of unexpected extra service and quality that people will remember you for.
6. Be Yourself
In business, authenticity attracts. If you pretend to be otherwise then you risk losing clients, losing money, losing credibility and respect.
Being yourself means not pretending to be someone else, or having skills you don't posses, or offering things you don't know anything about. At least with Bergit and myself "what you see is what you get" - and that seems to be why our clients love what we do, and keep returning. Sure, we're both quirky, and we don't hide our personalities. In fact, that's what makes Barnett Photo Studio. It's the reason why we can't "franchise" ourselves, despite it being suggested to us several times.
Being yourself - and doing what YOU do best, can reap some of the best rewards in business - and it's far easier to pull off, because it needs no effort.
7. Know your Values
Having time to think, you might like to consider the values you have in person as well as in business. They should be pretty much aligned. It is a good idea to write down a few core values that really matter to you in business. Don't make it a long list - three or four are enough.
Here are a few pointers if you are stuck - there are some of the question we ask ourselves to determine our values in Barnett Photo Studio, so they may be a good starting point for you. The questions are the same - the answers may be different for every business. What do we care about? Where do we create value for our clients? Do we keep the integrity and reputation of our brand by doing what we are doing? Are we eco-friendly, environmentally aware, sustainable etc - this is becoming increasingly more important to clients and customers when people make decisions.
Once you have your core values written down (they may surprise you), then ask yourself a crucial question. Are you communicating these core values effectively to your customers?
These values are vital to your work, your business and your brand.
For example there are people and business we love to work with - but there are certain businesses we would flatly refuse to do any kind of business with! Bear this in mind when you do business, and where you draw the line of integrity.
People value "values" very highly.
Last, but by all means not least:
8. Be CONSISTENT!
If you are not consistent in your business your clients will spot it and won't buy from you. But what do I mean with consistency? It is definitely not "copy and paste" every day your special offer. If you are a luxury brand – everything about you needs to look and feel luxurious from the very first touch point – your Social Media presence, your images and videos, your packaging, your customer service and much more. Let’s give a clearer example.
The car manufacturer Tesla produces electric cars and their clients appreciate the environmental values the company stands for. When Elon Musk invested in Bitcoin he associated himself with one of the most environmentally questionable industries. His clients started to question his real motives and his real values.
Every action you are taking needs to be in unison with your values. If you haven't thought about this before, or if it isn't the way that you bring your business forward, then maybe now is the time to have a chat. Now that we're out of isolation let us bring some progress and consistency to your business.
Contact us TODAY to find out more exclusive tips!
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We now want to put our tips into a blog for you just in case you find yourself into the same situation. Let’s jump in straight away with the first 4 tips - more to follow next week!
1. Be Unique!
Know what makes you unique from your competitors is essential. It's not enough to say that you are better. Everyone can say that. Is it your style, your approach, your experience? Take some time to really think about it. Ask your customers! Maybe not one of those boring surveys that "only take 20 minutes" - but ask them directly. We often ask why our clients like working with us - and very often they say we are fun to work with! It's from our travels, our years of experience, the fascinating people we have worked with - and it's what makes us unique. What makes YOU unique?
2. Know who you want to reach!
We all hear a lot about "knowing your target market" - but what does this actually mean? It's a lot more than knowing the customers you want to have. You need to understand why they think they way they do. Why do people love one type of TV programme, but not another? Various phones released onto the market appeal to different types of people, so it really isn't worth the companies wasting any resources trying to win over one or two converts from the other side. Both Apple and Android are doing OK! However, phones offered different things to different people, being waterproof, having a folding screen etc, and when screens didn't fold properly without creasing, then companies listened and reacted and provided what the customers were demanding.
Ask yourself, where are other people missing a trick that your business can satisfy AND it is what your customers want? Get that right, and you are onto a winner. We know it ourselves with our own clients who come to us for brand photography and video. We do things with a style that no-one can recreate, we have particular set of business skills and experience, and our work brings them real benefits.
Take some time to plan - there is nothing better. Having a well-thought out plan can maximise your efficiency, and that will increase your profits. Both Android and Apple will agree on that statement!
3. Be Confident!
If you think the grass is greener on the other side, then it is nearly always because you are lacking in confidence in your own skills. If you know you don't have the skills to do what you need to do in business, then jumping over the fence to the "greener grass" will solve nothing!
Maybe brush up on your own skills on whatever your area of expertise is. There is a wealth of help out there - some good, some not so good - but your nose should be able to tell you what is what.
Improve YOUR area of skill, and be confident in that. And that sound skills base will help you know you are confident in what you are trying to do. If you are in a circus and not up to scratch in the juggling department, don't go to the "greener grass" and try fire-eating, as it is bound to end in disaster! Just get better at juggling! Make your own grass greener by watering it!
Stick to what you do best, and know best - and then excel in your area of confidence.
4. Know your cost and what you are worth!
Remember the song with Kermit the Frog’s nephew? "half way down the stairs is the stair where I stop". It's actually from a lot older poem by A A Milne, the creator of Winnie the Pooh. The stairs are a great place to stop and think. If you ever speak to Bergit on the 'phone, chances are she is sitting half way on the stairs!
Today, stop half way wherever feels best for you and think about what you charge - and what you are worth. How you charge in business depends on lots of factors, cost of sales, volume etc - but it should NEVER be about your competitors, or, worse still, to be cheaper than the others. It is about creating value for your clients. They will appreciate it and be prepared to pay your price.
That's it for now. Read and digest. More tips next week! Have a good one!
Contact us TODAY to find out more!
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Have a long think about this.
It is because you are quickest, cheapest, or have wider variety of products or services?
Actually it is none of them. How ever quickly you can deliver, someone can match it, someone always can and WILL be cheaper, even selling at a loss just to undermine their competition (that is a race to the bottom and not one you want to win). No matter how much variety you provide, someone could offer more.
So, what is it? It is the fact that it is YOU, and your customers buy into who you are and what you do. But for the others that are not your customers, you need to show them what you are all about: your values and ethos. And the quickest and easiest way to do this is to work out exactly who your ideal customers are. They need less convincing, and could actually be ready and waiting for you, it's just that they haven’t found you yet.
If you know who they are, and where they "hang out", and the things that they respond to, then it makes it far easier to get them to sit up, take notice, and become loyal and regular customers.
The key to this is on a very subconscious level - things that appeal to their gut instinct.
We are in a culture that bombards us with messages, and our attention span is small. So you need to stand out in a "swipe right" society, where the brain responds to images in milliseconds. But, here is the crucial BUT - the images that alert the brain must be ones that convey the right message. The message that appeals to your ideal customers, something that subconsciously conveys all that is great about you and your business. The whole psychology of the composition of an image, the colour tones, the mood that it conveys - it's all far more complicated than simply having a photo. It is about the reaction from someone when they look at the image - and you want them to understand in an instant, and make a connection.
I'm lucky enough to have worked in producing images for advertising for many years, and worked on some big and influential campaigns, from national magazines to specialist publications.
Every Brand Shoot we create is bespoke and built together with you. There's no time like the present to begin our creative journey.
[email protected] [email protected]
+44 844 884 5164
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We know we have to stand out in business, and presumably we know the difference between a brand and a logo - but what is the personality of your brand?
If your brand was a dog, for example, what breed would it be? If it were a pop singer, who would it be? If it were a Michelin starred meal, what would it be? This is where the Brand Personality really comes into play, and just as much as I like one pop star with a specific style and distinctive sound, somebody else will like someone completely different.
Knowing the music, the food, the films, the books, even the sports of the "personality" of your Brand is key in appealing to your ideal customers. Just as consumers favour one brand of food over another, or a favourite coffee shop, so should your customers prefer you over someone else, whatever it is that you are providing.
Have a compelling and interesting story behind the brand, the personality, makes things so much easier because people will "buy into" what it is your are trying to sell or provide, they will understand your values and ethos, and if you are slightly more expensive then that won't matter. And we know this is true - just look at how famous brands can charge more because of who they are. Your customers should feel the same - they should believe that you are worth it. They will be buying into you - and that means loyalty.
All logical and plain-sailing. Except, how do you convey this in an instant so that your perfect customer will understand immediately? We tell our stories with images. From cave paintings, from portraits by painters, then photographers, and stories told by filmmakers, we know that our brains respond to visual imagery far quicker than the spoken word. Also, we tend to trust images more than words, which is why photo-manipulation can be controversial.
How you tell your story is just the same for products as well as services, and the principles are also the same as they are for big multinational retail brands, except with a smaller budget. You simply tell the same collection of stories to paint a bigger picture of your brand and bring your customers on board and engage them with your story.
So what is the story? Simply, your customer is at the centre where they have to find a solution to a problem, and, conveniently, you are there to provide the answers. The problem is overcome and everyone is happy. Simplistic, I know, but that is the general foundation of many of the best stories - and that theory can be applied to your brand as well.
With our Brand Photography and Video services we can help you tell your own unique story and engage with your perfect clients. These images can then be used across multiple platforms in all sorts of situations, but always telling, retelling and confirming your story, and placing you in the hearts and minds of your most loyal customers.
We'd love to have a chat with you, and learn about your unique story, and then we can help share that story in the most effective way.
Tell us all about your stories - we're listening with interest.
]]>With lockdown restrictions gradually easing we are now officially allowed, with caution, to hug other people!
But one of the most important things to remember is to "Hug your Business"! Look after your business, help it and nurture it, and that way it will also look after you.
Businesses can, depending on what sector you are in, take on more customers. But really, you want not more customers, but better customers. These are the customers you enjoy serving, spend more with you, and love what you do in return. They love you, they spend with you, they tell their friends about you, leave great reviews and keep coming back. And key to getting those ideal, dream clients, is to know exactly who they are.
Who are your dream customers? Where do they live, what do they do on a daily basis? Picture them, and give them names if it helps (we do!). Figure out what they do for a job, where they go to relax, what sports they watch, what TV dramas they are into, what films they enjoy, what books they read, where they take their holidays. When you know all these things then it is much easier to appeal to them with things that they want.
All this has to work across your business, your products and services and be consistent across your Social Media - your images, your photographs, they are the things that grab people's attention first and foremost. Do they reflect exactly what YOU are about (or are you using any old photographs), and more importantly will they appeal to the type of customers you wish to attract?
You've also got to make sure your words are correct. The images will hook them in first, but then is what they read further the sort of thing that will excite and entice them into being a customer? Dull, boring words, badly written "copy" will put many people off. Make sure that your website, your brochures, everywhere you appear looks and feels consistent and designed to appeal to the customers you want. Getting that right makes it much easier, and simpler to do business.
It's all about working smarter, not harder. It's not about having more business, but having better business. Make the whole process of doing businesses for your customers as well as yourself more relaxing and enjoyable.
Now, more than ever, you need to "Hug your Business" - it will thank you for it, it will be happier and healthier, and in return it can look after you.
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Let me explain. A headshot is just a shot of someone's head. It doesn't say anything or do anything except record the shape of your head!
I like to think of them as Professional Business Portraits. It shows you off in your best light - BUT it is only a very small part of what you should be doing to get noticed. If that is all you have it is like opening a restaurant and putting sign above the door, but not having the menus, the decor, the furnishings. You Business Portrait on its own won't get your dream customers flocking to you.
And this is the bit where many businesses fall down. They have the "headshot" and it doesn't bring them anything, so they think that photographs don't work. So they don't invest any more, and then they wonder why they aren't making more money, and the whole enterprise starts to flounder.
We did a set of images for John Pomeroy, a "Business Doctor" as he was having a two-page feature in a magazine. Rather than a bland shot of his head which conveyed nothing, we photographed him at Work, Rest & Play. This is the real person that you will meet if you engage with his services, and the whole portrayal is more assured and professional. The magazine editor was at a loss as to what to leave out, and therefore upgraded his feature to THREE pages. How much more effective is that! And far more individual than having a very generic standard headshot at the top of the article. Proof indeed, if proof were needed, that bespoke and professional images succeed where headshots really don't cut it.
Really, to attract your perfect customers you need to have a very specific idea of who they are, and where you might find them, and what would attract them to you - specifically to YOU. What do you have to offer that is different, better, more exciting or more valuable? Say this with professional photos! Then, when you have a whole library of images that are specifically designed for you, and are exclusive to you (never "stock images"), you can tell your unique story to your ideal clients in ways that will surprise and delight them and drive them into your purchasing arms with ease.
But if you tinker around the edges with half a dozen "headshots" then it really won't make a difference in reaching your ideal people, growing your business, and making money.
That's why headshots don't work.
]]>During the filming of our "Natural Light" tutorial we took a series of images where we balanced the sun with different light sources to show what effect they have on the final images. The filming took place at Thunderpark Airsoft in Luxulyan, Bodmin. A big thanks to our friend Barbara for letting us use the location.
If you haven’t seen our “Natural Light” tutorial here is a link to the video. Photography using Natural Light
As described in our film, it was a very sunny day and so we took our model Becky into a shed which is part of the adventure park. There was not only a door in the front, but a window as well, a high window on one side behind Becky and another opening opposite the main entrance.
We positioned Becky in a patch of shade, but near enough to the door to illuminate her face by the natural light coming through the door (see image 1). The exposure meter gave us a reading outside of F16 in the sun. The light on our model’s face was F4. The backlight on her hair comes from the high window behind her and the window next to the door, both just out of the frame.
Image 1: Natural Light only
To put a bit more light into Becky’s face we used a white Lastolite reflector. To reflect light back we needed to position the reflector outside the shed to catch the sun. We still maintained the backlight on her hair, but pushed also some light back on the wall. The reflector also brought some catch-lights into her eyes.
Image 2: White Reflector
For our third image we used the Rotolight AEOS, a big continuous light source. Adrian is standing with the light in the shed just behind the door. We put the light onto its maximum continuous output. That means the Kelvin was set to 4100 and 100%. The different colour temperature is produced through a mixture of different temperature LED’s. By 4100°K all the lights are used and you have the maximum light output in continuous mode. You would be able to gain another stop out of the light by setting it to "flash" mode. This is useful when you want that extra bit of kick in situations where there is already plenty of light. We have the sparkle in Becky’s eyes and still get the benefit of the backlight from the window behind her.
Image 3: Rotolight AEOS as continuous light source
Because of the differences in light between the outside and inside of the shed, I didn’t take too much of the environment into my composition to avoid too many overexposed parts in the finial images with would distract from the subject. In post production Becky’s face was lightened further and the outside of the shed was darkened down.
In our last image we used a simple speed light and put a snoot on it. Because we were now able to take the exposure down, we could show more of the environment without the risk of blowing parts of the image out. The exposure on our model's face is now exactly the same as outside. Because light from behind a subject always appears brighter in the finial image, we still have our backlight. Adrian is now standing outside the shed again with the speed light on a pole (lighting stand) to hold it into position. The only part in the image I darkened down in post production was the blue oil drum in the foreground.
Image 4: Speed light with snoot
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Different people stop and ask me about different images in the our portfolio, and what the stories behind the photographs are. So, I'm putting up a few of the most popular ones to explain a little of the thinking behind them and how they came about, without spoiling too much of the magic.
Paige & The Ravens
Probably our most recognised image - I've lost count of the places this has been published and seen. . It's certainly brought us a lot of recognition and rewarding comments. This is something Bergit was really enthusiastic to bring to life. It's really a simple landscape shot with a person in front! The sea, the sky and the clouds were all there on the day. We dressed Paige is some plastic bin-liners and organza plus a hat from E-Bay. The make-up artist Michelle Ransome did her make up, and we lit her with one hand-held flash unit. The ravens were added later - one of the extremely rare occasions when I resort to using Photoshop!
Berlin 1930's
I had this idea in my head for 5 years before I was in a position to be able to get back to this location and get permission to shoot there. It's in a lovely private Berlin apartment block in the Spandau district, and built in 1929, so precisely the period I was looking for. We put radio-triggered lights on each landing and adjusted them individually so that the correct amount of light fell into each part of the scene, especially the black & white chequered tiles at the bottom, which seem to draw the eye into the spiral of the image. It was an image I just had to do, and it satisfied a very creative itch!
SS-Cornwall
We just loved the look and feel of the very stylish BBC TV drama "SS GB" about life in Britain if the Nazis had won World War Two. The lights, the mood, the cinematography was just something we wanted to do for ourselves. For this we needed a specialist crew. The three models were all artists, actors, models and fans of the vintage style. Sarah D Trebilcock, Rob Bown and Jamie Tamara Mackfall. We brought in hair stylist Charlene Claire Dalton and MUA's (make-up artists) Stacey Trevena and Andrea Wilks, who all contributed to the final look. The vintage valve wireless, the Zeiss Super Ikonta camera the "Gestapo Officer" is holding, are all authentic.
Das Mädchen unter der Laterne
Going slightly back to the vintage again, and partly inspired by Dennis Potter's "The Singing Detective", this was actually shot on a busy Sunday afternoon around Camden Market! By bringing in some bright lights, we could underexpose the background so that it looked like night. Lily Marlene was a wartime song, and the war-themed graffiti added extra resonance to the image. The "model" is actually a friend and client of ours, not a professional model, but we knew she had what it would take to make a shot like this very thoughtful and special.
Zoë the Photographer
The camera she is holding is my late father's Rolleiflex, and it is still one of the best cameras around, and a firm favourite with photography masters such as David Bailey and Annie Leibovitz. We liked the idea of capturing another photographer and watching them capture another, entirely different image. What is it she is seeing on the ground-glass screen in the top of the camera? We are intent on watching her, but she is oblivious to our presence and is concentrating on something else, equally fascinating, out of sight. In her seeing an image, we have seen another one ourselves. For me, it doesn't have to be anything more than that - just a moment that makes us stop and think.
Hope you enjoyed looking at these images we have shared with you. Please feel free to get in touch!
Regards, - Adrian & Bergit (Barnett Photo Studio)
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What are the ingredients that come together to make an image? Just as Paul Simon took influences from South African music to create his seminal album "Graceland" I also like to draw on a wide variety of sources, and many of them not immediately obvious in the final result.
Of course, I take influences from films and my late father (the film producer and director G Ivan Barnett), and the lighting in films such as Ridley Scott's "Blade Runner" has always been massively important for me in how I see an image. It's all about having a vision.
Of course, I don't want to copy - what is the point that? I prefer to acknowledge my influencers and give a nod to their creativity and style, and then make it my own.
For the first image of Olivia taken up on the edge of Dartmoor I could hear music playing in my head, and thought of a powerful queen who had conquered, or was in the process of winning lands. I freely admit that as I was editing these images I was playing the soundtrack of Season 6 of Game of Thrones, so Daenerys Targaryen and her particular vision came to mind!
From there, you can begin to work on and enhance other aspects of light. Yes, of course, there is artificial light in these images. I've brought in a speedlight (actually a big Metz Hammerhead flash) to balance things out, and Rotolights which are lovely and controllable because you can see what you are getting when you use them in continuous mode. The beautifully soft light in the doorway was all I needed to make Olivia's face glow, and a Neo 2 Rotolight provided that subtle touch of an accent light that lifted her from the background and gave her a three-dimensional quality.
Here in the aisle of the church there is nothing except the natural available light. Nothing added - nothing taken away. Sometimes it is all you need - the elements needed for my inspirations are often given to me right in front of me - all I have to do is see them.
Of course, we had been going to The Societies Convention for many years, and it really is the best place for learning, for inspiration, for sharing of idea and experience.
The latest issue of their "Image Maker" magazine is available now, showing a lot of what we photographed, the Masterclasses and Superclasses, and not least the award winning photographers and the work that got them there. You can read the full issue of the magazine here - https://barnettphotostudio.co.uk/image-maker-febmar2019.pdf
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Barnett Photo Studio are two full time professional photographers who will assist you on the day. During a networking Lunch they will be there for a chat.
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Models will have their photographs taken in this stunning location by two professional photographers. You will be provided with 5 professional fully edited photographs by Barnett Photo Studio. Furthermore you have the chance to work with different photographers with different levels of knowledge.
Please bring a casual and a smart outfit like a suit or an evening dress. Because it is a Christmas shoot please bring something in a Christmas colour like white, red, blue, green, gold or silver. Something warm and wintery would be helpful as well. If your wardrobe lacks in any of these requirements, there will be a variety of outfits available on the day. |
You have the chance to work with different agency models during the course of the day. High end professional lighting equipment will be set up ready for you and there will be explanation on how to get the best out if it. The models will be styled and dressed to suit the lighting and the individual set up. The images are yours to use for your portfolio and social media. Please bring your camera and a variety of lenses. A monopod or tripod could be helpful on the day. |
To book for the day please follow this link barnettphotostudio.co.uk/kelly-house-shooting-experience
Procedure of the day
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9:30 |
Arrival and Refreshments |
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10:00 |
Welcome and house keeping, selection of the groups |
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10:30 |
First shoot |
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11:30 |
Second shoot |
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12:30 |
Break: Networking Lunch |
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13:30 |
Third shoot |
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14:30 |
Fourth shoot |
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15:30 |
Fifth shoot |
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16:30 |
Questions and feed back |
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17:00 |
End of the event |
OK - it's lovely to have a changing room for the client, and being able to make coffees, and discuss ideas with the client, the hair stylist and the MUA (Make-Up Artist), and have the heaters on etc BUT, unless you have a very versatile studio it can be somewhat limiting.
I love locations - and I enjoy having to "wing it" and make use of what is available. Very often there are lots of great places that can easily be overlooked.
I am often asked where I am "based" or where is my studio. You can bet that if I did have a permanent studio, it would be inconvenient for someone or other!
I've shot in hotels, cafés, stately homes, disused railway engine sheds and all sorts of places that I couldn't possibly recreate in a fixed studio. In fact, someone was convinced that our "SS-Cornwall" shoot was in a studio (see my other blogs), but it was a simple café that we transformed for the afternoon and dressed like a film set.
In London recently we met with a client, the extremely talented designer and illustrator Emily Theodore - https://www.emilytheodore.com/. We've worked with her before on several different occasions, and this time we wanted something colourful, stylish and illustrative, as dynamic artwork is one of her trademarks.
We met in The Royal Festival Hall on the South Bank, but need somewhere close by that was sheltered and where we could set up some simple lighting equipment. I like to make things easy for myself, and for that reason I love using continuous lights. My preferred choice are Lupo LED lights - you can flood and spot them, even change the colour temperature without needing gels, and I just have to point them where I want them to go. No need to bother with flash guns, and then changing and adjusting again and again.
I knew of a place where my wife, Bergit, had shot a few years previously and it's a short walk from Waterloo station and a Mecca for street artists.
This beautiful little dragon sprayed on the wall just caught our eye. Even the artist watched as we set about the shoot. Unfortunately he never got in touch, and he must have lost our business card, as the little dragon had been partially sprayed over by the following morning, and is now lost forever.
So, if there is decent light available, then I like to work with it. It is natural, and will always look realistic, and very often it will be nothing you can recreate unless you are on a massive studio film set. You can either use the available light as a light source in itself, or augment it with a light or two of your own. I often like to use the available light as a back light or fill - that's neither right or wrong, but just the way that works for me.
A main light, in this case a Lupo Dayled 1000 provided the "Key" on Emily's face. I metered the back ground with the natural light, underexposed by a couple of stops, and then metered off her face so I knew how to set the brightness of the main light. I always meter so that I get it right. My one piece of advice no matter what equipment you use, is it get yourself an Exposure Meter!
The Lupo lights with their fresnels give a real "cinematic" feel which is a look I love. They don't blast the scene with light like a speedlight, and have a real Hollywood production feel to them. Look at the beautifully sculptured light that is used extensively in "Game of Thrones" for a real masterclass in how to paint light and shade, and three-dimensional depth, and even create mood.
Anyway, enough of the lights. Shooting on location can also add to the atmosphere and really affects the way I work in a positive way. I can't sit back on my laurels, and we had a small crowd watching us, even the local constabulary came by to have a look!
Working on a location also influences the model, or the client in this case (Emily is not a professional model, although I know she has got what it takes)! The colour, the grunge and grime, the people watching, the other artists spraying on the walls, the music, the noise and rumbles of London all added something which I never could have recreated in a studio.
When we take portraits there are many different styles of lighting we can utilise to make the sitter look good, but often simplest is best.
The rich and glamorous look of the Hollywood Portraits is one of our favourites and fairly simple to set up.
First, we must thank our wonderful model Jess McLean and also Kat Roberts of Kat's Blush Makeup & BodyArt for the hair and makeup.
The classic and timeless portraits of Jean Harlow, Myrna Loy, Lauren Bacall, Clark Gable and James Cagney have stood the test of time, and still have an iconic style today.
The distinctive look of these Hollywood portraits came about due to limitations and constraints rather than by deliberate design.
If you constrict yourself to the conditions that these photographers had to work with, then you can be well on your way to reproducing that beautiful look.
For a start, film was slow, so the apertures of lenses had to be wide and that lead to a shallow depth of field. Always open your lens up. Zoom lenses aren't really suitable for this, so get a good prime "portrait" or short telephoto lens. In addition, opening your lens right up can also make the image stay sharp but go slightly "soft" which is a fantastic look!
Because film was slow, they had to use very bright lights and big lenses in front of the lights to maximise their power. Fresnel lenses were lighter in weight, but also gave a distinctive pool of light which also help characterise the portraits from this era. We love the Lupo lights. They are continuous lights. So simple because you see where you put the light! Flash just doesn't work. It’s like microwave chicken compared to a lovely roast. You need the continuous lights - and the good news is they can cost LESS than Canon or Nikon speedlights!
Finally, they used a tripod. I really would like to stress this. It slows you down and helps you lock your composition. I'm not sure why I stopped using tripods, it was always the way I grew up and was taught to photograph using a tripod. When I started putting my camera back on the tripod it was a revelation. My camera is free and no longer distracts me, and I can concentrate on the portrait. It makes so much difference and I urge you to try this approach. You will thank me for it!
The filmmakers needed to make their images three-dimensional, and it seems to be something that is lost in many modern images. They used a backlight, or "accent" light coming from behind and slightly to the side of their subject to separate them from the background. Watch films and high budget TV dramas and you will notice this technique everywhere.
Use an exposure meter - not your camera! Remember, you are measuring the light falling ON your subject and not the amount of light being reflected back!
Get your back light correct first. Light reflecting off a surface (your model) will always meter about a stop higher, so take the light down until it meters about ½ a stop over. Now light the face of your subject.
Here the lights are set up and exposed for the accent light only.
This is our model's face without any back lighting. How many of us are guilty of this "flat" lighting?
To start - learn the three basic lighting set-ups that will stand you in great stead.
1. Butterfly / Paramount / Dietrich Lighting
This was the style of portrait lighting favoured by Marlene Dietrich. It was used by all the "Big Six" film studios - including Paramount. The shadow of the light resembles a "butterfly" under the nose. If you photograph a female, then call it "Butterfly" lighting. If your sitter is a man, then call it "Paramount"! Think of the sitter with a growing "Pinocchio" nose that extends out until it touches the lighting stand. That’s is where you have to have the light - full on to their face. To see the full effect you should have the camera straight on to the face, but you can move around sideways, so long as the model's face is filled by the light. The light should be high and angled down to get a good shadow, but not so high that you lose the catchlight in their eyes or they will appear as sunken dark sockets. Also make sure you don't make their cheekbones look fat!
You can move the model around so that you are not shooting straight into their face, but remember if she turns her head then the light must follow and be in the same position relative to her face. This portrait is pure Hollywood!
I also like to set the screen on the back of the camera to black & white, and that will also give me a feel for the final effect. We use an Olympus OM-D and you can customise the look of the final image in camera.
2. Loop Lighting
The nose shadow is all important here. The shadow should follow the curve of the cheek on the face on the far side of the light. The shadow should not go too far or you will make the face of the model look broad and flat. You must set the light high enough to get a satisfactory loop of shadow. Don't let the model move around or change the angle of their head or the shadow will be lost. If they have a slightly wider face then put the light on the side of the face furthest away from the camera (this is called "short lighting"). It will slim the appearance of their face and they will love you for it! I like this as it is probably the easiest to set up, it's great for most people and is nothing too fancy or dramatic.
3. Rembrandt Lighting
I love this lighting! When done well it gives me such a lovely tingle of satisfaction. Named after the Dutch Master Painter it is often more suited to male portraits. But we have used it to great effect with girls as it can give a powerful and stunning appearance to a female face. The side of the face in the shadows has a triangle of light pointing downwards. To be strict, the width of the patch of light should be no wider than the width of the eye, and the bottom the triangle of light should be level with the bottom of the nose.
There are many other types of lighting you can progress to learn: split, badger, cross, clamshell, flow - the list is endless, but like cooking, if you learn the basics first then you can advance from there.
In the final image we switched back to colour and did a couple of really cool things. With these Lupo lights we can easily change the colour temperature without having to fiddle around with gels which will reduce the power of the lights. We set the Key Light to a colour temperature of 3200°K (Tungsten), and put one of Damien Lovegrove's "Scattergels" on another light facing the background. This was to give a Venetian blind appearance and we set the colour temperature of this light to 5600°K (Daylight).
We set the camera towards the lower end of the range - 4000°K. This will let the Key Light appear slightly warmer, as if lit from a table lamp in a motel room. The light on the background will appear bluer, slightly more like daylight. It's an old film trick and you will see it used in countless movies. We completed the look and feel of the scene with a period telephone. We imagined Marilyn Monroe accepting a 'phone call from an unnamed president of that era!
If you would like to read more about this and many other lighting styles, including using natural light, speedlights and a whole wealth of invaluable knowledge on all aspects of beautiful photography then we thoroughly recommend you check this book out - https://lovegroveshop.com/portraits-ebook/
And as we are proud to be associated with Damien then he has very generously offered a discount of 20% an either of his ebooks if purchased before the 31st October 2017. Simply email me via the website and I'll give you a discount code you can enter at the checkout. Enjoy!
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Mostly forgotten though is the Cornish mining heritage with tin mines in the West near Camborne and Redruth. In East Cornwall around Caradon are situated the former copper mines. These two metals are needed to produce bronze. This alloy made Cornwall one of the biggest trading nations during the Bronze Age (2500 – 800BC).
Settlements from this time with their standing stone circles are found all over Cornwall such as The Hurlers near the Cheesewring at Minions. In these settlements archaeologists have discovered proof of early trading with countries in the Mediterranean region like Greece and the Roman Empire. For example they found fragments of wine and oil amphoras.
The mining activities carried on through medieval times right up to the last century. The last Cornish tin mine in production at South Crofty closed in 1998.
If you want to go into a mine, Geevor Mine was acquired by Cornwall County Council as a Heritage Museum which is now run by Pendeen Community Heritage. Also well worth a visit is Poldark Mine (Wheal Roots at Wendron), the interior of which was used in the new BBC adaptation of “Poldark”. Wheal Owles down in the west of Cornwall was used for filming the exteriors of Ross Poldark's "Wheal Leisure" mine.
Existing ruins of old engine houses worth exploring are Wheel Peevor near Redruth, and the picturesque Towanroath Shaft at Wheal Coates, St Agnes, which is situated right on the cliff edge or various different copper mines in and around Minions.]]>
Apart from the story and the characters, from a photographic point of view the lighting has always fascinated me, and in particularly how the style has changed and evolved across the five films.
The first instalment was a bit of a one off as this was quite distinct in its visuals with Catherine Hardwicke as the director and Elliot Davis as the cinematographer.
The approach to lighting Robert Pattinson appeared quite old-fashioned - almost "up lit" and slightly overexposed in the old horror film style. And of course, Twilight is not a horror story in the conventional sense.
The final, Breaking Dawn, was split into two films and a lot of the original mood lighting had changed and reigned back. Maybe because most of them were vampires by then?
My personal favourites in the quintet are "New Moon" and Eclipse" with Javier Aguirresarobe as cinematographer working with Chris Weitz and David Slade as directors.
I notice they have a very distinct method of lighting, where the light source is large, such as a soft box, and brought in close to the person to bathe the face in soft and pale light. This colourless look is not actually drained of colour, but appears so in contrast to the colours used in the surroundings, such as the woodlands of Oregon where a lot of the films were shot.
This also stands out against Jacob and the rest of the werewolves where the lighting is more naturalistic as would be found in the forests.
It appealed to me particularly, as lighting is very much my passion as there are so many moods and emotions you can create with imaginative use of lighting, and without having to resort to hours of digital manipulation.
For this shoot we took Jade to an abandoned factory deep in the woods and set up some fairly simple lights with modifiers to give a bright but soft light to contrast with the deep and saturated shadows behind.
In the woods, with the streams and waterfalls, and various animal noises it all came together. All I needed to do in Lightroom was to slightly change the colour of Jade's eyes.
I didn't want to blatantly copy the Twilight films, but just to use them as inspiration to try something different - and everyone involved with the shoot was very pleased with the result.
The full shoot can be viewed here - http://www.adrianbarnettphotography.co.uk/twilight-with-jade
Zeiss Super Ikonta CZeiss Super Ikonta C
It's a question I am only asked by other photographers - but not by clients!
I have about 47 cameras, but to be honest, some of them are rarities and collectables, but I have digital, film, medium and large format, even Wet Collodion cameras.
Rolleiflex 3.5 PlanarRolleiflex 3.5 Planar
My standard answer to the question is "the right camera for the job". I am, like my father was, not a "brand" photographer. I have Canon, Nikon, Olympus, Pentax, Mamiya, Bronica, Rollieflex, MPP, Linhof, Zeiss, Contax, Kiev etc etc
MPP & MPP Micro-Press Plate Film CamerasMPP & MPP Micro-Press Plate Film Cameras
The camera doesn't make a good photographer any more than a sharp knife makes a Michelin-starred chef. Of course, it doesn't make sense to carve a roast with a fish filleting knife . . . but you get my drift.
I love my cameras, all of them, and what they help me achieve. I've got wonderful large format plate cameras great for fine detail and fashion billboard advertising, I've also got some highly technical stuff for precision work - but I am also more than happy with the huge 15ft enlargements made from the Olympus Micro Four-Thirds sensor - and you DON'T need "full frame" to achieve great results, and I am happy to go on record as saying that.
Billcliff Antique Plate CameraBillcliff Antique Plate Camera
The right combination of cameras and lenses for the right job. Just like the right knife, and the right pan for the professional chef. (And yes, I do like spending time in the kitchen as well)!
I've been a long-term fan of the music of Gary Numan, so was thrilled when one of his main musicians, Chris Payne, contacted me.
Chris was born and grew up in Cornwall, but found fame playing with Gary Numan, Dramatis and Celtic Legend, as well as co-writing "Fade To Grey" with Visage.
Now he lives in France, but a French magazine wanted to publish a feature on him, and his Cornish background, and he called to ask if I could supply him with some stunning views of Cornwall that he had already seen I had produced.
We had a long telephone call, chatting about my times photographing Gary Numan, Dramatis, Nash the Slash and Depeche Mode. I also decided to produce a few more landscapes, especially for Chris.
I set the alarm two mornings running and woke in the middle of the night to drive through thick fog when most other people would have given up. Somehow I hoped the fog would lift with the sunrise, which it did, and I was delighted with the shots I got. There's no "photoshopping" here - the rising sun, the mists, the sheep are all as I found them on Bodmin Moor.
You'll also see Trethevy Quoit, the Hurlers at Minions, and Tintagel in the images. Just a few of the hundreds of wonderful views we have here in Cornwall.
Really - there's nowhere quite like it!
Although we do use studios for some of our shoots, we much prefer to work on location. Not only do other places provide an infinite variety of backgrounds, but they also pose their own unique challenges and that is really one of the best ways to learn.
So when Jessica, a young model in the West Country approached us for some images for her modelling portfolio, we scouted around Cornwall for some ideas and places we had not used before.
There are many hidden places in Cornwall, and some of them are real gems. We found a place near Bodmin, part of a ruined priory, and took some location shots a few days before. We checked the weather forecast and worked out where the sun would be at various times of the day. Preparation is key to so many things.
Although we arrived on the day in good time, our model Jessica was already there before us, and that is always a good sign. Of course, as time went on we worked with Jessica and combined ideas with what we knew was already there.
So, next time you are thinking about some photos, maybe for yourself, for a loved one, or just family portraits as a piece of beautiful art, think of the hidden places that can lend that extra something to the final result. We know of quite a few, so please feel free to ask us - and if you have any yourself that you'd like to share with us, then we'd love to hear from you!