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: |
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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!