A few pics from recent shoots.....
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
Monday, 15 August 2011
New Photography Seminars at Calumet - Autumn 11
Over the last couple of weeks, I have been busily writing and developing the next set of Calumet photography seminars. These will include:
Introduction to Large Format Photography
Introduction to B&W film processing
Portfolio Development for Students
Introduction to Night Photography
Photography Business Practice for Students (what they don't teach you at college)
An Introduction to Architectural Photography
Urban Landscape Photography (Spaghetti Junction)
Urban Landscape Photography (West Bromwich)
Introduction to Interiors Photography
Dates for these seminars will be announced shortly. The student sessions will be open to all current photography students - National Diploma, HND, Degree and MA and will be at a significantly lower price than normal seminars.
If you have any queries, please do not hesitate to contact me.
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
Introduction to Large Format Photography
Introduction to B&W film processing
Portfolio Development for Students
Introduction to Night Photography
Photography Business Practice for Students (what they don't teach you at college)
An Introduction to Architectural Photography
Urban Landscape Photography (Spaghetti Junction)
Urban Landscape Photography (West Bromwich)
Introduction to Interiors Photography
Dates for these seminars will be announced shortly. The student sessions will be open to all current photography students - National Diploma, HND, Degree and MA and will be at a significantly lower price than normal seminars.
If you have any queries, please do not hesitate to contact me.
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
Photography education - 'food for thought'
I have recently come across a discussion paper by John Kippin (Association of Photography in Higher Education) entitled 'Why Study Photography' . It's an interesting read and debates the contexts and merit of photography education. However, its underlying arguments worry me and in many ways confirm some of my beliefs regarding how some academics view photography education.
There is a palpable air of distaste in the article towards the teaching of technique and key-skills and how this denigrates the value of their qualification. But they must now realise that both students and 'industry' are becoming all to aware of how ill-prepared and ill-equipped the majority of the graduates they are producing. I agree that research and contextual studies are extremely valuable in a higher level course but they should not detract from the teaching of essential key skills. Too many graduates leave these institutions with at best the barest knowledge of 'depth of field' let alone basic lighting skills and work-flow practice.
From long discussions with ex-students, photography degree courses seem to be in many cases a numbers game where institutions try to enrol as many students as possible whilst restricting access to resources and tutors. This has resulted in 'fofo' education - 'fuck-off and find out'. This is where a ill-prepared/over-pressurised tutor sends his cohorts out to research usually irrelevant or spurious subjects rather than tackle the core needs of the unit he/she should be teaching.
This practice was high-lighted in the various 'end-of-year' shows I visited this year, where there was little evidence in the vast majority of work on show, of any student reaching a minimum level of professional competence. More disturbing was that many of the students who I spoke to, had not been told by their tutors/peers how inadequate their work was. Only a couple had experienced a 'critique' in their 3 year education and then only once or maybe twice. So what may I ask were the tutors doing for the rest of the time. For photographers, of any level, feedback is their most valuable tool. Without it, we have no way to gauge or judge our progression and development.
John Kippen also claims in his piece about the high employee ability of photography graduates, but it is curious when other trade bodies have asked the association members for data regarding their ex-students, only a couple were prepared to comply and even that information was sketchy at best.
I would ask John Kippen and his colleagues at their next conference, to take a long hard look at their courses and ask the brutal questions about them that everyone is. Are they their just as a numbers game and a way of providing employment to academics or do they truly care about developing and progressing students in to the career which they are truly passionate about entering. Without the links with industry and the necessary skill set, these students will fail and not only that - they will also have a mountain of debt to deal with!
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
There is a palpable air of distaste in the article towards the teaching of technique and key-skills and how this denigrates the value of their qualification. But they must now realise that both students and 'industry' are becoming all to aware of how ill-prepared and ill-equipped the majority of the graduates they are producing. I agree that research and contextual studies are extremely valuable in a higher level course but they should not detract from the teaching of essential key skills. Too many graduates leave these institutions with at best the barest knowledge of 'depth of field' let alone basic lighting skills and work-flow practice.
From long discussions with ex-students, photography degree courses seem to be in many cases a numbers game where institutions try to enrol as many students as possible whilst restricting access to resources and tutors. This has resulted in 'fofo' education - 'fuck-off and find out'. This is where a ill-prepared/over-pressurised tutor sends his cohorts out to research usually irrelevant or spurious subjects rather than tackle the core needs of the unit he/she should be teaching.
This practice was high-lighted in the various 'end-of-year' shows I visited this year, where there was little evidence in the vast majority of work on show, of any student reaching a minimum level of professional competence. More disturbing was that many of the students who I spoke to, had not been told by their tutors/peers how inadequate their work was. Only a couple had experienced a 'critique' in their 3 year education and then only once or maybe twice. So what may I ask were the tutors doing for the rest of the time. For photographers, of any level, feedback is their most valuable tool. Without it, we have no way to gauge or judge our progression and development.
John Kippen also claims in his piece about the high employee ability of photography graduates, but it is curious when other trade bodies have asked the association members for data regarding their ex-students, only a couple were prepared to comply and even that information was sketchy at best.
I would ask John Kippen and his colleagues at their next conference, to take a long hard look at their courses and ask the brutal questions about them that everyone is. Are they their just as a numbers game and a way of providing employment to academics or do they truly care about developing and progressing students in to the career which they are truly passionate about entering. Without the links with industry and the necessary skill set, these students will fail and not only that - they will also have a mountain of debt to deal with!
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
Tuesday, 28 June 2011
New Photography Seminars at Calumet
Our next set of photography seminars with Calumet are just starting both in Birmingham and Drummond St in London. Full details can either be found in this month's issue of Calumet Focus (along with an article about Emphasis Photography) or on the Calumet Seminar web site.
If you need more details, please don't hesitate to contact either myself or Peter at Calumet Birmingham.
Richard
www.emphasis.biz
www.richardsouthall.co.uk
Birmingham Photography Courses - 'End of Year Shows 2011'
This is a difficult piece for me to write as I had set out this year with high hopes for the photographic education sector in the Birmingham area. Over the last couple of years, I have seen a slow, but marked improvement in the creative output from the region and thus hoped this trend could be continued.
In total, I visited 6 shows and have opted, after much discussion with several of my peers, not to the name these establishments. I was unable to visit the Coventry and Stafford Uni shows due to work commitments but quite enjoyed several of the submissions on their online galleries.
The work exhibited this year falls into 3 main categories - the good, the bad and the ugly. Unfortunately the majority falls into the latter.
So here goes, my thoughts on the shows viewed (these are not in the order viewed or ranked):
1. University/College
Creativity
None of the submissions showed any creative spark or initiative to think out of the box. The same tired projects were wheeled out again - burlesque, death, zombies, band photography. The students had obviously not been encouraged to widen their repertoire of imaging or consider industry trends. Little or no observation of light in the images produced.
Technical
Little evidence of advanced camera/lighting skills. The majority of students appeared to be working at L1 with regards to key camera skills with at least a dozen images on show unintentionally out of focus. No evidence of workflow/raw file colour/management being taught.
Presentation
For the most part adequate but greater care could have been taken in the framing and mounting of work.
2. University/College
With this show, I was truly lost for words. Even after several days of reflection I can not adequately described how bad this show was. A fellow peer described it as the worst camera club show he had ever seen. I feel this is truly unfair to keen amateurs as I have seen their passion and pride they take in their photography. This show failed on virtually ever level. There was no evidence from the work on display of camera control, basic understanding of compositional values, no lighting skills or presentation techniques. Some of the work was mounted onto Kapa board with 3/4 strips of double sided tape (sticking out the edges ) causing a wave effect across the surface of the prints.
Other prints were curling at the corners, peeling off or had started to drop out of their window mounts. I am at a loss why the lecturers/course leader allowed this to go up unless they are seeking early retirement or a sizeable redundancy payment.
3. University/College
By far the best on show.
Creativity
A good range of visual styles and specialities had been explored. The students had been obviously encouraged to broaden their creative thinking and this was reflected in the responses on show. There was for the most, a lack of observation of light and the images appeared flat/lifeless.
Technical
For the most part good L2. I would liked to have seen greater control of exposure, depth of field control and basic lighting techniques. Quite a few of the images were let down by silly mistakes - considering the time of day the image should have been taken for optimum lighting, marks on backgrounds, obtrusive/distracting items in the foreground/background. These should have been picked up in crits by the lecturers and students.
Presentation
For the most - consistently good standard. A couple of very weak items were noticeable.
4. University/College
Creativity
Unfortunately not as good as their last couple of years' submissions. This could simply down to poor student year group but the work on display lacked originality and creative spark. The same old student projects came out to haunt me - zombies, death, bad band shots (I was half expecting to see pics of ducks by the end).
Technical
Good evidence of key camera skills and use of B&W/film media. No evidence of digital work flow or basic digital image control (re-sized pictures pix-elated and group/batch pictures showing marked density and colour balance differences)
Presentation
This appeared rushed and done on a severe budget. At least the presentation was consistent and uniform. A lot of the prints hadn't been properly spray mounted and had started to peel.
5. University/College
Creativity I thought overall this was the most interesting set of ideas I saw throughout my journeys. However, the students were hampered by poor execution of their images through lack of technical skills. This could have been an exciting submission but their trade craft was unable to support their enthusiasm and excitement for the medium.
6. University/College
Yet again I am lost for words. This show is almost at the same level as institution no.2. The only thing that saves it from the wooden spoon was the level of presentation (which is only mildly better). There was no evidence amongst any of the images on display that the students had any awareness of basic camera, composition, lighting or printing skills. It was though they had all endured a creative lobotomy upon entering entering the department. From the evidence of the work on display, a major rethink of the aims and objectives and quality management of the department needs to be undertaken if photography education is to remain viable there.
Overall, I was very disappointed with the work I viewed. There seems to be little evidence of any trade craft being taught at the majority of the establishments viewed and this is reflected in the work produced. Also, the lecturers seem to be becoming complaisant about the projects being set and the lack of encouragement/criticism they are prepared to give to students. A lot of the poorer images could be easily dealt with by regular (weekly) crits which help students identify poor imaging through robust but constructive feedback from peers, tutors and visiting professionals. At present, I gather from talking to ex-students who are still in education, this is not happening.
From the student prospective, I felt a lot if the work was rushed or given insufficient time to be completed adequately. Some submissions felt like they had been taken/produced over 2 hours on a wet Tuesday afternoon so I must ask the question, what were these students doing for the rest of the academic year. It is as almost as though that the students have failed to grasp the importance of this time to produce a coherent and professional set of 12-16 images which will enable them to continue in this industry they profess to love.
What truly worries me, is that the vast majority of the students whose work I viewed could not even undertake the simplest pack shot. Their basic camera control skills are woefully inadequate and thus even the simplest commercial brief would be beyond their ability. I feel that educators need to take a long hard look at the content/structure of their courses in light of this years submissions and decide the raison d'etre for their scheme of work because if you trying to prepare these young people for the harsh world of industry, your failing them miserably.
On a brighter note, I would like to congratulate the following students on their work including the excellent fashion images by Mihaela Calin,
Michaela Calin
Aleksandra Zagozda
Lukasz Gajdek
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
In total, I visited 6 shows and have opted, after much discussion with several of my peers, not to the name these establishments. I was unable to visit the Coventry and Stafford Uni shows due to work commitments but quite enjoyed several of the submissions on their online galleries.
The work exhibited this year falls into 3 main categories - the good, the bad and the ugly. Unfortunately the majority falls into the latter.
So here goes, my thoughts on the shows viewed (these are not in the order viewed or ranked):
1. University/College
Creativity
None of the submissions showed any creative spark or initiative to think out of the box. The same tired projects were wheeled out again - burlesque, death, zombies, band photography. The students had obviously not been encouraged to widen their repertoire of imaging or consider industry trends. Little or no observation of light in the images produced.
Technical
Little evidence of advanced camera/lighting skills. The majority of students appeared to be working at L1 with regards to key camera skills with at least a dozen images on show unintentionally out of focus. No evidence of workflow/raw file colour/management being taught.
Presentation
For the most part adequate but greater care could have been taken in the framing and mounting of work.
2. University/College
With this show, I was truly lost for words. Even after several days of reflection I can not adequately described how bad this show was. A fellow peer described it as the worst camera club show he had ever seen. I feel this is truly unfair to keen amateurs as I have seen their passion and pride they take in their photography. This show failed on virtually ever level. There was no evidence from the work on display of camera control, basic understanding of compositional values, no lighting skills or presentation techniques. Some of the work was mounted onto Kapa board with 3/4 strips of double sided tape (sticking out the edges ) causing a wave effect across the surface of the prints.
Other prints were curling at the corners, peeling off or had started to drop out of their window mounts. I am at a loss why the lecturers/course leader allowed this to go up unless they are seeking early retirement or a sizeable redundancy payment.
3. University/College
By far the best on show.
Creativity
A good range of visual styles and specialities had been explored. The students had been obviously encouraged to broaden their creative thinking and this was reflected in the responses on show. There was for the most, a lack of observation of light and the images appeared flat/lifeless.
Technical
For the most part good L2. I would liked to have seen greater control of exposure, depth of field control and basic lighting techniques. Quite a few of the images were let down by silly mistakes - considering the time of day the image should have been taken for optimum lighting, marks on backgrounds, obtrusive/distracting items in the foreground/background. These should have been picked up in crits by the lecturers and students.
Presentation
For the most - consistently good standard. A couple of very weak items were noticeable.
4. University/College
Creativity
Unfortunately not as good as their last couple of years' submissions. This could simply down to poor student year group but the work on display lacked originality and creative spark. The same old student projects came out to haunt me - zombies, death, bad band shots (I was half expecting to see pics of ducks by the end).
Technical
Good evidence of key camera skills and use of B&W/film media. No evidence of digital work flow or basic digital image control (re-sized pictures pix-elated and group/batch pictures showing marked density and colour balance differences)
Presentation
This appeared rushed and done on a severe budget. At least the presentation was consistent and uniform. A lot of the prints hadn't been properly spray mounted and had started to peel.
5. University/College
Creativity I thought overall this was the most interesting set of ideas I saw throughout my journeys. However, the students were hampered by poor execution of their images through lack of technical skills. This could have been an exciting submission but their trade craft was unable to support their enthusiasm and excitement for the medium.
6. University/College
Yet again I am lost for words. This show is almost at the same level as institution no.2. The only thing that saves it from the wooden spoon was the level of presentation (which is only mildly better). There was no evidence amongst any of the images on display that the students had any awareness of basic camera, composition, lighting or printing skills. It was though they had all endured a creative lobotomy upon entering entering the department. From the evidence of the work on display, a major rethink of the aims and objectives and quality management of the department needs to be undertaken if photography education is to remain viable there.
Overall, I was very disappointed with the work I viewed. There seems to be little evidence of any trade craft being taught at the majority of the establishments viewed and this is reflected in the work produced. Also, the lecturers seem to be becoming complaisant about the projects being set and the lack of encouragement/criticism they are prepared to give to students. A lot of the poorer images could be easily dealt with by regular (weekly) crits which help students identify poor imaging through robust but constructive feedback from peers, tutors and visiting professionals. At present, I gather from talking to ex-students who are still in education, this is not happening.
From the student prospective, I felt a lot if the work was rushed or given insufficient time to be completed adequately. Some submissions felt like they had been taken/produced over 2 hours on a wet Tuesday afternoon so I must ask the question, what were these students doing for the rest of the academic year. It is as almost as though that the students have failed to grasp the importance of this time to produce a coherent and professional set of 12-16 images which will enable them to continue in this industry they profess to love.
What truly worries me, is that the vast majority of the students whose work I viewed could not even undertake the simplest pack shot. Their basic camera control skills are woefully inadequate and thus even the simplest commercial brief would be beyond their ability. I feel that educators need to take a long hard look at the content/structure of their courses in light of this years submissions and decide the raison d'etre for their scheme of work because if you trying to prepare these young people for the harsh world of industry, your failing them miserably.
On a brighter note, I would like to congratulate the following students on their work including the excellent fashion images by Mihaela Calin,
Michaela Calin
Aleksandra Zagozda
Lukasz Gajdek
Richard Southall
www.emphasis.biz
www.richardsouthall.co.uk
Thursday, 16 June 2011
A busy couple of weeks......
White Stuff - Wilmslow
Cancer Research - Oxford
Shabab - Birmingham
Just a few images from the shoots from the last couple of weeks...
Copyright all images - Richard Southall
Richard
www.emphasis.biz
www.richardsouthall.co.uk
Thursday, 2 June 2011
What constitutes a Professional Photographer?
In the early part of my career, there seemed to be a very tight definition as what constituted a professional photographer. Most of the trade associations asserted that a photographer must generate at least 80-85% of their annual income from photography. But things have changed rapidly over the last couple of years, and the majority of the photographers I have spoken to regularly, openly admit they have had to seek alternative income streams so as to survive.
Usually this has been in the form of lecturing and teaching and I, for one, have been exited and challenged by this new career opportunity. Others have looked slightly further a field than this and now enjoy such activities as furniture restoration, gardening and decorating. I certainly don't take a negative view of this and realise that with hard economic times we need to protect our fragile existence and this can only be done by relying on additional income streams.
However the one thing all these photographers have in common is their attitude towards their trade craft and their creativity. They are not prepared to comprise the process by which they creatively produce their images or the way in which they serve their customers. So what constitutes the service of a professional photographer and why are we older practitioners so reluctant to compromise it:
- someone who is willing to invest time to understand a client's product and service and then interpret it to maximum effect through a carefully devised creative solution.
- to work in a courtesy, polite and professional manner and to make sure that all deadlines around the brief are met to an exacting standard.
- to work under pressure and react calmly and efficiently when things don't go to plan.
- making sure all the appropriate insurances are in place (public liability, indemnity and goods in trust) and that they comply and work within the health and safety guidelines of the industries they are employed by.
-willingness to invest in the latest technology and equipment so that he keeps abreast of the changes to industry and provide the creative solutions in the most appropriate format for the client. Also investing time through education and training to make the most of these advancements.
- customer after-care, storing the images securely which we have been produced for the client and making sure that they have ready access to them over many years. Also to act to protect the rights of the images so that client knows that his company images are not being 'used and abused' by others.
As you can see, these are not unreasonable things to aspire to but unfortunately these also have a heavy financial implication on the individuals that wish to meet these standards. Over the last few years, the 'dayrate' of photographers has inexorably been driven downwards and clients have sought to maximise their returns from their advertising spend. I totally sympathise with this and have implemented many changes in the way we now now market our business. However, there is a line that I now feel we are crossing where creativity and service is being sacrificed for short term gain.
Many of the new entrants to the photography industry, are ill-prepared for the requirements that are place upon them by clients (poor or no training). I am always staggered by the response when I ask at seminars how many of the individuals there, who are undertaking paid work, are insured. Very rarely do I encounter a respondent who says yes and the majority of the time I am asked by the delegates why insurance is required at all (we just taking some pics). On other occasions, I am confronted by prospective clients who are facing a major dilemma, they existing photographer who they had been paying £100-150 a day for the last year or so has 'gone bust' or disappeared and they no longer had access to their images or the photographer had sold them to a 'rights free' picture library in one last desperate attempt to raise money.
So I would suggest it's the attitude and approach which governs whether an individual can be classified as a 'professional' but this can only be met with the support and understanding of the client.
Richard
www.emphasis.biz
www.richardsouthall.co.uk
Usually this has been in the form of lecturing and teaching and I, for one, have been exited and challenged by this new career opportunity. Others have looked slightly further a field than this and now enjoy such activities as furniture restoration, gardening and decorating. I certainly don't take a negative view of this and realise that with hard economic times we need to protect our fragile existence and this can only be done by relying on additional income streams.
However the one thing all these photographers have in common is their attitude towards their trade craft and their creativity. They are not prepared to comprise the process by which they creatively produce their images or the way in which they serve their customers. So what constitutes the service of a professional photographer and why are we older practitioners so reluctant to compromise it:
- someone who is willing to invest time to understand a client's product and service and then interpret it to maximum effect through a carefully devised creative solution.
- to work in a courtesy, polite and professional manner and to make sure that all deadlines around the brief are met to an exacting standard.
- to work under pressure and react calmly and efficiently when things don't go to plan.
- making sure all the appropriate insurances are in place (public liability, indemnity and goods in trust) and that they comply and work within the health and safety guidelines of the industries they are employed by.
-willingness to invest in the latest technology and equipment so that he keeps abreast of the changes to industry and provide the creative solutions in the most appropriate format for the client. Also investing time through education and training to make the most of these advancements.
- customer after-care, storing the images securely which we have been produced for the client and making sure that they have ready access to them over many years. Also to act to protect the rights of the images so that client knows that his company images are not being 'used and abused' by others.
As you can see, these are not unreasonable things to aspire to but unfortunately these also have a heavy financial implication on the individuals that wish to meet these standards. Over the last few years, the 'dayrate' of photographers has inexorably been driven downwards and clients have sought to maximise their returns from their advertising spend. I totally sympathise with this and have implemented many changes in the way we now now market our business. However, there is a line that I now feel we are crossing where creativity and service is being sacrificed for short term gain.
Many of the new entrants to the photography industry, are ill-prepared for the requirements that are place upon them by clients (poor or no training). I am always staggered by the response when I ask at seminars how many of the individuals there, who are undertaking paid work, are insured. Very rarely do I encounter a respondent who says yes and the majority of the time I am asked by the delegates why insurance is required at all (we just taking some pics). On other occasions, I am confronted by prospective clients who are facing a major dilemma, they existing photographer who they had been paying £100-150 a day for the last year or so has 'gone bust' or disappeared and they no longer had access to their images or the photographer had sold them to a 'rights free' picture library in one last desperate attempt to raise money.
So I would suggest it's the attitude and approach which governs whether an individual can be classified as a 'professional' but this can only be met with the support and understanding of the client.
Richard
www.emphasis.biz
www.richardsouthall.co.uk
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