One of your strict criteria for placing images in the ‘yes’ pile should be believe-ability.
I don’t think that’s actually a word, but you know what I’m saying…
With the beauty of digital we can now assess images on the back of the camera to be sure, to be sure, that the images are indeed turning out the way we intend them to.
By viewing them on the back of the camera, we can make suitable changes either technically or creatively to allow for a better result at the next round.
Make sure your photographer gives you a look as you go along so you can make adjustments accordingly.
I’m what they call ‘classically trained’ which means I learned my practice with films, darkrooms and chemicals.
In a sense, it was like working blind because there was no instant feedback at the press of a button. It could be up to two weeks before I saw the images.
Instead, I had to really do everything I could to create and inspire what I wanted in front of me, and then click knowing that I’d done all I could to set it up right.
In photography, and what I’m about to say sounds a bit hippy-trippy, there’s this layer of energy going on that you can’t see.
It’s the vibe and it does show up in pictures.
Just being able to see the pictures instantly doesn’t actually mean anything if you don’t know how to make them better.
I do everything I can to invite and create the situation I want to capture, and trust my gut when something doesn’t feel right.
I think this is a true practice for most photographers, no matter what they are trying to achieve and is in fact the dilemma now faced with digital photography. This is why you may often here me say it ain’t about the gear man.
It’s about capturing something real or believable in your world.
When we screen the images in playback, on every single frame we can ask do I believe this? Does it feel real?
If we get a no over a few results in a row, I know I need to do more work to unravel tension, anxiety and fear in my subjects to create a space in which they feel they can freely be themselves.
In that space is the chance to click moments that when played back show a believable moment that seems really real.
So the answer to my question, do I believe you? turns into a question for me as your photographer: have I done enough?
The images shown here demonstrate the point well.
I worked with Toni Planinsek to capture her team of employees at Planinsek Property Group. She made it clear that she didn’t want posey-looking-awkwardly-at-the-camera-style.
She wanted something more free flowing. So we planned some typical work scenes in her office and captured them as they unfolded naturally.
It sounds straightforward enough, but there was a hidden caveat.
At the beginning, despite my usual ploys of cheeriness and encouragement, the results were clunky and not worthy of final selection.
The reason is that everyone just wasn’t quite ‘there’ yet in terms of trusting me and letting it loose and being themselves. They were a little bit tense and it showed. This part is quite normal at the beginning of a shoot.
If I’d ignored this and carried on with a ‘near enough’ mentality, the final result would have been unsatisfactory.
Instead of forcing them onward, we stopped shooting and they had some time to look at the back of the camera and get that instant feedback.
They could see for themselves that we were nearly there, but not quite. And then I invited them to just be cool, that only the best pictures will be seen and that they were doing really well.
They all did a great job with this instruction and let go that bit more which was the tipping point.
This resulted in a great collection that really was believable to the real-life activity of Toni’s workplace.
If you’d like to capture the heart of your enterprise, then start with a 20 mins phone appointment to get your initial questions answered.