“The skill of a photographer is in their understanding of shaping light and capturing something stimulating in the play of the light and shadows, not in their ability to purchase a camera with a high resolution sensor.”
This is a quote from an interesting article I found on PetaPixel, written by Caleb Kerr, a professional photographer based in Austin, Texas.
There’s been a lot of talk recently about how advances in photographic technology mean than anyone – professional or otherwise – can take a great image. Kerr’s article confirms my belief that expensive tech is all very well, but taking a great photograph involves so much more than that. That skill comes not from tech, but from an in-depth knowledge and understanding of light. As Kerr says: “Great light is what creates great images”.
I’m a professional commercial photographer. I studied my craft at Uni and have spent the last 25 years practicing and perfecting my skills. Whether I’m working on location or in the studio, light is the key to every shot I take. No amount of expensive and high tech kit can replace the knowledge I have of light – its movement – reflection – refraction – and in knowing the exact moment when the light is perfect and I can press the shutter.
The full article is well worth a read and you can find it here.
Access all Areas.
What makes a successful industrial shoot? Of course you need to commission a photographer who is creative, technically capable and happy sometimes to stay up through the night. But importantly for industrial and architectural photo shoots – to really succeed you need access. I know that sounds like an obvious statement, of course you need access. But sometimes the best shots are from the least accessible places.
So there’s a balance, great shot versus getting in the way or even worse endangering yourselfor others as work tends to continue around you on most industrial shoots.
Take this shot of the construction of a road bridge over a railway line. The main supports where being lifted into place in the middle of the night. Three hours to lift the beams into place, two per night, and three hours for me to stay out of the way and still get great shots.
Once the health and safety site inductions were done we had full access to all areas of the build, right up to the point where the crane was lowering the supports onto their mounts.
So it’s important that everyone knows there’s a photographer onsite, it’s important to have the support of key people onsite and lets face it, they are usually pretty busy, and it’s important not to get in the way or get hurt whilst taking really engaging industrial photographs.
For more information and cost about commissioning us to shoot your annual report or industrial photography please give us a call or send us an email.
Where did all the Sunshine go?
Working in London’s financial sector we get to visit some stunning boardrooms in some incredible buildings. But these rooms are busy places, so it’s not always possible to book them out for photography at the same time as people are available for the shoot.
It’s often the case that we are commissioned to photograph people during board – executive or stakeholder meetings, people might be flying in from around the globe, so the board room is often not available.
The shot here demonstrates that although the room we used to shoot this series of natural business photographs was a reasonable size, there where no windows, so the ability to light the room up in a very natural way was important.
If you want your corporate business portraits to look ‘alive’ first start with the lighting, then talk to the subjects so they forget ( a bit ) that they are being photographed and then capture the moment. There’s no point in spending the time and money building that new website, sending out that PR release, producing that sales document – if the images on it look flat and boring.
If your images are flat, your people look flat too.
The Man in the Blue Shirt
There are all types of head-shots. Posed shots on a simple background, formal shots, candid shots, documentary shots. So many to choose from. But which corporate portrait style represents you and your business the best.
Well that’s something we can’t answer for you, but there has been a shift away from more staged shots, to something that looks more natural. Less ties on to more ties off.
This shot is a great example, a team of award winning architects commissioned Matt Wain Photography to spend two days shooting various directors, some using the stunning building as a background and some where we staged meetings like the shot below ( still using the great architecture).
We have been asked to sell this shot many times, which of course we won’t. The reason
I think it works so well – it captures the essence of business. The subject looks approachable but engaged, work is in progress. We shot each of the key people using this staged meeting approach to complement the other portraits we did of them so that each subject ended up with two very different looking shots to use in different pieces of marketing collateral.
Matt Wain Photography captures natural images for corporate businesses, based in London and working globally.
I’m not easy to spot in this shoot, but if you look closely I’m the one at the top of the cherry picker!
This recent shoot was a textbook example of how I’d like every location photography shoot to go. The company, based in Slough, saw the value gained by creating a library of images that could be used across countless media, from printed brochures and their website, to advertising and social media campaigns. They had just moved into a new factory in Slough and, quite rightly, wanted some creative images to show it off.
What set this location shoot apart for me was the fact that I had 100% buy-in from the senior manager who actually ran the factory, and who was onsite and available for decision making for the duration of the shoot. This meant that things happened… and happened quickly. When I pointed at their cherry picker and suggested I might use it for some creative location shots, I was given immediate approval – no red tape – no chasing around trying to find someone to give the OK. Within minutes I was being raised to the roof and taking some super images that clearly demonstrated the scale of their impressive new factory.
To have such commitment from a key decision maker while on a location shoot is invaluable. They ended up getting more shots than they were actually expecting, and I felt it was a job well done. Everyone was happy.
Christmas arrives earlier and earlier each year and I’ve been stubbornly refusing to participate…. until today of course. Now that December is finally here I’m happy enough to recognise the impending arrival of the Christmas season, and this festive shot taken recently for one of my food clients seems a suitable start.
Food and drink photography can be tricky. Images can easily look flat and dull, and food especially can end up looking particularly unappetising unless the shot is prepared correctly. Fortunately this shoot had the benefit of a team of experienced food photography professionals, including Matt Wain of course, and as the creative juices flowed so did the creative imagery.
Happy 1st December everyone! OK, time for a coffee…
The team at Matt Wain Photography would like to offer their congratulations to Claudio Rasano for winning first prize in the prestigious Taylor Wessing Photographic Portrait Prize 2016.
This leading international competition is open to all and celebrates and promotes the very best in contemporary portrait photography from around the world.
An exhibition of 57 works, featuring all of the prize winners, runs from 17th November to 26th February 2017 at The National Portrait Gallery. You can find more information here.
Matt Wain is a London based advertising and editorial photographer working for advertising agencies, media and corporates. He specialises in people, places, and keeping it natural.
In today’s competitive and crowded marketplace, a business needs to stand out from the crowd. Creative industrial photography, taken by a professional commercial photographer, can make that happen.
This metal merchant took the decision to invest in a series industrial images to showcase their business. Delighted with the result, they selected over 40 extra images to help tell their story.
Convincing a client to commission professional, original photography is not always easy. There are libraries full of stock shots available at the click of a button. The cost of original photography can often be a stumbling block but it is important to realise that image libraries have numerous criteria on which they base their fees and their costs can mount up very quickly, especially for multiple or exclusive usage.
By commissioning creative, original photography you not only guarantee that non of your competitors will be using the same image, but you are also able to ensure that the images fit your brand and corporate message precisely.
A corporate video is the shop window of a business. It must be eye-catching and appealing, and entice a prospective customer into wanting to know more. Choosing a talented professional to produce it is imperative, but the choice of providers can be daunting.
So, why is Matt Wain the perfect choice?
Firstly because when you commission Matt for corporate video production, you get Matt. What you don’t get are freelance cameramen, directors or production staff hired in by the larger production houses. When Matt takes a brief for a new corporate video, he will be the main point of contact from initial brief to final delivery. He is the cameraman, director and post production professional… perhaps with a little help from his assistant, Nicky.
Secondly, Matt’s 20+ years experience in shooting creative stills images means that he brings something to a shoot that standard production houses can’t – a talent for producing creative, interesting imagery, whatever the subject matter. Matt has spent years working with both models and ‘real people’ and he brings a finesse and creativity that captures personality and conveys emotion, while still keeping it natural.
As Matt says: “When I moved into corporate video, I never worried about being able to make something look good. I knew that I could tell a story and make a video look great creatively, the only thing I had to get to grips with were the technicalities.”
Briefing a corporate video can be a minefield, but if you commission Matt he will guide you through the process and lead the way to producing the perfect corporate video for your business, on time, and on budget.