Rosaline Shahnavaz is considered one of the most promising talents to have graduated from the London College of Communications in recent years.
The beauty of her portrait photography generates from a deep sense of intimacy with her subjects which began when documenting her friends and boyfriend.
In an interview with The British Journal of Photography to promote their new Portrait of Britain competition she talks about her work, her subjects and the passion behind her images.
It’s interesting to read about the life of this young portrait photographer. One day she could spend hours shooting for her series Aleko (her muse with whom she’s been able to take the time to get to know and understand); the next she’s being briefed by a magazine to take a series of ‘intimate’ portraits of people she’s never met before… with only an hour to complete the job.
With a handful of awards, two solo exhibitions and some pretty prestigious clients to her name already, I have no doubt that we’ll be hearing more about her in the future.
Matt Wain Photography: promoting young talent in the photographic industry.
Producing a corporate video for the first time can be daunting. Even if experienced, there’s a long list of important factors to take into account beforehand. Being prepared is essential if you want to stick to your deadline and budget. Turning up on the day unprepared and just hoping that it will “all come together” is usually a recipe for disaster!
Matt Wain has extensive experience in commercial video production, and is very aware of the pitfalls that inexperience can lead to. That’s why, whenever we are in initial discussions about producing a creative and targetted corporate video, we offer clients our video production check list to help with their preparation. Here are just a few of things on this list to give you an idea.
PRE PRODUCTION : Discussions where the shoot objectives, storyline, audience and controlling idea are all thrashed out. Nailing down the budget, deciding if you want to include Case Studies or a Partner are all key decisions to make at this stage.
LOGISTICS : Once you’ve finalised the outline of the project, you can move onto logistics. How long do you need? Will the shoot be weather dependent? Is there access at the chosen location and do you need permission to be there? If you don’t get the logistics right, the whole project could come to a grinding halt – and you could end up looking a bit daft.
CONTENT : Including interviews in your corporate video can be very reinforcing, but come with a host of additional considerations. For example, does the interviewee speak fluent English? Do they have time constraints? Even the most experienced speaker can be intimidated by lights and a camera so perhaps an auto cue would be a good idea? It’s vital to ensure the script is finalised ahead of the shoot day as making changes on the day can take time… and therefore cost money.
AVAILABILITY : When the day of shooting finally arrives, be prepared to be present to review footage, make decisions and liaise with stakeholders.
POST PRODUCTION : Once the video has been shot, there is still work to be done. The post-production editing phase might include decisions about graphics, logos, effects, music, sub-titles etc, which are all important decisions and should be well considered.
The list of things to consider before embarking on a corporate video is extensive. It is, however, vital to ensure that the end result is the slick, professional and targeted video you envisaged in your initial brief.
Do get in touch to discuss any projects you might have.
Like all professional photographers I know, I feel very strongly about protecting the copyright of my images so I was pleased to read in the Tech Times recently that Getty Images (the huge online stock photo agency) have filed a complaint to the EU accusing Google of “encouraging photography piracy”.
In 2013 Google began displaying images from Getty and other similar businesses in high resolution format, and Getty claim that making high resolution images available for quick download has turned users into “accidental pirates” and thus decreased traffic to their own website. Users are now able to download Getty’s high resolution images from Google’s own search results engine, thus discounting existing copyright and intellectual property laws.
Some feel that in order to protect their work, any images that appear online should be low resolution, or stamped with a copyright watermark. Of course, I could do this as well but, to be frank, I don’t want low resolution images on my website. My website is my shop, it’s where I display my wares, and I want it to look as good as possible – difficult to do with low res images, or ones covered in copyright watermarks.
I mentioned at the beginning that all photographers I know want to protect the copyright of their images. Interestingly, there are photographers out there who hold little respect for copyright. I was recently tipped off that one of my images was being used to promote another photographer’s website. They did, of course, remove it fairly sharpish when confronted, but it was disappointing to realise that someone in the same professional would stoop so low. If they can’t produce photography of a high enough standard to promote themselves, I suspect they might want to consider a change in profession!
It will be interesting to follow Getty’s complaint and see where it goes from here. Click here if you would like to read the full article.
In a world of cutting edge technology, it’s easy to forget that there are still companies who rely on human craftsmanship to produce their goods.
On meeting this client, they explained that they wished to build their brand by emphasising their offering of bespoke craftsmanship, coupled with old-fashioned service. Their existing image library was no longer fit for purpose so they took the decision to invest in a new library of creative images which would go a long way to showcasing their products and support their brand building efforts.
Industrial location photography comes with its challenges but a day spent at the factory produced a series of unstaged, creative industrial images that could be used on the company’s website, in corporate brochures and across countless pieces of marketing collateral.
Matt Wain is a professional commercial location photographer based in London. Visit the website to view his portfolio, or get in touch to discuss an upcoming project.
Today is International Women’s Day and whether a corporate high flyer, factory worker, school girl or mother, today is a day that celebrates the social, economic, cultural and political achievement of women. Click here to find out more.
Earlier this week, my 11 year old daughter overhead me chatting about a new piece of kit Matt had invested in, including how much it had cost. She then asked why he had to spend so much money on a camera when all you need to take a photo is (apparently) an iPhone!
Now I’m the first to admit that working for a photographer does not make me a photographer. I did, however, do my best to explain to her the advantages of this latest piece of high tech camera equipment; how it was important for a professional, commercial photographer to invest in new kit; and the advantages to the business in doing so.
I can see her point of view – young people are continually taking photos and it’s no big deal. Instagram and other photo sharing social media sites are a huge part of every teenager’s life and their ‘phones are whipped out at a moments notice ready to catch a sensational selfie or perfect puppy moment. Of course, their idea of a good (or even great) photo and that of a professional photographer is likely to differ somewhat.
I agree that iPhones take good snaps, but isn’t that all they do? Maybe not. I recently came across the IPP Awards website (the iPhone Photography Awards) and was surprised to learn that now in its 9th year, the competition attracts entries from both professional and amateur photographers worldwide. When browsing the gallery of previous winners I was seriously impressed with the images, and the fact that they were all taken on iPhones.
That said, when pitted against professional camera equipment, iPhones still appear to fall short, especially once the sun has gone down. Their simplicity and ease of use work against them when faced with interchangeable lenses and the manual control over exposure parameters afforded by professional kit. iPhone cameras are great and in the hands of anyone with a good eye for a creative shot, they can produce some lovely work, but they can’t replace professional kit, or the professional photographer behind the kit.
It’s just as well really, I don’t think Matt’s clients would see the funny side if he arrived at a shoot and whipped out his iPhone!
This hard hitting and thought provoking image is very deserving winner of the prestigious 2016 World Press Photo of the Year competition, announced yesterday. The image was selected from nearly 83,000 entries from 128 countries.
Titled ‘Hope for a New Life’, the image was shot by Australian photographer Warren Richardson, a freelance photojournalist currently working in Eastern Europe. A self-taught photographer, Richardson undertakes long term projects dealing with human and environmental issues. His winning photo was taken at the Hungarian – Serbian border in the summer of 2015, and powerfully demonstrates the lengths desperate people will go to.
The annual photo contest rewards photographers for the single best exposure pictures contributing to the past year of visual journalism. The prize winning photographs are assembled into an exhibition that travels to 45 countries and is seen by more than 3.5 million people each year, as well as being published in a sought-after year book.
Our warmest congratulations from Matt and the team at Matt Wain Photography.
I was reminded of a valuable lesson recently – that of not judging a book by its cover. I was commissioned for an ad shoot on location and as part of the brief we had to find a model to portray a tough boxer. We found the perfect guy – a model who had exactly the right look and was also also a successful cage fighter… the model agency’s website even had a video of a recent fight to reinforce his credentials.
We arranged to meet at a coffee shop on the morning of the shoot to chat through the brief. I have to confess at being a little nervous… this guy looked seriously scary on the website and I wondered what he might do if I did or said something to upset him! After initial introductions, I casually asked him whether modelling or kickboxing was his main profession. To my astonishment, he replied that his main professional was actually as a solicitor and the modelling and kickboxing were just hobbies!
Why choose Matt Wain to produce your corporate video?
Firstly because when you commission Matt, you get Matt. Video production houses often use freelance cameramen, directors, production staff etc so you are dealing with multiple people. When Matt takes on a video, you are dealing with him 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 has over 20 years experience in shooting creative stills images, meaning that he can bring something to a shoot that production houses can’t – a talent for producing creative, interesting imagery, whatever the subject matter. Having spent years working with both models and ‘real people’, Matt 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.”
I’m always keen to read about the work of prominent photographers, and was particularly interested in an interview by Ben Beaumont-Thomas with photographer Sal Verder featured in a Guardian online article.
His image of a Vietnam PoW being re-united with his family at a California air force base in 1974 won the Pulitzer prize, and deservedly so. The emotion captured on the faces of the family members as they leapt from their car and ran towards the soldier is incredible; you could tell exactly what they were feeling and can’t help but be drawn into the sheer joy on their faces.
Verder went on to comment how the soldier appeared uptight and downbeat as he moved towards his family, but that he didn’t find out the reason why until months later. You can read the full interview here.
Verder admits that he was in the right place at the right time to capture such a candid image, but that could be said for every photo ever taken, whether good or bad. There may be a bit of luck involved, but capturing emotion with the lens is an art form and requires a talent that should be celebrated.