Personal

Final major project

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Final major Project

2008-06-09T09:35:00.001-07:00

Bangor On Dee Jump Racing:

Final major Project

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Clare's Jacket & Bag on a female model...

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Sally's Jacket on a male model...

Sportswear Garments By
Clare Brenan, Sally Stevenson & Lizzy Wilcox

The clothing....

Personal Development:

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Module title: Personal Development 2
Brief Title: Learning Journey

The evidence for this brief is evidenced here on my three blog spots...

personal: http://libbyspeakman.blogspot.com
professional: http://libbyspeakman-professional.blogspot.com
portfolio: http://libbyspeakman-portfolio.blogspot.com

Evaluation/Overall Summary...

Coming to a conclusion overall I have really enjoyed this project, I have realised the importance of time management in correleation with keeping others up to date with my current projects here online. I have gained a wide range of knowledge and research around the subject Sport, considering ideas for events to photograph well in advance. I am happy with the presentation of my Blog (considering I was new to the whole concept) so far and feel that it is a sound response to the brief. On the technical side I feel that there is always room for improvement and will continue to pursue improving my skills. This is something that takes time. Moving on from this I have images to build my own sport portfolio and I am keen to gain work experience with a sport associated professional, to improve my own skills and knowledge. I have gained contacts within the field of Cycling whom I am continuing to communicate with.

Bibliography

Books:

Ashley La Grange, (2005) Basic Critical Theory for Photographers, Elsevier Ltd, Focal Press
Henri Cartier-Bresson, (1993, reprinted 2001) India, London, Thames and Hudson
Mary Warner Marien, (2002) Photography: A Cultural History, 2nd Edition, Great Britain, Laurence King
Raghubir Singh, (1998, reprinted 2000) River of Colour The India of Raghubir Singh, London, Phaidon Press
Harold Evans, (1978) Pictures On A Page, London, William Heinemann Ltd
Reuel Golden, (2005) Witness, London, Sevenoaks, Carlton publishing group
Terry Hope, (2001) Photo-Journalism: Black and White Photography, Switzerland, Rotovision
Paul Wombell, Sportscape, Phaidon Press
The Sports Photographer of The Year, (1985) Kingswood press

Magazines:

Golf monthly, November 2007
Cycle Sport, November 2007-12-12
Photography Monthly, Several issues (all noted in sketchbook)
Fast Bikes, November 2007
Professional Photographer, March 2007

Newspapers:

The Observer 25.11.2007
The Guardian

Websites:

www.nppa.org
www.davidmodell.com
www.wikipedia.org
www.leomason.com
www.astropix.com

What do I want to do next?

-Gain more feedback on the rest of my work from professionals…
I think this is really important and will help me to improve my technical skills through constructive criticism, as well as making contacts in the business.

-Promote myself…
The studio practice 2 project was really inspiring. I would like to work on my own individual promotional material, such as flyers, business cards and website design. When attending events and working for clients it would be really beneficial if I had such material available to hand out to promote my business for example at the golf event I feel I was missing this.

-Plans for India for final major project…
I have just been given the chance to go to India on the 28th April. My dance teacher organizes big corporate events and she needs dancers for Football events over the there. Apparently football is big over in India and their King is a regular spectator at the games. It is all expenses paid and I too will get paid to do it. However, obviously this means i will be away for just over a month, missing a significant amount of college study. If I get the chance to do this it would be a fantastic subject for my final major project though! (I am already thinking of photographic ideas) It is really short notice (understatement of the century) but as my dance teacher said it's always the case with her clients over there.

-Competition entries…
This is something which I fell I can look into as my work is beginning to improve. Winning competitions can work great as a self promotion plug, your work gets published in high profile magazines helping to raise your profile immediately. Even by simply entering a competition, impressing the judges can result in your work being published in a magazine.

-Studio images to support my sport documentary…
As I said at the start of this presentation I also really enjoy Studio practice. I have produced some quite strong images for the lighting projects (take a look at my portfolio blog). I would like to try and produce some strong images of sports equipment/sports wear to compliment my documentary work.

Toby McFarlan Pond:

For such studio work I am particularly inspired by the work of the M.A.P Photographers. Their work seems to have a certain graphic quality of perfection which overwhelms me. Here are just a few examples of Toby McFarlan’s Work…

www.mapltd.com

I originally came across McFarlan’s work in POP Magazine (see portfolio blog), however he is also a member of M.A.P, which is a London, New York and Sydney based agency representing some of the world’s leading talent in the world of photography, styling, illustrating and art…

Cycling Photography:

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Leo Mason:

www.leomason.com

Cycle Sport Magazine:

www.cyclesport.co.uk

Here are just some examples of the photography featured in the magazine...

Photography by Andy Jones of Phil O'Connor Photography:

What they say about the magazine...

ABOUT US CYCLE SPORT

"Launched in 1993, Cycle Sport is well established as the leading magazine for fans of professional road racing Comprehensive coverage of the world's leading pro events, like the Tour de France, coupled with a unique ability to get the inside story, big interviews and stunning action photography, ensures that Cycle Sport is the most authoritative magazine in its field.

Our three special issues throughout the year (season preview, Tour de France guide and annual review) are firmly established as benchmark publications which showcase Cycle Sport's peerless photography and reporting".

Cycle Sport is part of the IPC Cycling Group, which also publishes Cycling Weekly and Mountain Bike Rider magazines.

www.cyclingweekly.co.uk

www.mbr.co.uk

Cycle Sport also has an American edition with its own website, here>>

Articles:

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Newspapers:

The Guardian...

With sports Photography it is important to know your sport, and this does not just refer to the rules, players, predicting the action etc. It is also important to be aware of current issues regarding the Sport. Sport Supplements within newspapers are great for this, especially as at the moment I am covering a range of sports. I have purchased several specialists sports magazines when necessary, however at the moment I do not need to buy any annual subscriptions which would prove to be expensive.
Newspapers were extremely useful for my Location and Documentary Project regarding ethics e.g drug testing in cycling.

Here are some recent articles concerning issues in Cycle sport:

Golden day for Great Britain at the world championships

Victoria Pendleton, Chris Hoy, Bradley Wiggins and Mark Cavendish helped take Great Britain's gold medal haul to nine

Staff and agencies
Saturday March 29, 2008
guardian.co.uk

Picture:Pendleton flies the flag after sealing her second gold medal in Manchester. Photograph: Martin Bureau/AFP

Chris Hoy, Victoria Pendleton, Bradley Wiggins and Mark Cavendish helped take Great Britain's gold medal haul to nine on another triumphant day for the host nation at the world cycling championships in Manchester

Pendleton clinched her second gold medal when beating Simona Krupeckaite 2-0 in the best-of-three sprint final, while Wiggins and Cavendish succeeded in the Madison taking Great Britain past their total of seven golds from last year's worlds.

To see more of this article... Click here

Two Wheels

Bill Chidley
Thursday April 10, 2008
The Guardian

This is a great time to be a British cyclist. Our track cyclists are the best in the world, taking an unprecedented nine gold medals at the recent World Championships. Last year, the English episode of the Tour de France was one of the few high points of an otherwise depressing spectacle. From being a fringe activity, cycling is now firmly positioned in the mainstream.
Cycling is also hailed as the answer to problems as diverse as the obesity crisis, rising stress levels at work and climate change. The main candidates for mayor of London are queueing up to prove their cycling credentials. Ken Livingstone, Boris Johnson, Brian Padddick and Sian Berry all want to increase the number of cyclists on London's roads, and Berry and Johnson both cycle regularly. They all endorse the London Cycling Campaign's manifesto and are keen to publicise the fact that they have promised to spend money on improving the lot of cyclists in the capital. At the top of their shopping lists is a series of improvements to the London Cycling Network, which no doubt means that there will be more white and green paint on London's roads in the very near future. But will this make the roads safer for cyclists? I am not convinced.

To see more of this article... Click Here

Fresh test will clear me to race says Hayles

Richard Moore
Thursday April 10, 2008
The Guardian

Rob Hayles, the British pursuit and madison rider withdrawn from the recent world track championships in Manchester after an irregular blood test, expects to be given the green light to resume racing today. Under the rules of the International Cycling Union (UCI) he had his licence rescinded for 15 days but it will be returned today, on the expiry of that period, if he passes a follow-up blood test scheduled for this morning.

To see more of this article... Click here

Cycling turns to formula one to gain an edge in Beijing

Boardman heads boffins of 'secret squirrel club' · Think-tank makes studies of opponents' racing kit
William Fotheringham
Tuesday April 1, 2008 The Guardian

After Great Britain's medal-winning spree in Manchester the analysts will take over this week. "It's pure formula one," said one British coach on Sunday, and while the process is not on the same scale with the same budgets as in motor sport, all of last week's 18 races were filmed by a three-man team from the English Institute of Sport and the next few days will be spent examining the footage and correlating video clips and split times.

To see more of this article... Click here

Manchester Velodrome: British National Track Championships & Revolution 18

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Revolution 18...

Manchester Velodrome: British National Track Championships

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Manchester Velodrome: British National Track Championships

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They're Off...

Go!

Steady...

Ready...

The Venue...

Colour Photography vs Black & White:

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Please view this post from the bottom upwards...

Shooting most of his work in black and white we may consider the work of David Modell who significantly chose to shoot his project ‘Indian London’ in colour (see images below)...
To view more on Dvid Modell... Click here

Mary Warner Marien (2002) believes Singh ‘…was accused of prettifying social problems to create a representation of India as a timeless land’ (pg 325). ‘Even though one could argue that colour film more accurately equates to the way we see the world… the increasing custom of photojournalists and documentarians to publish beautifully crafted books and mount art gallery exhibitions added to the unease about blurring the line between personal expression and reporting’ (pg 416).

Warner Marien also quotes British war photographer Philip Jones Griffiths who describes colour as ‘the biggest single hindrance to photojournalism the world has ever seen’. (Warner Marien:2002:416).

A prostitute, Mumbai 1978 (By Singh)

Evans believes colour would weaken these images. The image on the right ‘Dust storm in Oaklahoma’ was one of the most celebrated photographs from the FSA. Evans suggests ‘you can taste the dust’ as the father and sons head to shelter. However, the central image of Australians at war is just one of many staged war images. The drama in this black and white image reflects no truth. We can also discuss several criticisms of this idea that black and white images appear more truthful. Yet there are many aspects which effect the ‘truth’ of an image and the way the viewer ‘reads’ it, known in Postmodern theory as the ‘spectator’s gaze’. For example, different photographers can photograph the same scene, from differing perspectives; it just depends on personal preference.

Here (below) are just three examples from his book where he believes Black-Grey-white are the essential ‘colours’

Harold Evans (Editor, The Sunday Times) said:

‘We have learned to read black and white photographs so effectively that you are unlikely to have been actively aware that the pictures were not in colour’. He also quotes WD Wright (professor of applied optics) who suggests that we have learned to supply our own colour to a black and white image, ‘You may get closer to reality with colour but the closer you get the more obvious it becomes that it is a picture not the real thing’. He explains ‘…it would be absurd to pretend that colour is not essential to an article discussing, say, Turner’s paintings, but equally there are areas where black and white is preferable.’ (Pictures on A Page by Harold Evans, published 1978)

Considering the value of black and white photography, Harold Evans (1978) and Mary Warner Marien (2002) also discuss opposing views.

Going by Eiseman’s psychological response theory, the use of black-to-white as by Cartier-Bresson and the suggested preferred Western choice, does not represent ‘angst’, ‘alienation’, ‘guilt’, ‘people without God’ or even ‘linked to death’. It may be that the suggestion that the West is ‘bound in black’, should not necessarily be interpreted as a negative thought. Looking at the meaning of such colour may suggest it is used to uphold an element of respect and dignity for the subject within the picture, holding a timeless quality. So is there a theory behind this use of colour in relation to culture, or is it just down to personal preference?

As quoted earlier, Singh (1998) suggests a ‘psychological empathy’ towards black and white photography is alien to India. He suggests Westerners prefer the ‘distancing quality’ in black and white images to the ‘emotional plunge’ resident in colour pictures. Looking into colour theory certain emotive responses have been identified in response to the use of different colours.

In her book, Guide To Communicating With Colour, Leatrice Eiseman states:

‘Of all forms of non-verbal communication, colour is the most instantaneous method of conveying images and meanings… Among other uses, colour stimulates and works synergistically with all the senses, symbolizes abstract concepts and thoughts, expresses fantasy or wish fulfillment, recalls another time and/or place and produces an aesthetic or emotional response’. (Eiseman:2000:Page unknown)

Here are just a few of her examples that I feel are most relevant:

Bright Red: Exciting, energizing, sexy, hot, dynamic, stimulating, provocative, dramatic, aggressive, powerful
Golden yellow: Autumn, flowers, harvest, rich, sun, warm, wheat, comforting, sunbaked, buttery
Blue Purple: Mystical, spiritual, futuristic, fantasy, meditative
Black: Powerful, elegant, mysterious, heavy, basic, bold, classic, strong, expensive, magical, nighttime, invulnerable, prestigious, sober
Charcoal Gray: Professional, classic, expensive, sophisticated, solid, enduring, mature
Neutral Gray: Classic, cool, sober, corporate, practical, timeless, quality, quiet, ghostly

Raghubir Singh Vs. Henri Cartier-Bresson… Colour Vs. Black & White

Singh believes what makes India different is its great and ancient bond with religion, ‘… to the Eurocentric Western cannon of photography, in which the contemporary concepts of morality and guilt push aside the idea of beauty. Beauty, nature, humanism and spirituality are the four cornerstones of the continuous culture of India’ (Singh:1998:14).

La Grange (2005) speaks of Cartier-Bresson’s visit to India as being full of ‘readymade pictures’ a phrase said to evoke the Pictorialism of India’. Singh (1998) classifies Cartier-Bresson’s work as ‘modernist-pictorial’. Yet despite borrowing concepts from the West, as La Grange highlights ‘… Singh sees standards as being based on vision alone and this is determined by one’s own culture’ (La Grange:2005:163).

La Grange believes that ‘the most successful use of black and white in India is when a full tonal range is used to transpose all colours’ (La Grange:2005:160) as in Henri Cartier-Bresson’s photographs and in Satyajit Ray’s films, illustrating a psychological metaphor for colours.

Singh (1998) has borrowed from both the West concepts such as Marxism, street photography and the history of photography referred to as ‘wholly western’. Borrowing a lot from Cartier-Bresson, Singh describes him ‘an original’.

Colonialism is said to have destroyed Indian miniature painting through the introduction of the steamship, train, telegraph and camera. The Kotah Style, one of the last, died out at the end of the 19th century. The introduction of the hand-held camera left ‘no cultural precedent for the Indian photographer’ (La Grange:2005:162). Singh admits Indian photographers ‘cannot produce the angst and alienation of photographers such as Brassai, Bill Brandt, Robert frank and Diane Arbus… psychological empathy with black is alien to India’ (La Grange:2005:160).

The importance of colour to Singh (1998) is discussed through ideas of Religion, and the art world. The traditional Indian painting, Indian miniatures and the Kotah Style are compared to traditional Western art created in monochrome. Singh believes ‘angst, alienation and guilt’ are significant to Western vision, people without God, which is expressed in monochrome, ‘… “the fundamental condition of the West is one of guilt, linked to death” which is bound in black’ (La:Grange:160).

In his home Jaipur, colour was an integral part of the culture, in music and relating clothing and food to the seasons. Dark colours rather than black are worn. White is the colour of mourning and the colour of life, an important part of Indian painting, tracing back to the eighth century.

Singh views Henri Cartier-Bresson, Walker Evans and Andre Kertesz as influential photographers who ‘…preferred the distancing quality in black and white images to the emotional plunge resident in colour pictures’ (Singh:1998:9). La Grange points out that ‘Indian artists did not see in black and white before colonialism and photography. Their tradition of drawing was unlike the Western one and was filled with colour’ (La Grange:2005:159).

Singh describes how colour has always been a force in India and is “…of the continuum of life itself” (Singh:1998:9). La Grange suggests the Western term ‘colourist’ does not exist in Indian artistic vocabulary. Singh (1998) believes Indians to know colour through intuition but Westerners to do so through mind. La Grange highlights Singh’s key thoughts and ideas such as Singh’s beginning quote ‘There is that universal beauty which is seen by the inner eye…. but different races or individual consciousnesses form different standards of aesthetic harmony’, from Sri Aurobindo’s The Fountains of Indian Culture. (As quoted by La Grange:2005:159)

The book states Raghubir Singh was: ‘One of the finest documentary photographers… he was born in Rajasthan, India, and for 30 years made countless personal journeys across the vast subcontinent… The result was a series of vibrant photographs that capture the exuberant spirit and restless activity of his native India. Like his hero, Henri Cartier-Bresson, Singh always succeeded in getting into the heart of the scene and intuitively portraying it from the insider's point of view… revealing everything from the magical to the mundane’. (Phaidon Press: 1998: River of Colour, back cover)

Through his introduction, Singh gives an in-depth account of what India means to him, focusing on the strong importance of colour in India. ‘The only published retrospective of Raghubir Singh… that depict aspects integral to Indian life - such as the street, monuments, icons, water and pilgrimages ’. (Phaidon Press: 1998)

La Grange gives an objective summary of Singh’s introduction to his book River of Colour (1998), ‘He (Singh) explains the differences between Indian and Western art and in doing so adds to the debate as to the merits of using colour as opposed to monochrome in photography’ (La Grange:2005:5). I have considered a range of perspectives that are touched upon by both La Grange and Singh, also considering outside thoughts of several writers of photography.

Ashley La Grange generates discussion and thought around key debates in photography. With a particular interest in the use of colour and its value within documentary, I have become particularly intrigued by Chapter 9, from La Grange’s Basic Critical Theory for Photographers (2005), which considers an example of Raghubir Singh’s non-western approach to photography. This was a key source in regards to this essay.

How does the work of Henri Cartier-Bresson compare with that of the Indian photographer Raghubir Singh, who suggests the Western World is ‘Bound in Black’?

Location and Documentary Practice:

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My response to the brief...

For this project you may have guessed that I would like to focus on Sport. After researching various spects of documentary within Sports photography I will focus on one sport to document, considering who, what , where and how it will be displayed within relevance to the audience and subject matter. in order to do this successfully i will research a variety of practitioners over the field of documentary, their techniques, ethical issues, gathering information from a range of sources.

'Cartier-Bresson's phrase "the decisive moment" sums up the aim and intention of a sports snapper perfectly; timing is everything.' (photography monthly)

Project Brief:

The nature and direction of 'documentary' is shifting rapidly. In the two articles you were sent during summer tis shift, use/abuse of the genre 'Documentary' is explored by two prominent lens based activists. Colin Jacobson (picture editor) and Paul Wombell (then director of the photographer's gallery).

In this module we will look at the history and traditions of documentary photography, investigate current debate, presentation and approaches of contemporary practitioners, explore issues of ethics, censorship and self-governance. At the same time you will be expected to document an event, activity, location that may be related to your interests, to consider who and what you are recording, where and how it will be displayed if or how this is relevant to your audience and subject matter.

"Sports Photography is one of the few remaining pure forms of documentary photography..." says Jerry Lodriguss (Philadelphia Inquirer)

Articles:

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So you want to be a sports photographer?

An article from:

professionalphototographer.co.uk

If shooting sport is the career you crave, our advice will get you on the podium. Back of the net!
Words Roger Payne Pictures Dan Matthews

So you can take a decent action shot. Nice one – in itself that’s something of an achievement. But now you want to take the next step and make some money from your abilities, which is where we come in. Like most branches of professional photography, sport is a competitive environment that can be tough to break into. There are plenty of photographers out there who can capably capture the action just as well as you, so you need to stand out and that means having people skills as well as being able to deliver the goods with your camera.

It’s the harsh reality of a competitive environment that you may have to work initially for little or no reward and at unsociable times of the day or night to get on the first rung of the ladder. While image libraries will accept generic sporting images that will have a timeless appeal, you’re more likely to find success if you shoot newsworthy sporting events – sometimes the more obscure the better.  Don’t aim too high too early. The chances are you’ve already been down to the local football pitch on a Sunday morning to capture some non-league action, but you can’t underestimate how important this time is – it’s a great chance to hone your technique skills and start building up a variety of images that can be presented to picture editors if and when required.

to view rest of article... click here

For more useful advice for starting out view these pages...

www.professionalphotographer.co.uk/starting-out

so you want to be a press photographer?

Derby Phoenix Bike Championship:

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Detail shots:

Derby Phoenix Bike Championship:

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ISO for action shots:

When taking action shots subjects can appear blurred because they are moving so fast. Even in daylight it can often help to increase the ISO to allow for faster shutter speeds. In Sport or action modes cameras will do this automatically.

The use of a mono-pod or even just positioning yourself against a sturdy object whilst panning can help keep the camera steady improving your shot.

Panning To blur the background, keeping the subject sharp:

Using a slower shutter speed, but instead of keeping the camera steady you track your subject with it by swinging yourbody, and trip the shutter while your moving. The key is to match the space of the pan with the speed of the subject so it remains in the frame throughout the exposure. In motorsport, shutter speeds of 1/125 or 1/250 are slow enough.

Derby Phoenix Bike Championship:

2008-04-05T08:26:00.001-07:00

Tips On Technique by Will Cheung...

Motoring On:
I saved this clipping from photography monthly magazine, providing some useful advice on technique by the editor Will Cheung (pictures by Tony House) along with a diary of events...

"To get a frame filling image you'll need a telephoto lens- a zoom that extends to 300mm is a good start, especially on DSLR's with APS-C sized sensors. Here there's a focal length magnification of 1.5x to 1.6x so a 300m becomes effective 450mm or 480mm respectively... You'll need to support such a long lens and a stout monopod is perfect. Giottos, manfrotto and Velbon offer good models.

A big part of successful action photography is getting a good spot, like the inside or the outside of a bend. Racers are going relatively slowly on bends and even though this still might be 70mph at least you stand a good chance of tracking them with a long lens."

"...racing cars and bikes often bunch up on a bend and, particularly wit bikes, they make an interesting shape, so compositions can be much more dynamic. Inevitably, such positions fill up quickly so get there in plenty of time to bag a good spot." (Will Cheung, Photography Monthly)

"For shooting speed, setting the DSLR to give fine/large JPEG files is going to let you blast sequences of shots at several frames-per-second rather than using Raw format which takes longer to write.
For white balance either choose a manual setting to match the lighting or use custom white-balance... All SLR's are autofocus and while AF can work, you may prefer setting focus to manual and taking control. One technique to try is prefocusing, where you focus on a particular spot on the road and take the shot just as the racer reaches that point." (Will Cheung)

"Shutter speed selection is important because it's this that will determine how much movement there is within the scene. Start by selecting shutter-priority AE mode and a speed of 1/500 sec- if it's a dull day, increase the ISO to allow this. Take a few shots of racers at full speed and check out the results on the camera monitor: If they look so still that they don't seem to be moving, try 1/250 sec or even slower. Ideally you want a combination of a sharp subject but with some movement to imply speed and excitement." (Will Cheung)

Side cars:Taken by myself...

Derby Phoenix Bike Championship:

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Photography By Don Morley (Above):

Motorsport Photography by Leo Mason (Above):

One of the main things is knowing how to predict where the action will occur, timing, knowing your sport and understanding of shutter speeds and their influence on the moving subject.

There are a few things that apply in most action photography, it was important for me to search through a variety of source to help me learn the simple rules, to help me improve and eventually become as good as the pros.

Fast Bikes magazine:

www.fastbikesmag.com

Taking a look at motorbikes as I did for my golfing project I collected a variety of images from biking magazines and websites... This helped to fuel ideas for action shots as well as sequences of bike images to relate to a documentary style.

To view some exciting video clips see the link below...

www.bikechannel.com

To view further information forthcoming events for Oulton Park and other venues see here...

www.motorsportvision.co.uk/oulton-park

Oulton Park: September 1st 2007

Professional Practice:

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Hosts: Vince Earl (former Brookside actor) & Roy Tildsley

The Evening...

Professional Practice:

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This was a glorious day with no particular need for flash for the outdoor pictures. The colours here look beautiful, bold and bright with different shades of green. I particularly liked the witty socks added to the outfit worn by this gentleman below.

It was important to be prepared for the day.. Along with my canon 30D digital SLR i took three fully charged batteries, the standard and a tamron 200mm telephoto lens, along with my dads 400 D Canon digital SLR as a spare.

Players in Action...

Professional Practice:

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Golf clubs and such equipment can make great detail shots...

This was an opportunity to be creative, not all golf picture have to feature the players as i have shown here when experimenting with depth of field.

Landscape and Scenery...

Guest Appearance: Former Professional footballer Alex Stepney...

Professional Practice:

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Examples of golf images in sequences...

Golf Photography:

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Leo Mason:

I particularly like this silhouette effect created in this image of a golfer by Leo Mason. For more of his work visit my professional blogspot... click here

Chris Smith:

Golf Monthly magazine:

http://www.golf-monthly.co.uk

As I had never shot images of golf before I decided to collect a fews issues of Golf Monthly before I pursued the job in order to see the type of images produced by the professionals. This helped to fuel ideas and give me an idea of compositions which I create on the day.

Professional Practice:

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Raising money for Christies: The official supporters, banners and promos...

Professional Practice:

2008-04-04T05:10:00.001-07:00

I wanted to capture the players in a variety of positions, from different angles instead of just the typical stance of a golfer on full swing.

Working for a client it was important for me to take several 'set-up' pictures of the high profile guests on the day. this included Bobby Charlton along with many representatives of the companies sponsoring the event. It was important to think quickly about composition and lighting to take my pictures quickly so not to disrupt the players game.

Guest Appearance: A Regular supporter of the event is Sir Bobby Charlton and friends...

Professional Practice:

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Representatives from the sponsor with Sir Bobby Charlton and the organizer of the event Roy Tildsley...

Before The Game...

Professional Practice:

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For further research re-guarding my professional practice... click here

The weather on the day was perfect... I was assigned my own golf cart to make my way around the course which became extremely useful (and fun), enabling me to make sure all the players and sponsors were photographed.

I was invited to attend the full day of events which comprised of morning tea and bacon butties, followed by the game commencing at 1pm, ending with a sit down meal and charity auction.

Sir Bobby Charlton and myself...

Thursday 9th August 2007 at
Formby Hall Golf & Country Club
Southport Old Road
Formby, Merseyside.

The Event and the Venue...

The Blue's 'n' Two's Golf Society Committee currently comprise of serving and retired police officers, they are committed to provide a great days golf for ALL Emergency Service staff and their guests. The Committee use the event to raise funds for our chosen charity, Christie's Hospital which is based in Manchester. (see link below for more details) The president of the event is Roy Tildsley (my uncle) who asked me to be the official photographer for the event in August 2007. This was to be my first official Job and acted as a great introduction to my summer project i was to begin based on my chosen subject, Sports Documentary.

"We intend to raise the profile of the event and the charity by inviting well known television and sporting celebrities to participate in the event with us. All donations made to the charity and proceeds from the auction on the day of the event will be forwarded to Christie's Hospital Appeals Fund - registered charity number 1049751.

At the current time we have a single annual event which attracts a full field of eighty eight participants, including invited celebrities. Our ambition is to provide additional events on demand."