Amango News

Breakfast in America – A photographers’ trip and at least 10 things you should know.

2010-07-20T20:18:00.003+02:00

The old saying goes ‘ a journey starts with the first step’ but there is a great deal of preparation you should do before you leave or take your first stride.

America is one giant of a country and has many layers of government protocol to match! Being a photographer is not just turning up with a nice Leica and behaving like Austin Powers, then tossing your camera to the assistant proclaiming ‘I’m spent!’ It’s a serious business and to be taken seriously as a professional, whether you are a designer, art director, producer or photographer, these following tips will help when thinking about traveling abroad and commissioning a professional to shoot for you.

Visa – you can’t work in America without one. If you try and are discovered, you will be deported and possibly have a ban on entering the country again. So make sure your paperwork is in order and triple check everything before you leave.
Camera – sounds obvious but you need to think about what you are shooting and what gear you need.
Gear in the hold – again, this sounds obvious but if you are taking extra gear, lights or big equipment, it needs to be protected in the hold and you need to hire or buy the right baggage. Or do you want to hire your gear when you arrive? Depending on your plan, renting kit might be cheaper than flying yours across the world.
Weight limits and extra payments – this goes with the above. Extra bags or weight comes at a cost. Do you really need the extra gear and are you prepared to pay to the costs?
Flexible luggage and long arms – cameras and laptops and related fragile kit, should always be with you as hand luggage. Put it in the hold and it might not survive the trip or worse, it might not arrive. Most airlines only like one piece of hand luggage so whatever you take, it has to accommodate your personal items too. Choose something that is flexible to your needs and is easy to transport. No matter where you are staying or how far you have to walk, your arms will stretch, as carrying any gear/weight is not funny and will soon dampen your enthusiasm. Make sure it has wheels, straps and comfort pads to take the pain out of your journey.
Jet lag and getting enough rest to be ready for shoot/long days. Goes without saying. Jet lag is like a hangover without the joy of a night out. Make sure you sleep, drink plenty of water, listen to your body and lay off the booze.
Suitable clothing for shoot – research your destination, check the weather and pack appropriate clothes for the climate but also something you can comfortably travel and work in. What kind of shoot will it be – a quarry, beach, nightclub? These are things to consider when looking at an empty suitcase.
Time zones – obvious one really. Most places in the US are a working day behind the UK and links need to be kept open back home. I find keeping my watch to local time and my phone to UK time helps. Mid-afternoon I find my body wants to crash and knowing it’s 3am back home helps get a grip on things.
Cultural differences/similarities – although Americans speak English it’s amazing how different and equally similar life can be.
Keeping doors open and clients back home happy – if you are away for more than a few days, clients like to know you haven’t abandoned them. So remember to stay in touch.
Meeting deadlines and workflow before you leave. Don’t do work whilst away as this is almost impossible to achieve. Juggling too much can cause burn out. I like to meet my deadlines before I leave so I can have a clean slate and give my full attention to my current job.
Behaving appropriately, whether client is there or not. When you are away, you are representing your client's company and your own. Inappropriate behaviour and news of it will travel fast, and could damage your reputation.
Insurance and liability cover. This is an important one! Americans have no issue with lawsuits. Make sure your insurance is up to date and covers you appropriately for any eventuality. And get medical insurance too. Crucial!

The last thing you should know is go with an open mind, have fun and be flexible. Things will probably not go to plan and you have to be agile and think on your feet. Enjoy the scenery, eat some great food and have a ball but remember you are a professional and you are there to do a job.

See you when I get home.

Stock shots versus a real photographer

2010-07-12T21:37:00.006+02:00

This is a guest blog by Bryony Thomas, Chief Clear Thinker at Clear Thought Consulting. Bryony works specifically with smaller businesses who need to make the most of their marketing budgets. With this in mind, we asked her to talk through when and why to use stock or bespoke photography in marketing materials.

In any business that wants to turn a profit, every penny counts. And, in small business marketing, cost control is a core skill. So, it’s easy to understand why people often choose stock photography over commissioning a photographer. So, what’s the difference, and when should you use which?

This is a trade off between three key criteria:

1. Impact – does your photography stand out and can you get exactly what you want?

2. Time – how quickly do you need the shot?

3. Money – the total costs of the shot and how much you’re going to use it.

Stock photography has been shot by a photographer and then sold to, or via, a stock library (like Getty Images or iStock). When you want to use an image, you licence it. You can either go for a simple licence that lets you use it, but not exclusively, or for an extended licence which means that there are some restrictions on what other companies can do with it. I’m not a lawyer, and I’m going to steer away from giving legal advice, except to say that you need to really understand the rights of use that you have with the image in question. Most stock photography is bought under a very simple licence that just means you can use it… and so can anyone else who pays the fee. Amongst other differences, this is one of the real biggies. You could create an ad, spend loads of money buying space, or emblazoning it on the side of a bus – only to find another company using the exact same shot. This can cause confusion in the market, and could mean that your customers associate your ads with their company. You can buy an exclusive licence for stock shots, but if you do it often outweighs any savings.

A real life photo shoot commissioned and paid for by you will usually include either an exclusive perpetual usage licence or all-out ownership of the copyright. Which means that you can be sure that it won’t turn up on the stand next to you at your next event – which would certainly be embarrassing.

So, that’s the biggie, now for a few nuances. Not exhaustive by any means, but I’m sure you’ll get the idea.

Stock shots – the good stuff:

· Low upfront costs

· Immediacy – if you need it today, you can have it today

Stock shots – the bad stuff:

· Unlikely to have exclusivity, they turn up everywhere

· Often very staged and on the cheesy side

· Prices for large print format files to step up pretty quickly

· Cropping options are often limited (you can’t ask the model to move to the right to make room for your headline if the photo has already been taken)

· Often difficult to get a stylised ‘brand’ look using stock shots

· They will never be of your actual people

So, when should a marketer commission a proper photographer?

I’m sure that most business-savvy photographers will appreciate that budgets are tight, and for lower profile material a stock shot will often do the trick. But, what they will also tell you, is that there are very many times when looking for the right stock shot will be like the proverbial round hole and square peg. And, if that’s the case it’s time to consider commissioning a shoot. I would seriously consider commissioning a photo shoot for the following activities:

· Press photography: Your key spokespeople, your products and a few around your premises. These are extremely valuable in social media and PR, where a frequent repeat of a profile picture, for example, builds familiarity. It’s also true that in PR, a journalist may choose to major on the comments of the person with the best photo, rather than the most insightful input if they are under pressure from the picture editor.

· Ads, front covers, and main web imagery: If you are spending money of advertising, the savings on stock photography probably aren’t worth it. You really, really, don’t want to be in the same mag as a competitor with the same image (and yes I’ve seen that!) On key handout material, a bespoke shot on the cover, with similarly themed stock-shots internally can spread a budget. Online, think about using bespoke photography on key landing pages, and stock shots to illustrate articles and blogs.

· Events: Having a photographer doing reportage at any event you hold is a great idea. It gives you imagery with which to liven up post-event material (like Blogs, webcasts, etc.) or even use in social media during the event. This adds longevity to your investment, and even more opportunities to make mileage from the efforts you’ve put in.

So, some things to ask yourself to help decide which route is best:

· Do we want to feature recognisable people in this photo?

· Would it be a big problem if the image turned up elsewhere?

· How important (or far-reaching) is the piece that the photo will be used for?

· How distinctive (or not) do you want your brand to be?

· How quickly do I need it?

· How much do I have to spend?

A little investment in a professional photographer can really help to set your business apart, and to bring a real sense of your brand personality to your materials. And, with cropping, re-touching, extended licences and inevitable compromises – the difference in price between the two options is often much less than you would imagine.

Clear Thought Consulting works with small businesses, equipping them with the marketing strategies, suppliers, skills and set-up that they need to become bigger businesses. We do this at the fraction of the cost of recruiting into a full-time position by delivering one-off strategic projects, hands-on training, marketing support, and out-sourced marketing departments. We firmly believe that when you can’t out-spend your competition, you have to out-think them.

Creative inputs

2010-07-07T11:33:00.003+02:00

No company can survive without some kind of creative input, whether you source yours from within or without. It’s the lifeblood of any company - particularly in the creative industries.

Fortunately, I have a studio space which can be used to workout experiments and stretch ideas. The best results from these exercises are when I work within a set of parameters or a brief, and inputs from other creatives.

I like to work with stylists, make-up artists and art directors, as they always have an idea or two up their sleeves, wanting to see the light of day.

I take my wisdom from wherever I find it, and if an idea comes to light that inspires me, I will make notes, do research, put together a mood board or a scrapbook of ideas, until I feel the idea is ready for action.

Creative input is very important for me and without it, my job would be a lonely one.

Finding inspiration can be tough without others to bounce ideas off. So, with this in mind, grab the iron whiles it’s hot and:

• Take your laptop and find a place you can hot desk with like-minded souls
• Take a coffee with someone you admire
• Assist someone who you find inspiring
• Attend workshops, this always help fire up my imagination
• Visit your local art gallery or see an awesome exhibit in another town
• Check out the magazine section in the newsagent and treat yourself to your favourite titles
• Buy an art book from your bookshop or if strapped for cash, join the library

No man is an island, an old saying - but true nonetheless. Get out there, find your mojo with the help of others, and set up your source of creative inputs. It really is worth it.

How to get the most out of your website using the power of photography.

2010-06-28T16:26:00.005+02:00

One of the most crucial elements that people can overlook on their website is photography. Image paints vivid pictures for a visitor to your website - nothing captures your eye or imagination quicker that an image, whether it’s an illustration, painting or photograph.

It’s this principle that works for billboards, magazine covers and newspapers: an arresting image catches the corner of your eye and makes you look. The message is delivered promptly, in seconds.

Much more can be conveyed/interpreted than say, a paragraph of copy.

And for the web, where everything is searched and found in seconds, patience is something scarce. If you are presented with two magazines, one with lots of copy and one with lots of photographs, you will naturally pick up the one with pictures, it’s more fulfilling, and we are affected by the Magpie Effect: something bright, eye-catching or shiny we will gravitate towards.

Just have a look at the covers of magazines when you are next in your newsagents, you’ll see.

The look and feel of your company brand can be portrayed effectively in an image or a series of shots. People browsing the web are a bit lazy and on a mission: they want to find what they are looking for, in record time, and speed-read the text for relevant information. An image will always deliver this more rapidly.

Finally, don’t forget to tag images on your website too: we all know about SEO and having the correct search words and tagging for our sites, but many forget to label images.

This is often overlooked. All images can be tagged with meta-tags, information, links and SEO keywords - then picked up by the search bots and spiders. When searching on Google, if you are looking for photographers, it helps you stand out if you have a strong image with your listing, particularly with Google Maps.

Professional photography can help make the difference between a website visitor and a new customer. Making sure your website has the best possible images is a basic (but essential) requirement.

Great rock photography is all about capturing the gig buzz – use it or lose it.

2010-06-21T17:32:00.006+02:00

Capturing the essential buzz created from an electrifying rock concert on photo can be tricky, but after a few years behind the camera, plus working with superstars such as U2, Slash, Muse and Slipknot, I know how to get into a gig with the right equipment and walk out three songs later with killer shots in the bag on brief and on budget.

My recent shoot with rising rock-dance hybrid stars Pendulum, however, posed a few interesting questions when they performed at the Southampton Civic Hall.

For example, how do you transform a beautiful civic building into a wild anarchic music medley – not forgetting the cracks appearing in the ceiling?

There are lots of high-octane bands around, but not many make the mercury rise as much as Pendulum. Their performance in Southampton was totally electrifying.

In case you are wondering, I shot Pendulum for a front cover of Future Music magazine: a feature and the cover.

Shooting anyone live is a big challenge; there are many factors outside of my control:

The lighting
The pyrotechnics
Where they are standing
What the audience are doing

But it’s a question of being in the right place at the right time, to capture the buzz and the electric atmosphere. So, how do you that? There is no right rule, but following your own instinct for what feels and looks right has always worked well for me.

You know if the shot works, just looking down the lens, because you feel it as part of the gig. It’s hard to explain in technical terms – in comes from years of experience.

And that is what you have to listen to: when the music is cranked up, the audience is going wild, the air is buzzing, and the band is on fire. That’s the moment to capture.

Personally, I like to capture the essence of a gig with the lights; this is like trying to read the mind of a lighting technician, almost impossible – but not implausible.

And to try and get some of audience, too – but the main focus (pardon the pun) is to get the exact shot illustrating the band coming together, building up, before they blow the ceiling off the venue. This is the absolute money shot in rock photography terms.

Amango wins international photographic recognition using iPhone camera

2010-06-14T16:55:00.003+02:00

The recent submission of our stunning panoramic shot (see above) of Bristol Cathedral and College Green to the Epson International Photographic Pano Award brought some surprising news – a Bronze winner for Amango. Great recognition.

The more surprising fact was that the image was taken using my iPhone camera, with some expert re-working using the iPhone imaging software app Hipstamatic at the same time. No expensive equipment, just a photographer’s eye and imagination in combination.

It’s always interesting when a photography competition comes around, as it always throws up lots of questions about what to submit - Do I shoot something to order or apply an image in my archive, What will the other photographers be shooting, and How creative can I stretch the boundaries?

The main question I ask myself is: What would the judges like to see, and does my style fit in with the brief?

Occasionally, I throw caution to the wind and apply myself as though I was an art student, disregarding all of the above. As a conscientious working professional, this rarely happens - but I wanted to do something different, and the Pano Award required a different approach.

The Epson International Photographic Pano Award is a photography competition run by Epson in conjunction with Lonely Planet. It attracts lots of photographers who shoot beautiful landscapes on panoramic cameras.

Seeing as my speciality is shooting people, I wanted to apply my own take. I usually have enough gear to sink a battleship, but the panoramic cameras and 360 VR numbers weren’t in my kit bag, so I decided to get inventive.

I have always loved the look of Polaroid’s and spent my final year dissertation on further and alternative uses of Polaroid film.

So this was my chance to develop my idea further - except I shot them on my iPhone.

Quite a cheeky move, but I wanted to challenge the judges and myself; this was a competition that said ANY camera, so I took it literally.

With any piece of equipment and a creative eye and imagination, a fantastic shot can be made from the most straightforward of tools.

Bearing in mind that there were 2,740 entries from 945 photographers in 79 countries, a Bronze award was an excellent achievement. And using my basic iPhone camera too. The Hipstamatic software helped to provide the final effect on a stunning shot.

Top five photography tips

2010-06-07T16:09:00.006+02:00

It’s been a while since I offered a top tips blog post, so here’s part of a recent article which was published in Computer Arts magazine.

1. Shoot Raw. Shoot the largest file size you can, RAW is best as it retains all detail, and is the best quality. Failing that shoot large jpegs. Jpegs are a compressed file format and contain less detail than RAW but have more info than small jpegs.

2. Exposure. If in doubt of your exposure, shoot slightly darker, to within one stop underexposed. It’s easier to brighten a darker image than to rescue an overexposed image with burnt out highlights. You can’t put in detail when it hasn’t been recorded by the camera.

3. Cut-Out. If you are photographing a person or item that you know will be cut-out in Photoshop, shoot on a clean, white background. This will make your life much easier later on, as you can see the definition and edges of the subject.

4. Layout. Are you working to a template or design layout? If so, consider where text or other images will go when you are framing your subject in camera.

5. Shoot full frame. Bearing in mind the above, also allow yourself a little extra space around your subject. Try not to crop too much in camera. This is in case you need to crop in slightly afterwards. This gives you options, when designing or laying out your pages.

Why Fashion & Music Niches Work Wonders

2010-06-02T10:24:00.003+02:00

I am often asked why I came to focus on the niche areas of music and fashion in photography, rather than launch a general photography business back in 1998. My answer is always the same, and it’s the masterfully wry Bill Crosby who explains my ethos effectively:

‘I don’t know the key to success, but the key to failure is trying to please everybody.’

I agree with this, but in terms of finding and developing a niche or niches in commercial photography, it makes business sense to deliver in the sectors where your professional passions are most noticeable.

For me, fashion and music represent the very best innovations and impactful developments to be found in photography today: the reach of fashion and music are global, all-encompassing, and affects everybody. Fashion and music are driving forces in so many areas of all our lives.

To be involved in recording and creating lasting images which highlight the importance of these industries has been a personal passion for me, since I was given a Minolta 35mm camera for my 15th birthday.

That passion has remained with me and is a vital part of the services offered at Amango Photography. Without passion and purpose, photography is meaningless.

So, back to niches.

Niche photography represents the best possible way to deliver outstanding work to fashion and music clients across the UK, North America and Europe.

Since Amango launched, it has been a deliberate business decision to work within established niches, and remain focused on providing the very best possible service within those niches.

The thought of expanding into different commercial sectors, trying to please everybody out there, is totally unthinkable. It’s been a dominating force in the studio, to retain close links with the fashion and music industries, with their accessory sectors, and to provide expert counsel.

Far better to excel in one or two key areas than to try and grab a multitude of revenues from commercial sectors in which expertise are not solid. My focus remains unfaltering.

Using Social Media

2010-05-24T16:44:00.005+02:00

How social media can help photographers to find an ideal client

This might be one of the trickiest questions to face photographers engaging with social media platforms – after all, although raising profile, increasing online awareness, and positive impacts on Search rankings all come as part of the deal with social media engagement, some tangible return (such as an ideal client) via social media activity is a bonus we can all relate to in the competitive photographic marketplace today.

Here’s how I look for an ideal client via social media:

It’s all about relevance, and thinking like your customer. Start by looking at which social media platforms you’re engaging on, sharing links, posting blogs, and ask if your ideal client is likely to be exposed to your offerings.

Make sure that you’re posting material which is relevant to them – their commercial sector, their niche, their industry. Use relevant keywords for their business in your social media content, and connect with key players in their industry.

Observe the conversation, see what’s being discussed in your ideal client’s sector. Add value and expertise into the online comments, highlight how you can help – without selling – and point towards useful content across the web.

Leave any agendas or hard sell out of the conversation, engage, and add value. Consider, for example, connecting your ideal client with contacts in your network which might benefit their business. It’s likely, for example, that you will have at least one contact who could buy services and products from your ideal client. Connect them up, leverage your network links.

Have a plan and stick to it. If you’re going to target, for example, fashion houses or bands (as I do) then engage a dozen of them with a view to converting one into a paying client.

Remember, the sales cycle via social media is longer than other marketing routes, but it usually provides a lower cost of sale and longer client retention, based on a more personal, trust-based business relationship. And photography is a very personal business, if done well.

One of the hardest things about finding an ideal client social media is the perception of having to let clients come to you. This is only a perception. You can gently speed up the process.

If you’re working your social media platforms with defined strategy, your inputs, comments and networking advice to your targets will draw them to you over time, leading to increased conversations, added value, and that most valuable question: ‘So, what could you deliver for us, then?’ which is the sweet spot of social media engagement for any photographer.

Here are the key facts, in my experience, for finding ideal clients via social media:

Forget all traditional marketing thinking and techniques.
Don’t use sales-based language, and don’t ever write a proposal.
Observe, then engage.
Add value, help, network, use Search keywords in your content.
Work social media platforms with a defined strategy, not randomness.
If you’re looking for a quick win, re-think why you’re using social media.

So, the next time you wonder if social media engagement is really worth it, ask yourself - am I really working it, or just present without a purpose? Is my online content attracting attention? Am I targeting niches across social media platforms, which could convert into paid business?

Getting it right on a photo shoot means keeping it Brief

2010-05-19T15:50:00.004+02:00

There are many things to consider when getting it right, particularly for a photo shoot.

In this instance, the Brief: getting all the required shots and meeting the deadline may sound like a straightforward task, but with countless intangibles usually popping in to disrupt a photo shoot, sticking to a Brief can become a tricky task.

A lot of pressure is on the photographer to deliver, and not just the shots. They have to have a creative edge to them, as well as being correctly composed, exposed, and delivered ‘ready to eat’ by the client’s audience (as in ready to see/experience) in record time too. On time, on budget and most importantly, on Brief.

It’s a real pat on the back when a client praises me for keeping my cool, and not letting the pressure of a deadline, or getting the right look for the shot, get to me. It’s crucially important to keep calm, and not lose your head whilst on a shoot. An effective Brief will assist a professional photographer in achieving this end goal.

The photographer has to come up with the goods, no matter what is going on - erupting volcano, stroppy model, inconsistent British weather. The motto ‘Keep Calm & Carry On’ is a useful one to bear in mind at times, and it’s carried me through in the past.

One useful way to prepare for such a potential calamity is to have a crystal-clear client Brief: a list of shots needed and a template or layout into which the images will go. Also, schedule - this is essential, because you need to know what to shoot, when, and where.

Clients – ensure you get the very best from your photographers by Briefing them well.

Fashion photography – working with what Mother Nature gave you.

2010-05-10T17:43:00.006+02:00

Some shoots require a lot of planning and pre-production, particularly if you are working away from the studio and in an environment that is new to you.

For the latest issue of Cloth magazine, we were doing just that - lots of planning, thinking ahead, and pooling of ideas.

For the magazine’s upcoming Summer issue, we decided on a location shoot - a beautiful beach on the north Somerset coast. This kind of location can represent even the most professional fashion photographer with some interesting and unique challenges.

Shooting on a beach (or anywhere near sand) can present problems for camera gear, kit, or anything delicate and expensive – which tends to include the vast majority of professional photography equipment. So, with this in mind, I planned accordingly and packed my gear carefully.

We also had to pack for every eventuality, including unpredictable British weather.

The Cloth team has been growing in confidence, and with every shoot the magazine strengthens its identity. The magazine has increased its readership by 100% month-on-month, a sure sign that the team are hitting the sweet spot with their target audience on a consistent basis.

It’s a great blessing that Cathy McKinnon and Scott Purnell, the people behind the mag, have a trusting insight, which allows each team member to work their magic and stretch their talent within the confines of the solid brand that is Cloth magazine.

One thing that struck me during the full-day shoot on the beach was when I said “We’ve got the shot” and noting the pure excitement from the team of seeing stunning images on the back of the camera.

This was a particularly creative shoot, and to date it was our most ambitious - two looks, two models, two different lighting styles, but one location, and only one day.

While Rebecca, a make-up artist fresh from the set of Skins, was preparing our first model, Angela, Cathy, Scott and I set about a quick recce of the beach, dunes, gorgeous lighthouse, and surrounding set - courtesy of Mother Nature.

I then co-ordinated with Harriet and Ros (the Editors of Cloth) with the production list. It’s always a good idea to make use of any down-time to add creative value.

This shoot contained some fabulous work and ideas from Harriet and Ros, who in case you didn’t know, also worked on Skins as costume designer and wardrobe mistress, they both have a fantastic talent for styling and for sourcing props.

On this issue, we can all agree that we all pulled out the stops and produced a strong body of work – with a little help from what Mother Nature gave us on the beach.

For a closer look at Cloth Magazine take a look here

Amango collaborates to create incredible sci-fi photographic image

2010-05-04T13:42:00.004+02:00

Amango Photography recently teamed up with The White Balance, a Bristol-based creative CGI and post-production studio to produce a truly stunning piece of photographic and creative studio work combined.

It was a fascinating experiment, which highlighted the strong blend of creative, technical and design skills and expertise possessed by both Amango Photography and The White Balance. I asked their Creative Director Leanne Pike a few questions about the value added by working with us – here’s what she very kindly said:

Amango: Why do you think that this image/project is innovative?

Leanne: The image shows innovation between two disciplines collaborating together to create a solution. By using Photography and Computer-Generated Imagery, we were able to achieve a scenario which otherwise would not be possible.

Amango: What were the creative and technical challenges?

Leanne: We experienced difficulty in visualising the glowing neon tubes in daylight – as per the original photography. Using re-touching and matte painting techniques, we added a deeper forest and environment to the image – this helped the focus and composition.

Technically, the project ran smoothly, the communication between the photography stage and CGI development was vital: by the photographer telling us technical information such as camera model, lens types used on shoot, exposure, distance from subject, we could simulate the exact scenario in 3D by matching the image. This ensured accuracy of the added elements – in this case, the pivotal neon tubes.

Amango: Were there any other challenges for you?

Leanne: Sitting the neon tubes into the photography: we were able to achieve this by using elements of the photography to interact with the tubes, such as leaves falling from them, and lower coverage, which helped ‘ground’ the tubes.

It was a great collaboration, and as you can see from the shot included in the blog post, the results were absolutely incredible. It’s great to push visual boundaries.

Is your photographer adding value to your products with innovative thinking?

How to turn a wetsuit into a website marketing tool.

2010-04-26T17:19:00.003+02:00

It was a huge compliment recently when a client travelled in excess of 200 miles to come to our studio for a photo shoot. Even more complimentary given the fact that they came to us on a word of mouth recommendation from a current client in the UK.

The Brief on this shoot, however, was a challenge to say the least. We needed to turn unusual products into positive marketing collateral. And for an online medium only.

North-West based firm Northern Diver needed a full range of product shots for their new specialist dry and wetsuits, for promotion on their website.

In effect, we needed to turn their newly-launched suits into powerful marketing tools.

Not easy, given that most dry and wetsuits are black and shooting them well needs stringent and unique studio conditions. We shot the suits on a clean white background to retain the sharp look of the products. To maintain continuity throughout, we worked with the existing shots on the Northern Diver website

Bearing in mind the fact that Northern Diver has a prominent reputation as one of the world's elite wet and drysuit manufacturers, and diving equipment manufacturers.

They are now established as the most innovative, competitive and reliable names around – thus, our photographic website work was of paramount importance for their overall marketing mix, given that the company utilises its online shopping facility heavily. Given that they have no retail outlets, the website is hugely important.

Northern Diver were reassured by the following additional promises to clients:
• Images are delivered processed and ready to go
• Clients are involved in the art direction process
• Years of industry experience

We were able to add value and highlight the suits in the client’s required medium – online. Our photo shoot helped to turn these static products into positive marketing.

Is your photographer adding this kind of value to your products?

Not all photographers are cut from the same Cloth - new fashion magazine shoot

2010-04-19T18:43:00.002+02:00

Cloth magazine is a recent addition to the newsstands, and it has been an absolute pleasure to be involved, and help develop an idea from the beginning – this is the second shoot Amango has completed for the editorial team at Cloth Magazine.

Cloth is unusual, in that the editorial focus is on vintage and customising; breathing new life into once loved clothes. Green, it would appear, is the new black!

The last shoot for Cloth was all about lace and stencils, lace collars and customised denim, straight from the catwalk of Dolce & Gabbana.

The first part of the shoot was in the studio, shooting the new pieces, including:
• ruff collar t-shirts
• lace-fringed clutch bag
• lace collar jacket

The second part of the shoot was on location with street art, covering:
• stencil art silhouette on a skirt
• ideas from the high street, with a ribbon bow cardigan

It was great to be working with Harriet de Winton and Ros Marshall again on the editorial team.

Their background is within theatre and television drama as costume designer and wardrobe mistress, so we were in good hands. We were fortunate enough to have Debbie the make-up artist from the set of Bristol-based hit drama series Skins, on hand to style hair and groom the models.

All together, a fantastic shoot, and once more proving that when it comes to Amango, not all fashion photographers are cut from the same Cloth! We will be working with the Cloth editorial team soon, having found a superb location for their next shoot in a fortnight.

Watch this space for the results – it promises to be a visual extravaganza.

Introduction to modelling course – but you’ve got to be quick!

2010-04-12T12:54:00.010+02:00

I recently became involved with The International Academy of Modelling (IAM), the brainchild of Clare Wilson from Gingersnap Models. Clare, essentially, teaches aspiring models how to succeed in the fashion industry. No mean feat, given the competition levels.

The course comprehensively covers all elements of modelling - from catwalk skills to photographic shoots, hair and make-up, to acting for camera in television commercials.

Last month was a free taster day, which gave a good insight into the structure of the course, and it was a pleasure to be involved and help out.

The taster day included a short photo shoot with me, where the students learnt posing techniques with guidance from me behind the camera, and Clare giving encouraging instructions from the side.

The models were discovering essential behind-the-scenes knowledge, as well as out front and camera-ready tips. It was also a great confidence-builder for them.

Students were given the opportunity to build up their portfolios, as well as gaining confidence in front of and around the camera. All essential starting points.

But if you want to get involved, you’ve got to be quick! The next course starts Tuesday 20^th April at Filton College in Bristol. Click here for the website

Amango gains prestigious RPS inclusion for Exhibition

2010-04-08T11:57:00.003+02:00

It’s with great pleasure that we can announce our inclusion for entrants in the upcoming and prestigious Royal Photographic Society’s (RPS) annual and 153rd International Print Exhibition.

The event, which attracts global interest, has received our submissions for consideration this year, and we’re waiting with baited breath for the response.

The annual exhibition is a significant event in the industry, with selected work being toured across the world by the RPS after an initial exhibition in London in July.

The Society has been running the Exhibition event since it set up in 1853, so the pedigree and quality of the entrants will be high.

We’re really pleased to have been given the opportunity to potentially be a part of this, and to hopefully have some of the Amango portfolio to be viewed across the world in various galleries. An excellent showcasing of our work internationally - hopefully.

We’ll keep you posted on how our submission proceeds, and here’s a sample of the photographic work we’re including in this year’s entry. Keep your fingers crossed!

New Client Recce Service

2010-03-29T15:43:00.003+02:00

Given that times are tough and resources for most fashion houses, music promoters, and associated businesses such as accessories, hair, jewellery providers and the like are limited, getting the location right for a shoot first time, every time has become an imperative.

Hence the growing influence and importance of the Recce Service.

A Recce, or reconnaissance, is a pre-shooting visit to a location to establish suitability for shooting – including access to facilities, as well as an assessment of potential lighting or sound issues. Recce’s are commonly used in the photography and film industries, and can save clients a considerable amount of time and money.

With the economic situation still bearing down hard upon the fashion and music industries, I thought it would be useful to offer a Recce Service as a stand-alone offering, so that clients may utilise our scouting expertise on a no-obligation basis.

It is usual in the industry for reconnaissance services to be rolled into an overall shoot costing, but I have seen a number of clients gaining real value from having a Recce Service delivered on an ad hoc basis with them, then deciding to go ahead on a full shoot at a later point.

Providing the Recce as a stand-alone also offers added-value for them, and gives potential new clients a feel for the way we work within the fashion and music industries across the UK, North America and Europe.

Our studio has recently completed high-profile shoots with U2 on tour in North America, as well as working with rock legends Slash from Guns N’ Roses and blues guitar supremo Joe Bonamassa on his latest UK Tour. We’ve also delivered specialist fashion work for fashion houses including Boutique Ethique.

If a client needs to find a location for their next shoot, we can take care of it for them. With strong industry contacts and years of knowledge, we’re confident of being able to source the perfect location for a series of fashion or music shots.

The Recce Service involves a quick client chat, taking a Brief, discussing the client requirements, needs, budget and deadline. Then we’ll get to work on time and in budget, providing the client with the perfect location, having scouted on their behalf.

Testing, testing, testing

2010-03-22T17:32:00.002+01:00

It’s a little-known fact that good professional photographers do something called testing.

But what is it, and why is it important in your selection of a top-class professional photographer?

It’s an opportunity for a creative photographer to try out an idea, flex their creative muscles, and demonstrate their range of work. It’s also a great time to stretch the talents of a make-up artist, stylist and model.

Testing is collaboration between the photographer and the creative team, and depending on the shoot, it can actually involve quite a few people involved in the creative process.

Here are a few reasons for testing:
• To try out a newly-signed model to a model agency
• You have an idea for a shoot and need to try out a certain look
• A new make-up artist or stylist is in town and they have a particular style
• You want to test-drive a concept before presenting it to the client.

Testing is a like a personal project, where you pull together a team, develop the idea and a brief, and then plan the shoot - which will involve a mood board or style sheet.

The shoot will usually be art-directed by the photographer, with the team contributing ideas to the look of the make-up/hair/clothes style.

Although it is usual for the photographer to produce and direct a shoot, it is undoubtedly the team effort where everyone involved comes away with a stunning piece of work for their portfolio.

This type of work can be incredibly creative and also push the boundaries of a professional photographer without enforced limits of deadline or client briefing.

Working this way gets you noticed, and will sometimes inspire existing clients to book you on the strength of this work as well as your regular photographic jobs.

It’s the creative stuff that people value increasingly these days - this also helps creative, professional photographers to get more interesting work. Why not push your own creative boundaries as a professional photographer and get testing, testing, testing?

Moda Hairdressing – Or how a photographer can enhance your marketing

2010-03-15T18:15:00.004+01:00

The best kind of business always comes from word-of-mouth, and this was the case with Moda Hairdressing recently. It also gives me a great opportunity to highlight how a professional photographer can benefit your marketing.

Mike, who I had met a few years earlier, runs his own website design company Whype, and on his recommendation guided Moda to me.

Commissioning a photographer was something completely new to Tina and Franco, who had recently set up the Moda salon. What I was able to deliver for them, on initial inspection, included:

· A collection of new hairstyle shots for the salon and website graphics

Here’s what I did:

Gave them ideas on how to prepare and formulate ideas for the shoot itself:

Provided a theme and look for the shoot
Advised on the kind of styles they wanted as well as, colours, dramatic cuts.
Did they want to cover men’s hair, as well as women’s?
How many styles? This steers how much time I had with them.
I asked them to buy a pile of magazines they like and to put together a look book/mood board. This helped them to create their own Brief.
On my suggestion, we started with the finish date/deadline for images and worked backwards for dates for the casting and shoot.
Prep days to prepare the models, which needed a colour or cut. On the shoot day, this means they only have to style the hair - this makes full use of the time available for the shoot itself.
Asked them to think about make-up looks, and discussed a make-up artist we both liked, who we’d like to use for the job.
From the mood board, we developed a style for the clothes and accessories. This helped with styling and shopping

Suggest on a casting:

This involves an online casting, looking at suitable models for their look and appropriate styles for the hair.
An actual casting in the salon. This involved a simple lighting set-up and shooting the model to see what they could do and they were like in front of the camera. This was also a good chance for them to shine, as well as showing their portfolio.
A web gallery of the shots was made. This allowed them to view the images and make a considered decision, whilst we also had an ongoing discussion during the shoot. A web gallery is added value service I offer to my clients. Particularly if clients do not want to make on-the-spot decisions.
Tina and Franco were happy to follow my lead with regard to appropriate models.

The shoot took place in the salon, as they had all the backwash facilities and tools to hand.

To give them added reassurance, I shot all the images straight to the computer so they could see the detail in the hair. This is imperative when shooting hair, so you can correct stray hairs and get the style ‘camera ready’.

From the web gallery a short list of images were chosen after a brief discussion, which was edited down to a shorter list.

These were then processed, re-touched and made print-ready.
These images were made into large print ready versions for the salon walls, press releases and features, and web-ready versions for the website and relevant social media sites.

So, as you can see, a photo shoot delivered far more than a series of shots – it gave the Moda Hairdressing management team the basis on which to plan and deliver a full marketing programme for 2010. Now that’s the kind of value I’d like to see a photographer delivering to me if I was a client. Wouldn’t you?

How I shot a Blues-master in London: Joe Bonamassa

2010-03-08T15:39:00.004+01:00

After all these years of shooting rock stars, it never surprises me when I get a few flutters of pre-shoot nerves. Don’t get me wrong, I don’t get star struck or flap, but it’s nice to know the excitement is there no matter who I photograph.

This was the case with Joe Bonamassa. As you may or may not know, Joe is a very talented blues guitarist, hailed as the new King of Blues - his mind-blowing guitar wizardry and electrifying stage presence has helped sell to out his tour and the recent gig at The Albert Hall.

It’s good to know when I’m booked for a job, the client trusts me to do a great job and get the right shots. So without exception, before every shoot I always check my gear, charge up the batteries, and clean my lenses. Sounds obvious - but important, nonetheless. Another important point is to plan the journey and to factor in the time. Even with a sat nav, London traffic is a challenge.

Technical challenges aside, Time is always the biggest issue. How long do you need for a shoot…well, how long have you got? This is one of my first questions. Sometimes, I only have a few minutes to do the shoot: adrenaline and years of experience kick in, helping to create the right mood, set the lights and get the images in the bag. I have to get the shot as they will leave, whether I’ve met the Brief or not.

I love working for Guitarist Magazine, they’re great bunch and know their stuff. For this issue Guitarist is running a meet-and-greet for some lucky readers with the guitarist Joe Bonamassa. Why not check it out – the shoot was fantastic.
Issue 328 on sale 13th April

Things you should know when organising a photo shoot…

2010-02-22T11:51:00.017+01:00

If organising a photo shoot is something new to you, or if you are a seasoned pro, preparation is key.

I’ve worked in many areas over the years, and this principle is applicable to all genre’s. So, if you are organising a shoot with a rock star or a fashion designer, follow my basic rules/principles and you will be fine…

People often ask me, where do you start? The only answer is at the beginning, or in my case, at the end and work backwards towards the start…

Things I often ask my clients to establish a brief are:

Most importantly, when is your deadline?
How long do we have for the shoot?
Are you using a location or a studio, if so will we need to do a recce?
Where are these shots going, magazine, web, billboard?
Who’s the target audience?
Do I need to accommodate a template layout?
How many pages do you need?
Are we using models, if so we will need to do a casting?
Will we need a make-up artist/stylist/hairdresser? This obviously depends on the brief and isn’t applicable to everyone.
What’s the budget? If they budget is tight then some of the above will not be able to happen. Be realistic as to what can be achieved on the day and in preparation.

Other things to consider too…

If the shoot is going to be a long day, then refreshments and catering will need to be on hand. A crew and models can’t perform if they are tired and hungry. Your reputation is at stake and you need to bring the best out of everyone for the shoot to happen, so make sure you look after your team!

Blueprint Studios – I can see why it is Elbow’s favourite jamming space

2010-02-15T16:51:00.006+01:00

Future Music Magazine booked me a few days ago to photograph Blueprint Studios in Manchester, and it was a great Rock N Roll experience.

I have worked with the magazine for many years, and built up a good working relationship. It’s also really nice when a client says “go do your thing” as they implicitly trust what I do for them and the countless bands they work with. I have really enjoyed also working with many of these bands on Future Music magazine’s behalf over the years.

Blueprint Studios really is a fab place to hang out, record music, or just jam and rehearse. The building used to be a missionary and was redesigned by a nightclub interior designer, giving it a chic, eclectic and retro look that has the ‘wow’ factor - everywhere!

I had the pleasure of meeting Guy Garvey, lead singer of Elbow last year, and having gone to Blueprint, I could see why he loves this place and why they’re recording their latest album there at the moment: the people are easy-going but professional in their attention to detail. Elbow use the space to rehearse regularly, and have recorded there before.

The job entailed shots of the main recording studio (which was amazing), the live rooms and the big room, my personal favourite, which is an incredibly beautiful space – not to mention the beautiful acoustic quality produced there.

The shoot at Blueprint Studios reminded me of something – co-owner Tim said that they pride themselves on giving the same service level to every band, whether they are starting out or internationally-acclaimed pros like Elbow, and this resonated with me.

Whether I’m working with superstars such as U2 or Slash from Guns N Roses recently, they get the same service as smaller bands I’ve done professional shoots for, such as Seagull Strange.

I don’t get star-struck, and I think the big stars – in particular – appreciate this focus in music photography.

After all, we all have a job to do – and we’re all professionals.

Merry Christmas Everyone

2009-12-19T11:54:00.003+01:00

I think everyone will agree that 2009 has been an interesting year for business! There were times we all wondered, where can this go next?

Here at Amango towers, we've been reinforcing our satisfaction guarantee and it has proved successful with our clients. So, as we move towards a new year, I'd like to thank all my clients and the people I've worked with, for supporting Amango in 2009.

Here's to a prosperous 2010 and I wish you all a Merry Christmas.

Amanda

Bristol Media Photographer Amango flies to Texas to photograph Muse and U2

2009-10-14T23:52:00.004+02:00

Here's the latest press release about my trip to Houston, Texas...

Bristol Media member Amanda Thomas from Amango Photography has just jumped on a place to Houston to shoot Muse and U2 on their current world tours. The commission came very last minute from both Total Guitar Magazine and Rhythm Magazine. Both publications enjoy national and international coverage and are the top sellers in their field. The commission was given at a days notice, with the words ’Can you fly to Texas tomorrow and shoot U2 and Muse for us please?. All the stops were pulled and three intense hours of minute planning ensued in order to make sure it could happen.

Amanda has been a photographer for over ten years and last minute changes are all part of the business, whether sourcing a location for a shoot, making changes to the brief or finding a flight to Texas at short notice. “Working in a creative industry you have to be flexible with your thinking and practice, because the work is like a piece of elastic: moving, flexing and ever-changing and you have to go with the flow.” Amanda says. “I’m really please to be involved with this job and have worked for these magazines for many years. It’s very reassuring when the client says ‘I trust you, now go and take some great shots’. I’m really looking forward to the shoot!”

Don't you just love it when a shot comes together..?

2009-10-05T19:22:00.004+02:00

When time permits, I shoot my own work which allows me freedom to push the boundaries and be creative. It's a bit of a luxury and quite frankly essential, to expand one's skills, which can then be passed onto the client.
Here's one shot from a set of four, exploring movement. I often travel with work so why not with my own work...this was shot in a hire studio in London. Sometimes it's not easy for the client to come to me, so to make life easy, I travel to the client.

Wish 143 - A short film by Tom Bidwell

2009-09-28T13:59:00.004+02:00

It's not very often you get to see behind the scenes of a film, but I had this opportunity to shoot some stills for the production company. The above shot is for the poster, the DVD cover and for
the film promotion.

The film crew and I were on top of a hill in the freezing wind. During film takes and still shots, you could watch the rain coming up the valley. When the rain hit everything was covered up in plastic, people too. Who says the life of a photographer is glamorous!

Wish 143 is a film written by Tom Bidwell, it's a slightly autobiographical account of his life when he was younger. Jim Carter plays the priest who befriends Tom and the story takes on some interesting twists and turns.

The film launches at The Encounters Film Festival in Bristol this Autumn.

California Sunshine

2009-07-21T02:24:00.002+02:00

It's been a while since my last blog...been a bit busy! Yesterday I arrived in San Francisco and today moved down to San Jose. Have been out scouting for locations today, and have bagged a fab 1950's style diner. Here's the patriotic view from my hotel window...

Exhibiting at The Old Truman Brewery, London

2009-06-11T19:16:00.003+02:00

Amango is delighted to announce their involvement in the coming Alumni show at The Old Truman Brewery. Amanda graduated from Salisbury College of Art (now Wiltshire College) and was asked to join the Alumni group of members to exhibit in this year's show.

The exhibition is open from Thursday 18th until Monday 22nd June 10.00 - 7.00pm

Amango & The Bristol Design Festival

2009-06-05T14:47:00.004+02:00

Tonight is the launch party of The Bristol Design Festival.

Amango Photography is the only photographer taking part and some of Amanda’s latest work will be exhibited alongside some fantastic illustrators and award winning designers.
The exhibition runs from 6 – 11th JUNE 2009 in The Old Fire Station, Bristol. And is open 10:00 - 19:00 with free entry.

Amango is now on Twitter!

2009-05-23T21:03:00.004+02:00

Amango is now on Twitter! So, if you would like to catch up on the very latest updates, follow us here...

Amango shoots the new cover for Future Music Magazine

2009-05-16T17:41:00.004+02:00

The new issue of Future Music is out now on news stands.

It's not often you see DJ Xtopher gracing the cover in a white suit or sporting a keytar! But the eighties are back and with Spandau Ballet reforming and white suits being of the moment, we had to shoot this idea and put it on the cover.

There are technical challenges with shooting white on white and keeping detail, whilst watching reflections on the keytar don't blow out!

Something new from VOTB

2009-05-13T17:09:00.006+02:00

It's not often you get to hang out in a forest with a group of musicians, in full make-up and costume. So when I was asked to shoot the latest set of promotional shots for VOTB I couldn't resist. It was a full on day, having to work hand in hand with a film director and producer. We had to coordinate my still shots around the band's video, which was being shot on the same day. It had to have a separate look to the film whilst retaining a similar feel. I'll keep you posted as to the film's launch.

VOTB, better known as Voice of the Bomb, are a talented band that look comfortable on a stadium stage. I keep your eyes on these guys...Download Festival, I wouldn't be surprised.

This was a fantastic opportunity to try out my new lensbaby and rethink the way I work. You just can't do normal with this lens. Have a look for yourself!

Almost there..!

2009-03-31T15:42:00.007+02:00

Hello,
The Amango blog is almost up and running. It coincides with the new Amango website with regular updates and new work from photographer Amanda Thomas.

Want to know more then drop us a line...