Archive for July, 2009

 

Mahomed-Abraar Khatri, 18 and Vargo, the first guide dog in the UK to enter a mosque, are welcomed into the Bilal Jamia mosque in Leicester by Head Imam Hafiz Rehman.

Mahomed-Abraar Khatri, 18 and Vargo, the first guide dog in the UK to enter a mosque, are welcomed into the Bilal Jamia mosque in Leicester by Head Imam Hafiz Rehman.

PA Photocall client The Guide Dogs for the Blind Association has won an award for their campaign on ‘Vargo, the first guide dog to enter a Mosque’ which aimed to tackle the misunderstanding of the work of guide dogs.

The organisation picked up the 2009 Excellence award from the Chartered Institute of Public Relations, beating seven other finalists in the category of Best Campaign £10k and under.
With the support of his local mosque, a visually impaired teenager from Leicester applied for a guide dog and his story was used to highlight the fact that guide dogs are working animals enhancing a person’s independence. To allow Mohamed to take his dog Vargo into the mosque for worship, a historic fatwa was issued, changing ancient Shari’ah law. ‘A strong, well planned and managed piece of co-operative work which achieved enormous press coverage and is now being used as an example around the world. Profound cultural change achieved for just over £1,000.

PA Photocall were commissioned by Guide Dogs for the photography for the campaign. As a result PA Photocall’s pictures were central to the success of the launch, with coverage including The Times, The Daily Star Online, MSN, AOL Online and This is Grimsby to name but a few. It is a good example to the fact that there is no glass ceiling for PR.

Post by Penny Joyner (Marketing Executive for PA Photocall)

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There’s an interesting Thought Leader Series supplement in last week’s PR Week on ‘Consumer PR’. Amid all the talk of PR’s response to the changing PR environment & multiple media platforms there was a good bread and butter question thrown at the contributors; ‘Has your attitude to the use of celebrities in campaigns changed over the past year?’

The general consensus was that celebrities remained very powerful promotional tools whatever the economic climate, but the connection with the client and the project needed to be right.

Speaking specifically from a photography point of view that’s something I’d agree with. Celebrities work in PR photos because they instantly give the picture something identifiable. Photographers and PR’s might sit around in client meetings and seminars mulling over the possible death of celebrity culture and how we’re all much more interested in growing vegetables, or knitting our own shoes or whatever. But then we’ll go for lunch & read Heat Magazine or talk about Peter & Katie like everyone else.

Diarmuid Gavin tend to tomato plants at Cooks Farm Allotment in south London for the launch of Morrisons' Let's Grow campaign which encourages children to grow their own fresh fruit and veg at school. Geoff Caddick/PA Photocall

Diarmuid Gavin tend to tomato plants at Cooks Farm Allotment in south London for the launch of Morrisons' Let's Grow campaign which encourages children to grow their own fresh fruit and veg at school. Geoff Caddick/PA Photocall


It’s a fact in our world that we connect with celebrities. We associate them with certain lifestyles, with certain characteristics that we aspire to. Celebrities are in effect ‘brands’ themselves and the best PR photos come when the brand values of the celebrity and the brand value of the client fit. Then you have a picture that works, that catches a Picture Editor’s eye and stands up.

Melinda Messenger launches Ultimo's latest in-shop boutique within Debenhams at Westfield Shopping Centre, London.

Melinda Messenger launches Ultimo's latest in-shop boutique within Debenhams at Westfield Shopping Centre, London.

To often we’ll see PR photos where you can tell straight away the client just went for the cheapest Big Brother reject available and there’s no obvious link & the picture feels clunky because of it. Picture Editors like PR photos to be simple. A good celeb with a good connection intuitively does that. If you have to explain too hard why the celeb is being used it’s probably not going to work, so always look for the fit.

Post by Tim Kerr (Director & Picture Editor for PA Photocall)

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There’s a fantastic website www.theplaceswelive.com showcasing photographer Norwegian Jonas Bendiksen‘s ‘The Places We Live Project’ which exists as a book and multimedia touring exhibition. For 3 years Bendiksen documented life in the ghettos of Nairobi, Mumbai, Jakarta and Caracas. His images & sound recordings capture the slums and the lives of the people he met.

I have family in Brazil, a country with well documented slums, or ‘favelas’ of it’s own, and I’m always a little bit wary of photography projects like this. However well meaning there’s a tendency for them to feel a little superficial. Either wallowing in other people’s misery or even worse coming across like some sort of poverty chic fashion shoot.

But Bendiksen’s pictures show you to these places literally in the round. As a photographer he can’t help find beauty in what he finds, and there is kinship and community there too, often way beyond what we have in the west, but he also shows the squalor, and desperation in equal measure.

The multimedia facet of Bendiksen’s work is also very interesting. His sound recordings and monologues are woven into the slideshows. It creates a third place between stills and video that maybe we’re too quick to pass over. In our rush to cover a story with pictures, sound and film we can be in danger of forgetting that sometimes the best things fall somewhere in between.

 

Post by Tim Kerr (Director & Picture Editor for PA Photocall)

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‘Silly Season’ is upon us - the time of the year when everything slows down and the media world lowers the bar on what it considers news, Parliament are on holiday and real news seems thinner on the ground. This is a great chance to take full advantage and achieve press coverage for your brand or service whether in print or online.

There is no doubt that the press will still be covering stories on Michael Jackson’s death and the rapid increase in swine flu cases, but throughout the long summer months all the media will be looking to cover more wacky and to some extent frivolous stories than usual.

Last year during ‘Silly Season’ the story of abducted gnome Murphy who travelled around 12 countries in 7 months went across the headlines in The Independent, The Telegraph and the Mirror to name but a few.

Undated handout photo of Eve Stuart-Kelso's garden gnome Murphy in New Zealand, who was returned to her after a 7 month disappearance, accompanied by a photo album showing him in the 12 countries he visited with his abductor.

Undated handout photo of Eve Stuart-Kelso's garden gnome Murphy in New Zealand, who was returned to her after a 7 month disappearance, accompanied by a photo album showing him in the 12 countries he visited with his abductor.

From cows with local accents, to the bank holiday cheese chasers of Coopers Hill, there is no end to the wonderful and down right crazy stories that dominate the press at this time of year.

The ladies race gets underway during the annual cheese rolling race at Cooper's Hill, Gloucestershire.

The ladies race gets underway during the annual cheese rolling race at Cooper's Hill, Gloucestershire.

This does not mean we have to abandon the rules of respected journalism, more that you should look at your everyday activities from a light hearted point of view. Consider potential news worthy stories that may be a little on the quirky side for your clients or business, with the recession keeping us firmly grounded, the chance to make light of any situation will always be welcomed by editors, especially now.

Look to utilise popular and regularly occurring events for example the cricket, the hottest day of the year, music festivals with some relevance to your brand, as they will always be topics in demand from editors. Generic shots will always have their place in the news but if you can add a little creativity and a wacky slant then all the better.

There has never been a better time to communicate to your audience about your product or service. A simple quote or a by-lined article in a national newspaper doesn’t automatically translate into sales, but positive media coverage no matter what form it takes can strengthen the value and position of the brand or service. Effective media relations, not only attracts new clients but can reassure existing ones.

 Post by Penny Joyner (Marketing Executive for PA Photocall)

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27.07.2009

Real Life Fashion

I have been following thesartorialist.blogspot.com, a fashion blog that comprises of shots of ‘everyday’ people, for well over a year now. ‘Blogger’ Scott Shuman started the blog about 2 years ago “simply to share photos of people that I saw on the streets of New York that I thought looked great”. His pictures aren’t just a collection of shots of lovely people wearing lovely clothes they are of people ranging from the very young (parental permission granted…) to the old, from the simple no-nonsense dresser to the elaborate and eccentric.

The site is regularly updated and now includes shots of people that he has encountered during his travels around the globe – whether they are shot outside the venue of a fashion show, on the street parking their bike or just sitting outside a café. Shuman is often struck by detail, such as a pair of shoes or a flash of colour.

I look forward to seeing his latest posts as there are no set criterion to the people that he chooses (or is permitted) to shoot, so there is always an element of surprise. Another great thing about this blog is that the shots aren’t necessarily about fashion but about style, people and cities.

Due to the success of the blog, which is often mentioned in several fashion publications and newspapers, Shuman has published a book – The Sartorialist, which is released in September.

 

Post by Nicola Charalambous (Picture Editor for PA Photocall)

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I’ve been enjoying following AFP photographer Leon Neal’s ‘Tabascokid’ blog http://www.leonneal.com/blog/

His London photographer knowledge lists make for fantastic reading for a humorous insight into the life & struggles of press photographers in the capital.

For a photographer, he’s reasonably kind to picture editors. His belief that anyone on any picture desk “automatically has their sense of time/distance awareness removed” is probably fair comment..

It got me thinking about what a PR Picture Editors knowledge list might look like. So with apologies to Leon, in no particular order & for what it’s worth…

The PR Picture Editor’s Knowledge:

1. Keep it simple.

2. Picture Editors don’t care about the PR story, it’s all about the picture.

3. Photographers will always send their best shots in last.

4. In product shots, men holding things just doesn’t look right. Even if they have nice hands.

5. Big cheques are evil

6. The Irish Photocall staple of ‘M+M’s’ (Models and Ministers) is the PR photo equilivant of E=MC2.

7. Myleen Klass/Monkeys/Midgets

8. One good celeb = at least 1000 real people.

9. Tight, bright, landscape, portrait, then clever.

10. If you’re doing an aerial shot of people spelling out a brand name or symbol, you need at least twice as many people as you think you do.

11. The quickest way to find a Community Police Officer in central London is to hold an unlicensed photocall.

12. People outside London need pictures too. Don’t forget Scotland!

13. The more Z list the celeb the more trouble their agent will be with approving shots.

14. The more confidential something is meant to be the more people already know about it.

15. Stunts don’t necessarily make good photos and vice versa.

16. Captions: Who, What, Where, When, Why.

17. If you don’t understand the embargo details, no one else will.

18. No line ups, no handshakes, no town mayors.

19. If you can’t draw the picture idea on the back of a press release using matchstick men, it’ll probably be rubbish.

20. Remember it’s meant to be fun.

 

Post by Tim Kerr (Director & Picture Editor of PA Photocall)

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 I watched the new film ‘Moon‘ over the weekend. A great film in it’s own right. From a photography point of view it also reminded me of the wonderful photo exhibition and book ‘Full Moon‘ created by US artist Michael Light in conjunction with NASA 10 years ago for the 30th anniversary of the Apollo missions.

Shown at the Hayward Gallery in 1999 and again earlier this year at the private Atlas Gallery, in it’s best moments the photos, like the Duncan Jones film, capture the human content, the workmanlike details of the project and the inherent lonesomeness at the heart of the drama.

In Michael Light’s photo selection the astronauts are humanised. Shown in their dark cramped industrialised pods resembling otherworldly unshaved miners or oil platform workers rather than futuristic sci-fi heroes.

Like Sam Bell supervising the energy harvesters alone in ‘Moon’ the sense of isolation hovers amid the bare mechanisation. From taped up family snapshots and post-its, to glimpses of home through observation hatches, the camera records the lingering loneliness of distance.

 

Amid the real dramas of the Cold War space race the photos of ‘Full Moon’, show most when they show us. Look through a newspaper & no matter what the story nearly every picture you see will have a human element. It gives reference and scale but most importantly it helps us connect with the image.

 

News, like the history it creates, is about people. Even within the scale of the Apollo missions, what resonates most is not the rockets or the stars, but the humans behind the visors, the men flung hundreds of thousands of miles from home. Michael Light’s project captures the men who looked into the future for us, but also found the time to glance back.

 
post by: Tim Kerr (Director & Picture Editor for PA Photocall)

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There’s a picture on the cover of the Metro today which did what all great photos do – it made me stop & look again.

The Saturdays

The Saturdays at T4 on the Beach 2009

It’s a shot, taken by Karwai Tang for Alpha, of girl band The Saturdays performing at T4 on the Beach at Weston Super Mare, but the interesting thing is that they’re photographed from behind. Instead of the usual image of Vanessa, Frankie & the rest, dazzling us with their choreography & push up bras, we see five sets of long legs and hot pants.

I wouldn’t go so far as to say The Saturdays look better from the back, they obviously have the charms to impress picture editors from various angles.

But what the Metro cover gives us, is a classic unexpected angle that completely changes the dynamic and the impact of the picture.

You’ll see it all the time in the papers. Scenes photographed from above, from below, from the side using reflections.. Usually it’s photographers doing whatever they can to make a dull story vaguely interesting. 

Here it works perfectly. We suddenly see something we didn’t expect & by showing us something less obvious, we actually see a lot more.

 post by: Tim Kerr (Director & Picture Editor of PA Photocall)

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Richard Long would never describe himself as a photographer. He’d probably refer to himself as a sculptor but he’s recognised as perhaps the first environmental artist. Whatever the terminology he changed the face of British art with his re-examining of the the relationship between art & the landscape.

Much of his art comes from his love of nature & experience of walking in rural & remote areas. Firstly around his native West Country and then as far away as Mongolia, India and the Sahara.

As he goes he makes low impact sculptures or installations within the landscape through which he passes, creating lines in the earth or positioning stone circles or mounds along certain points. Sometimes the walk itself is the work; it’s trajectory or highlights recorded and posted for prosperity.

Much of this work is recorded through photographs, many of which make up part of the current retrospective ‘Richard Long Heaven and Earth’ showing at Tate Britain.

The pictures themselves are fantastic; full of horizons, bold lines and circles. Whether Long considers the photos art in themselves or merely records of the work doesn’t really matte. They’re beautifully constructed and capture not just the sculptures but also the environment within which they’re created. Most importantly like all good photography they capture Long’s own story; the human story within those landscapes.

Richard Long, Heaven and Earth

Tate Britain, 3 June  –  6 September 2009
post by: Tim Kerr (Director & Picture Editor for PA Photocall)
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I don’t usually like ‘Dutch Tilts’ in photos – when photographers tilt their camera to the side to try to create a more interesting angle for the frame.

The term ‘Dutch Tilt’ is actually incorrect, the correct phrase is ‘Deutsch Tilt’. It was widely used in German cinema of the 1930s – hence the name that became incorrectly anglicised to ‘Dutch Tilt’. It was extensively used in classic films such as The Third Man, the original Batman TV series, and more recent films such as Slumdog Millionaire. All well and good, but it was also used extensively in John Travolta’s Battlefield Earth, often regarded as one of the worst films ever.

My problem refers to still photography. It’s a trick that is overused as a lazy shortcut to try and make dull subjects more interesting. In fact, what actually happens is it makes you feel slightly ill, puzzled as to why the CEO of a anonymous financial institution looks like he’s about to fall over, or why the buildings in the background resemble the Leaning Tower of Pisa.

Although sometimes I’ll see an individual example that changes my mind.

Some of the 100 Special K girls in swimsuits on London's Millennium Bridge to celebrate Special K's 50th anniversary. Geoff Caddick/PA Photocall

Some of the 100 Special K girls in swimsuits on London's Millennium Bridge to celebrate Special K's 50th anniversary. Geoff Caddick/PA Photocall

 

In this picture by Geoff Caddick for Special K on London’s Millennium Bridge last week, the technique is used gently to add emphasis to a great shot. The photographer has produced an image we can ‘read’ from left to right. We see the girls in all their 1950s style glory, with their red bathing suits & parasols. The bridge guides our eye down the line and we keep the sense of location with St Paul’s in the background.

There is almost a comic book simplicity to the shot that means for once the tilt doesn’t seem out of place. 

It’s nice to be proved wrong now & again…

 Post by Tim Kerr (Director and Picture Editor of PA Photocall)

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