Posts Tagged ‘photography workshop’

My ‘PR Picture Editor’s Knowledge’ post on this site the other week included among other things serious and not so serious;

“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.”

I stand behind that, but if you look at The Daily Telegraph, you can see the advice is hardly new. Arthur Mole and his colleague John Thomas were doing it over 90 years ago.

Arthur’s great nephew Joseph Mole, 70, says: “In the picture of the Statue of Liberty there are 18,000 men: 12,000 of them in the torch alone, but just 17 at the base. The men at the top of the picture are actually half a mile away from the men at the bottom” Picture: Caters News

Using at times up to 30,000 individuals, Mole and Thomas’s so called ‘living photographs’ were aerial shots of US soldiers forming giant symbols of America including Liberty Bell, Uncle Sam, The Statue of Liberty and even Woodrow Wilson. The images were used by the US government to boost public morale and support for US involvement in The First World War.

A collection of the photos been compiled by the Carl Hammer Gallery in Chicago and is well worth a look if you’re pondering an a contemporary version.

Mole and Thomas: The living emblem of the United States Marines, formed by 100 officers and 9,000 enlisted men at the Marine Barracks, Paris Island, South Carolina Picture: Caters News

Apparently Arthur Mole would plan his designs by actually drawing an outline on his lens and then had troops mark out the image with flags. It could take a week to get all the outlines but only 30 minutes on the day to move the soldiers into position & get the shot.

I’m not so sure how photographers would take to drawing on their lenses today, but proof even then that the best PR pictures are always the best planned.

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

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Keira Knightley in front of the now infamous enhanced poster for King Arthur. Press Association Images

Keira Knightley in front of the now infamous enhanced poster for King Arthur. Press Association Images

After reading an article in today’s Independent about the Liberal Democrats’ call to put a curb on airbrushing in advertising it made me think of all the times that we, PA Photocall, get asked to’Photoshop in’ or ‘Photoshop out’, this, that and the other.

However, for newspaper pictures we draw the line at removing flabby waists, bruises and discoloured teeth.  There is an un-written rule when it comes to news pictures; ‘No doctoring’.  This is simply because once you manipulate the picture ­ removing things in background, adding logos, taking out wrinkles – it no longer represents the news scene as captured, but creates a biased fantasy. 

 

Newspapers rely on the integrity of their content and pictures are at the forefront of that. Glossy magazines might be able to have retouched cover stars but papers have to walk a tighter line.

This is something that is surprisingly not widely known outside the newsroom. Quite often, when a client has booked a ‘celeb’ to front a campaign ­ pictures of which are to be used for editorial purposes – it can quickly materialise that the ‘celeb’ is not so perfect after all. 

Post by Nicola Charalambous (Picture Editor of 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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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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Tim Kerr, Director of PA Photocall regularly holds PR photography workshops at the Press Association, London for PR consultants and press officers alike to give them an inside look at what makes a good PR photo. They give a real insight into what works and what doesn’t work in terms of getting PR photography into the national newspapers. They also include a tour of the news floor at the Press Association, to get a real sense of how we work and the process in which photographs go from concept to the picture wire. The workshops are designed to be educational and are completely free of charge.

 

For more information please contact info@pa-photocall.com

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Ray Quinn launches the new Aquarium at Alton Towers. Anthony Upton/PA Photocall

Ray Quinn launches the new Aquarium at Alton Towers. Anthony Upton/PA Photocall

 

The Top 6 Tips to consider…

  1. Use photographers/agencies with a track record: Whoever you work with, use a photographer who has a track record of getting their pictures into the nationals.  
  2. Understand what Picture Editors want (and what they don’t want): Less ‘big cheques’, less ‘handshakes’!  Have the courage to take a step back from ‘the PR’ and see if your picture is really telling the story in a meaningful and interesting way.
  3. Be creative: If you can produce something thoughtful, fun, interesting and creative (no matter what your budget) you are going to win the hearts and minds of the Picture Desks (which is half the battle).  Remember, Picture Editors love good photography, so give them something creative to get excited about.
  4. Manage branding: Be subtle: No glaring backdrops or aggressive branded t-shirts – this is just going to get Picture Editor’s backs up and potentially make them throw away an image they might have otherwise used. Be integral: Use elements that occur naturally in the picture for your branding.  Don’t put your branding on the edges of the frame as this can be easily cropped out. Be progressive: Don’t fall back on the same old branding clichés: stickers, back-drops, banners etc. Use your initiative and try and find a new and clever way of integrating branding into your picture.
  5. Planning: Always pre-plan your picture.  Don’t lose control if you are having an open photocall because your key messages will get swamped in a messy, unravelled chaos. Favour closed photocalls instead of (or at least as well as) open photocalls. Visit your site before the day of the photocall, preferably with a photographer and ensure you have access to use all of the location, the fastest way to find a police officer in London is to hold a photocall.
  6. Move quickly: Always have your photocalls in the morning so that the pictures are getting to the Picture Desks by midday.  Most papers are made up by 4pm, so you need to get your photos seen BEFORE all the picture slots have been filled with other material.  Make sure that you have your press release and your captions written in advance of the photocall and you bring copies to the site so that you can quickly email them to the Picture Desk.
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In this economic down turn, with the purse strings being tightened on advertising budgets and your clients getting ever more demanding, you need to be more productive with your PR activity. Newspaper circulation across the UK is still relatively strong and with the explosion of news online you might want to consider the power of media photography against advertising, the cost alone should entice you. 

Online news readership has increased by 50% since March 2008, so PR’s need consider the impact and potential this will have for their clients. Newspapers are looking to increase their online content, as there seems to be too much focus on advertising and not enough on content. You could argue that news online is where print was twenty years ago. Newspapers are now pushing a content- centred strategy, as well as fully embracing the net as a publishing medium. The irony is that what web publishers learn from the print industry, they can then teach back in return.

Adopting strong photography can work wonders for any PR activity especially when the success of a campaign depends on the amount of coverage you receive. The power of photography is unquestionable – journalists are always on the lookout for the shot that will both draw in customers and tell a story. Media demand for pictures has never been so great, but with papers cutting back on their own photographer resources, they are relying more heavily on pictures from agencies and PR’s. The BBC online pages rely heavily on the ability to source strong images that make an impact i.e. ‘Big Picture’ of the day and a week ‘in pictures’.

Pretty Polly Billboard. Geoff Caddick/PA Photocall

Pretty Polly Billboard. Geoff Caddick/PA Photocall

 The internet no longer only appeals to the Y generation it is a platform that can be accessed by all, depending on the content. That is not to say that print no longer has a place in the market or that it is no longer relevant, but you need to educate your clients into realising the importance of both mediums. The Telegraphs online audience differs somewhat to that of their print, making for a broader opinion in their online content. There maybe someone on the train reading The Daily Mail or The Times but there is also the probability that their neighbour is downloading the same content if not more on their mobile phone. 

The Introduction of social media has now become a part of the overall PR mix – the ability to share photos will only maximise the strength of your campaign. Brands are actively selling themselves on social media sites and with easy image upload programmes like Twitpic, you no longer have to just say it with words. Life streaming platforms can help organisations reach their customers in new and effective ways. 

It is worth considering that the investment in the production of photography is small compared to the potential value to your clients. When considering your budget for a campaign, always think about the importance and relevance of a good photography service that will work across all platforms.

Post by Penny Joyner (Marketing Executive for PA Photocall)

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