Rain, rain, rain ......

Portrait photography in Sussex isn't always plain sailing, and it was pouring down with rain during the second week of December, so yet another shoot had to be postponed. If it's raining there's no point going ahead since it's harmful to the equipment and uncomfortable for the subjects. Another problem we have at this time of year is the lack of available light, and that particular Saturday was pretty dark. This causes some obvious technical difficulties in terms of the light's quality and directionality, which is so important for natural portraiture. However, it did mean I could enjoy a much-needed day off, and so I accompanied my partner to Surrey for a family birthday. I grabbed a couple of minutes outside with a one-in-a-million model, who needed no direction whatsoever (this is why I love shooting children so much, and this one is adorable).

There was just enough ambient to auto-focus most of the time, but with an active subject I was looking at shooting wide open at a fairly high ISO in order to keep the shutter speed at a usable level. Indoors, the use of strobe would have been intrusive, so we're looking at high film speeds/ISO and wide open apertures. Shutter speeds will be even slower, pick your moments carefully, accept some softness and consider your DOF. This is a great opportunity to engage in the candid reportage shots many of our subjects ask for. If you're at an event as a guest it's nice to pass your hosts copies of any pictures they like.

Kit for this outing was simple - my favourite dual format setup (two loaded bodies, one 35mm FX, one APS-C) with two f2.8 zooms. I could have used a fast prime indoors, but the zooms meant I wasn't in anybody's way. I still love the look of film grain so I rarely, if ever, apply NR to my monochrome low light shots - there's really no need to when shooting full-frame providing the noise pattern isn't objectionable.

Nothing beats a simple traditional head-shot, and I used a soft-focus lens for one of them, and from there the venerable 70-200 f2.8 IS to compress the background a little. Just enough light kicked back off the dining room window to get some catch-lights into the eyes. If you're really picky, try and get them at either 10 o'clock or 2 o'clock where the pupil joins the iris.

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Winter Wonderland

The snows have hit Sussex badly in the last few days (I dread to think how people in Scotland and some other regions are coping) and the small estate where I live is impassable by car and dangerous by foot. Our roads are deserted and many of the country lanes where I live are suffering from fallen or bending trees - many of which are lying at or below head height. This is terrible for many workers and inconvenient at best for others. I'm supposed to be attending the annual SWPP international photographers convention in London next week, but it's looking increasingly unlikely that I'll get there, unless a taxi is able to collect me on a neighbouring B road, and the trains are running.

Today a walk to the village was a necessity, so I decided to load up with a camera and document my excursion.

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Rights and Permissions

There are countless misconceptions which surround the business of photography, many of which are adding to the increasing frustrations of the job. The internet is littered with myths regarding image capture and usage. The law is clear and unambiguous however this is not supposed to be a definitive or formal statement on any subject and should not be regarded as such. You should seek clarification from your legal adviser on any issues which affect you or your business. Any commentary made here relates to the law in England and Wales. Laws may differ in your jurisdiction.

There is the widespread public belief that a photographer always requires permission to photograph a person or their property. That is of course not the case, or news reporters, event photographers, street photographers, wedding photographers, and paparazzi would not exist as we know it. In England and Wales you may engage in photography in a public place or at a public event (where there can be no reasonable expectation of privacy) or in any location where photography is not expressly prohibited (such prohibitions often apply within museums, historic monuments, some places of business and military installations). Property owners cannot prevent you from taking pictures of them or their property, even when on private property - providing you have permission to be there, however any site owner may impose their own conditions upon those entering their land. An invasion of privacy might be exemplified by the use of a long lens to capture images of individuals in their home or a private place such as a toilet.

There is an erroneous belief that there exists a separate set of rules and laws governing minors. This is not the case and it is not illegal to photograph children in any public place or any place where photography is permitted (providing you do not intentionally photograph children naked, or attempt to sexually exploit them via the sale or display of indecent material). Parental consent is not required. Be mindful that in some circumstances the photographing of children may draw unwanted attention towards the picture-taker and many schools adhere to strict policies in response to extreme concerns by some parents. Be aware that some children's events may impose restrictions upon photography, even if you are a parent of a child attending that event.

Nobody can demand that you cease your activity nor are you required to submit your camera, cards or film to anyone unless they possess the necessary warrant. In some cities, or parts of cities, photography is not permitted, this relates to Section 44 of the Terrorism Act.

The moment the shutter is squeezed, under Copyright law that image is the property of the person who has taken it, and the subject(s) within that photograph do not have any rights or claims to that image. The photographer may publish and profit from the images they have taken providing the image is not defamatory, is not subject to the restrictions mentioned above, and that the usage is 'editorial' (which includes the use of images as art or for public interest). Almost all professional photographers have wording in their Contracts and Terms reminding clients that they have the right to display the images they've taken. However the photographer is required to gain written consent if they wish to use those images commercially - such as passing them to a stock library, or to any party who may use them to promote, advertise or endorse products or services. On these occasions the photographer must obtain permission from the subject (or the subject's guardian if a minor) in the form of a signed 'model release'.

I am yet to encounter a client who is uncomfortable at the thought of our studio displaying pictures of them, their family, or their property but nevertheless we all need to be mindful of any subject-matter which may be sensitive. Rights aside, it's professional courtesy to consider the feelings of our clients - not every Bride wants her 'boudoir' shots made available for her new in-laws to see and not every mother-to-be is comfortable with her most intimate portraits taking pride of place on your website. Most photographers comply with most reasonable requests, others don't, some apply a surcharge to their fees to offset the loss to their portfolio, and others may choose not to work with that client. How you operate your studio is your concern, but common sense should always prevail.

Further information can be found at the following sites: The Telegraph, e-Photozine, UK Photographer's Rights, The Photography Pages

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Brooklands Motor Museum

Brooklands Motor Museum opens its doors on New Year's Day for car enthusiasts and visitors alike (it's open the rest of the year too), and provides a welcome respite from the festive season. Owners come from far and wide to display their vintage, rare, and specialist vehicles, and it really is quite a sight. The location itself is an historic one, it's the world's first purpose built motor circuit, dating from 1907. It is known as the birthplace of British motor racing and aviation and has seen many of the great technical achievements of both. The museum is home to a wide range of motorsport and aeroplane exhibits, together with a charming array of restored outbuildings and hangars. Brooklands Trust is a charity and works hard to preserve the character of British historic motorsport and aviation.

Brooklands also has its own Concorde and visitors can book a ticket for an 'experience' whilst learning more about the Concorde story.

The event is a social one and it was great to talk to the owners and get a really close look at the sort of vehicles one would never normally encounter. Hot, comforting food is available in the downstairs cafe and the restaurant above and I was able to enjoy my lunch in the company of two racing drivers who shared a fascinating (and slightly hair-raising) insight to their world.

Modern car clubs are also welcome, and I took up my place in the Independent Porsche Enthusiasts Club area before spending several fascinating hours photographing the hundreds of stunning cars spread around the track and grounds, offset by the many static aeroplane exhibits dotted about the site. The weather was spectacular - freezing cold with a strong vivid, low winter sun. This is a little challenging in photography terms, especially when one has no control over the subject's placement, so it's a question of moving around until the best compromise is achieved.

If you'd like to see the full set of images, visit my main website, choose the Flash site, click on the clients tab (at the bottom) and enter the password: 01jan10 (space and case sensitive).