The Telstra Australia 2022 Annual report is out and they have used my board portraits and a couple of other shots.
Andrew Penn CEO and Managing Director. I gave them background options. Options are good, options show you care.
What is really cool is, they went with one of my coloured backgrounds matched to each person (blue for above) , something I only really supplied as samples, but obviously went down well. I tried to match the colour to the colouring of the subject and outfit, then did several higher contrast, warm and cool takes on their look, so plenty to choose from.
This is a win on multiple levels.
It proves to me that a simple non-textured grey background is enough for most cases, using digital re-colouring or lighting to change the tone. Textures etc are fine, but are far less flexible after the fact (still tempted to get the Pewter/Walnut Lastolite though).
It proves also, that my technique and skills are up to serious scrutiny, because I also supplied the RAW files and they went unused.
I have been published in a major company publication as a true portrait photograher and have the originals to prove it.
My M43 kit, a Pana-Oly hybrid on the day to be exact, passed muster. No reason it would not, but always nice to be able to prove the point at the pointiest end of the wedge.
I have now managed National level political candids, corporate portraits, serious large school group images and AFL level sport with my “toy” cameras. Bring it on.
(un-edited extra file) Previously, a professional school photo company used full frame cameras at f8-11, and multiple lights, which tended to look flat and produced busy shadows (4 for every leg and head). Looking for something cleaner, the school approached me to give it a go. Using the increased depth of field M43 offerred, I managed natural light at f2.8 for this group and even hand held for the smaller groups in a later shoot. In the original file, your can read some of the badges.
Australias’ deputy treasurer Stephen Jones. The 75mm wide open is a perfect match for face-depth at these distances. The same lens on a full frame is less powerful, forcing a crop and losing half your pixels or a longer lens (if available) is dangerously shallow in depth of field.
My first and the seasons’ last AFL game at UTAS stadium in Launceston. Of the half dozen photographers there, I was the only one able to wander the edge of the ground, not laden with a monster lens, mandatory seat and other bits. I actually walked to the ground. Still amazed at the height these guys achieved.
A studio kit that cost less than $1000 is more than enough*. In fact lens, camera and studio kit came in at about $2500 total and I had tons of options in reserve (I could have done it all again and some). Being small and portable, I was in and out in just over half an hour.
The job paid for my relatively expensive Manfrotto/Lastolite portable back drop and bracket, so I now have no pressure on to use them again (but I will).
Big year so far.
*2x 42” Godox Brollies, 1 small soft box for rim light, 3x YN 560 IV flash units and controller, 2 medium and one small Neewer light stand and a larger Neewer stand for the Lastolite foldable backdrop, which is by far the dearest item.