Large Format Magazine Shoot - Critique?

[Leigh]

Hi Simon,

My over-all impression is 'clutter'. A lot of stuff, but no focus, no theme or story connecting the shots.

The 72mm is too short on shots 6 & 7, producing disturbing distortion on the commode and the chair. You could move back and shoot with a 90mm with the doorway visible.

I would have eliminated 6 entirely, since most people now have indoor plumbing. I think the view in 5 is more informative, with the bath separated from the kitchen area by a door.

Just some opinions, worth what you paid for them.

Thanks for sharing.

- Leigh

[Merg Ross]

My impression is that the images display a high level of technical competency.

What I find lacking, is a specific purpose or message for the images. They contain plenty of information, perhaps too much. This happens when using too wide a lens; I think it is a case where less might actually be more, and the use of a longer lens might be appropriate.

When I was doing commercial architectural assignments, my rule was to use the longest lens possible for presenting the strongest elements of a building. I seldom used a lens shorter than 90mm for interiors. Curiously, my use of anything shorter was for exterior shots, often necessitated by proximity to other structures.

[spkennedy3000]

Thanks to those who provided useful comments.
This was not a traditional, theme-based editorial assignment.

[Noah A]

I'm a big fan of your work and while I prefer the subject matter in some of your other photos (modern architecture and urban exteriors), I think you did a great job on this shoot. The photos have a nice, consistent feeling to them and the colors and light work wonderfully.

It looks like it was a tough place to shoot, the spaces look very small. I agree with some of the comments that perhaps the 72mm captured a bit too much in some cases, however it looks like you were working in tight quarters so maybe even a 90mm wouldn't have cut it.

I'm more curious, if you don't mind sharing, about how you convince editors and art directors that it's worth the added expense (and lead time) to shoot film. I know in an ideal world the people you work for would appreciate the unique look of your work and the quality you get from shooting film. However budgets are tight everywhere and sometimes financial considerations win out.

I worked as a staff photojournalist for ten years and I'm only starting to get into freelance editorial work, and I'd like to do more commercial work as well. I'm curious about this because I shoot all of my personal work on 4x5 and I'd love to use the view camera for my commissions as well.

Do you find yourself having to defend your preference to shoot film?

[Stephane]

Would be interesting to see the house from outside, as well as their garden.

[Jim Michael]

My over-all impression is 'clutter'. A lot of stuff, but no focus, no theme or story connecting the shots.

That's one perspective, but I think they convey a sense of how they live and the complexity of what they do. You do not see a lot of modern artifacts. The furnishings and appliances are rather old. Less attention seems to be paid to the upkeep of the home than to their craft. There are many cans of finish materials stored on shelves, presumably from many years devoted to their work.

The only technical comment I would have is the image with the large window might have been done earlier or later in the day to allow a view to the outside or a less blown out look which I find a little overpowering.

[Allen in Montreal]

......I am reasonably sure that digital scans would be the only thing acceptable now.........

Simon

Sadly, I would have to agree.
Not long ago I shot a job for a small CDN Magazine and gave them a really beautiful black and white print (environmental portrait). They were not too happy about having to scan the print, once a common thing to do, and I have never shot for them again.

[Kirk Gittings]

......I am reasonably sure that digital scans would be the only thing acceptable now.........

Guys, this issue is long dead history. AP photography is a business and an art. As a business you have to meet your client needs. The market has changed-adapt or die. Even the vast majority of photo art magazines don't want your FA b&w prints to scan. They expect you to supply the scans.

[Leigh]

...I think they convey a sense of how they live and the complexity of what they do.
There are many cans of finish materials stored on shelves, presumably from many years devoted to their work.

My first question was "What do they do?" We're told that they're 'designers. Of what?
1) furniture or cabinetry, of which the grandfather clock cabinet is an example, or
2) cabinets for grandfather clocks, or
3) grandfather clocks, of which the cabinet is only one component?

The first image suggests that they do woodwork, probably building the clock cabinet, yet I see no woodworking tools, like saws, drills, planes, sanders, etc. The man in the left foreground of the second image is working at a table, but the lighting in that area is so poor we can't tell what he's doing or what equipment he's using.

The 'cans of finish materials' are such only if one knows the context. Otherwise they're just cans of stuff.

It appears this series was meant to illustrate an article or profile of the designers, perhaps for a magazine. As such, if it met the desires of the editor, it's fine.

Presenting a series of images sans text and requesting a critique invites a critique of the images as a stand-alone work in isolation, not in interpretation.

I'm not trying to make the OP feel good (or bad). I'm just trying to address the request for critique objectively, to the best of my ability.

- Leigh

[spkennedy3000]

OK all thanks very much for the helpful comments - I think I have all the critique I could want!

The designers are James Plumb, you can find them here:

http://www.jamesplumb.co.uk/site/index.html

They are very much rising stars of the UK design scene, exhibiting at Milan etc.

The house they live in is in my opinion an extension of their design work, it is enormously controlled and fascinating I feel.

The brief was not a traditional editorial story.