Local content
© Gus BradleyImagery suitable for local and regional markets is an emerging area of content that is growing in demand globally, as advertising in different territories mirrors the diverse, kaleidoscopic world that we live in. Many ad campaigns will run in different countries so are required to be culturally sensitive. Generally though, this trend is fuelled by the increase in travel and the concept of globalisation. More people are living in a number of countries in their lifetime.
Areas to consider when shooting local content and depending on your area of speciality would be observing and capturing business culture; for example where do business people lunch, Japanese people go to a noodle bar, in America they often have a brown bag lunch or lunch on the go type affair. Another example would be what are the formalities conducted in business meetings. Another category would be lifestyle and vacations; where do locals go for holiday, for family outings, what does a typical teenager look like, variations in body language from the gesticulating Italian to more reserved Brit! For travel and reportage photographers there is a plethora of scenes to be captured in every country - French person carrying their baguette home, Italians taking their afternoon promenade or passeggiata in many Italian resorts, orderly queues for the bullet train in Japan etc, the diner experience in America. Also look out for cross-cultural influences in food, architecture, and lifestyle; for example in Brazil, sushi is very popular but tropical fruits such as mango are added. Countries to watch out for in particular are the BRIC countries of Brazil, Russia, India and China with their emerging middle classes and economic growth, resulting in increasing demand for contemporary images of business, lifestyle and culture prevalent in these countries.
We strongly recommend taking model releases translated into relevant languages and perhaps hiring a guide or translator to help with permissions and access. Respectfully having access to people's homes and capturing lifestyles, rituals and traditions will fulfil a growing area of content, as well as the importance of documenting traditions that may be abandoned over time.
David Hancock – Australia and South Pacific
- The most important point to remember when photographing indigenous people in Australia and New Zealand is that although they may appear at first shy and retiring they are keen observers of human nature with a quick eye for hypocrisy and falsehood. Be genuine and honest in your interactions with them and you will be rewarded with warmth and humour.
- Strange as it may seem the traits that affect the native people in any given country also seem to affect the population at large. Therefore when dealing with Australians and New Zealanders and especially Kiwis all of the advice above applies. Whilst many Kiwis work in a corporate environment they have a tendency to want to revert to their cultural roots at the weekend.
- Australian light is notoriously harsh. If you’re going to be working outdoors, I would suggest a winter trip as you then get a few more minutes of soft light in the morning and evening. New Zealand, Tasmania and Southern Australia have generally kinder light situations and visits there could extend into Spring and Autumn.
- A fact that is often not mentioned in the Australian bush is flies. Whilst they don’t kill you they can be incredibly aggravating. They are virtually non-existent in the Centre from May to September and the temperatures are also more tolerable but cold at night.
- If you are visiting The Centre then you should hire a swag (bed-roll) and spend some time sleeping outdoors. Most places are ok to stop and light a fire and spend the night and you’ll find some spectacular light at the end of the day.
- Get away from tourist zones in inland Australia and enjoy a different pace of life. There are still laid back Aussies out there but they are usually in the places tourists don’t go to.
- Australia is a huge continent, like all trips you should do some substantial planning before you go and my advice is don’t try and cover too much of the place but allow yourself the time to spend a large amount of time in one area, getting to know the people and the environment.
Elmari Joubert – Africa
- Firstly, make sure you connect with the person. In a country with 11 official languages you might want to take a guide along who can speak various languages to negotiate releases, etc.
- Cultural villages are a good place to start. These function like normal villages, but usually lie within or on the outskirts of a tourist area. They are generally used to tourists, and are more receptive to having their photographs taken. It is still a good idea though, to ask before taking a picture, and sometimes a small gift/payment is expected.
- If you are in an area where tourists are less accepted, try first walking around with your camera in plain view. Sooner or later someone will show interest and ask you to take their picture. Once this show of trust has been established, others will follow.
- The light in Africa is much brighter than in Europe, but even when photographing dark skin (which is so much more saturated, and therefore absorbs more light than it reflects), it is not the amount of light that is important, but where it comes from! This means that rather than using light coming from the camera-side, try using reflectors on both sides of the model to highlight their features.
- Because of the stark contrast between skin tone and surroundings, it is not always possible to expose for the mid-tones. Make sure you get enough light onto your subject, and expose for the darker tones of the skin.
David Keith Jones – Africa
- Look for opportunities to take vertical images. If possible shoot the same scene both ways to increase the publisher's choice. Sometimes, by using a tree, a building or a person at the edge of an image, you can make a vertical shot from a scene which otherwise has a horizontal format. By using beautiful skies you can make a vertical image out of any landscape. (See AGY055, ABWX46 and A8W7A2)
- Train yourself to look at the whole area of the image in the viewfinder. Do not look through the viewfinder as you would with a pair of binoculars or glasses. By making sure you have looked around the edges you will avoid cutting off feet or the tops of buildings. This will also encourage you to look at the composition of the whole image. (See A56N61, AHC548 and ARXA9E)
- Do not fight the light. Poor light usually means a poor image. Look for good lighting and use it to the full. Excellent images taken against the light are the exception not the rule. Most good shots are taken with the light. (See AR3DE0, AS9534 and A94H76)
- In the tropics photographs taken in the middle of the day have very strong vertical shadows and unpleasing contrasts. Those taken early or late in the day have longer, more pleasing shadows. (See A8W7A0, AR3DE3, A8DT5F and AS9545)
- Avoid snatching images of people; try to create a relationship. It is best to spend time greeting people and explaining why you want to take the pictures. Many African people appreciate their traditional way of life being recorded and will cooperate if you are courteous to them. (See AC1R28, AS9536 and AM1759)
- Fill in flash often helps with portraits and people pictures. (See AM099B, AYM218 and ANE2FE)
- If you must take photographs at midday try asking your subject to stand in the shade; this may give more pleasing skin textures and avoid brutal shadows. (See AYM20B, AB7T2E and ABBG8B)
- When taking images of animals a spot of light in the eye can make all the difference. As a bird or mammal turns its head there can often be an angle when the spot of light registers in your camera. Look for these moments. It works for people too! (See AB7RFD, AK1037 and ABGN8F)
- Edit your own work rigorously. Artists rework their canvasses and writers rewrite striving for perfection. Photographers must use the waste bin and ruthlessly throw away their mistakes. Editing your own work can be depressing; but reviewing your best shots when you have thrown out the rubbish can be uplifting and helps you to move towards being a better photographer.
View all the images mentioned above.
Bryan and Cherry Alexander – Arctic
During the 34 years we have worked with indigenous groups in the North we have witnessed and documented huge changes, at the moment most of these are caused by the absorption of western culture than by climate change. Some of the things we have on film will be hard to photograph in the future, as people prefer the comforts of the village to a cold hunting trip.
- Working in the cold has its own problems, breath condenses on the viewfinder and freezes, batteries are short lived, film can shatter, and if you are several weeks travelling on a reindeer sled, electricity for recharging batteries is often not available. Bryan overcomes this by using old manual cameras which still worked at the brutally cold –52°C in Verkhoyansk, Siberia. If you have constant access to recharging facilities you can use autofocus and digital. Until you have exposed your cameras to severe cold, you don't know how they will behave. By then you are too far from a camera store to do anything about it. Carry backups.
- Remember that you are a guest with whatever culture you are working with. Often they have developed coping strategies and remain calm when things aren't going the way they want. There may be weather conditions or other safety issues you haven't understood. Roll with it, show consideration and they will make sure you get the images you are looking for.
- Wildlife in Polar Regions really is living in challenging conditions. Understand how your behaviour can impact the life of the bird or animal you want pictures of. Your eagerness to get just a little bit closer to the Polar bear mother and cubs newly emerged from the den may effect her decisions and compromise the survival of the cubs. Is any picture worth that risk?
- By returning to the same area at regular intervals you build up a depth of coverage, we have found that the opportunities on each trip are different as the weather and the ice change. Make the most of what is available rather than stop taking pictures. Read widely on the issues that affect where you are, keep an eye out for environmental images, nacreous cloud is rare but icicles aren't, often it is the unexpected snatched shot that pays for the trip.
- Work with the people. In one village we photographed all the elders for a cultural project, the village now has a lovely set of portraits for their project and we had access to the most interesting faces in the community, everyone was happy.
Ragnar Th Sigurdsson – Arctic
- When shooting in cold weather it's essential to be overdressed and use a tripod, at all times. During the winter time, low light shooting and night shooting is the norm. Standing still behind the tripod for long periods of time, one gets extremely cold. Often when you are cold, you get lazy and you stop thinking creatively. Best to dress in layers, so you are warm when standing still and can peel off clothing when you are moving.
- Aurora Borealis or Northern lights come and go, occasionally they are faint and weak, but some times you get severe storms and different colours. When shooting Northern lights it is essential to travel away from the cities light pollution, an hour's drive is fine. Be patient, often you can wait all night and nothing happens, even day after day, but sooner or later they appear like magic. Northern Lights can illuminate the sky for hours or just minutes. Start shooting and continue shooting then change your position and look for another motive.
- Pollution from cities can light up the lower atmosphere and weaken the light from the Northern Lights. Sometimes you can use this faint light to lighten up areas that would be to dark, or use the Moonlight if available.
- Moonlight can help often, but also ruin great shoots when too bright. Avoid shooting directly into the moon when exposing for more than a few seconds. In just a few seconds, the moon travels fast over the sky; if you need details in the moon you will need a shutter speed higher than 1/125 th of a second, preferably 1/250th of a second.
- Twilight in the Arctic lasts for hours or even for days, creating all kinds of purple, blue, yellow, green and pastel colours in the sky. Exposure can make a drastic change to the final picture. There is a longer range of acceptable exposure in the twilight but when daylight shines on the snow be very careful with your exposure. Unless very experienced you many need to bracket.
- Master your technique and learn all the rules. When you have done that, break all of them and experiment. A photographer should have fun all the time, if he is not enjoying himself, he is not getting out the creativity in his head.
Jeff Schultz – Alaska
- Review what is being worn by the average person and dress models accordingly, with some styling for best effect.
- Don’t always shoot in fine weather. Conceptual images of bad weather, such as the snow storms and blizzards, experienced in Alaska can illustrate the concept of adversity.
Kenneth Hamm – Japan
- Learn a bit of the local language if you want to get those up-close and intimate people shots. Even if only simple conversational words or phrases like “Hello,” “How are you?” “Please,” “Thank you,” “Nice weather, isn’t it?” or, my favourite, “May I take your photo?” Showing that you are trying to understand their language breaks the ice and sometimes results in unexpected outpourings of generosity and friendliness. You may find yourself getting invited in for a cup of tea or listening to a long story about someone they know who is also a foreigner just like yourself.
- In Japan, where most photographic equipment is made, and where everyone in sight is carrying a camera around their neck, amazingly enough people get shy and sometimes irritated when a camera is pointed at them. The culture readily accepts photographing people you know standing in front of a temple, but as soon as an unknown person becomes the target of your interest, everything changes. Unless you are using a telephoto lens and your subject has no idea you are taking a picture, do not plant yourself with tripod in any one location for too long. For candid shots it is best to approach slowly and nonchalantly, take three or four quick shots, then move on. Act as if it were nothing important even if you think you got some prize-winning photos. If eye contact is made, smile and bow. If your subject appears friendly, you might step forward and ask for a few close-up portraits.
- If you are shooting photos of people for purposes other than editorial use, it is wise to get a model release. This is sometimes easier said than done in Japan. Most official documents in Japan require the use of one’s personal "hanko" (or seal) along with their written name. And, no one carries their seal around with them. Although most people can write their name in Japanese, few know how to "sign" their name using the Roman alphabet. A name written in Japanese may or may not be convincing to a publisher. Typically just asking a person whether or not you have permission to use their likeness is official enough in Japan. They trust the spoken word. But there are few publishers if any in the Western world who would be willing to accept a verbal release from the photographer.
- Nevertheless, if you insist on getting a signed model release, have your forms printed in Japanese. No one is going to write their name on anything they can’t read. If you are looking for candid shots, shoot first then ask later about signing the form. Some language skills might be in order here when explaining what you intend to do with the photos. People under thirty years old are more likely to agree to signing than other age groups.
- Do your homework before travelling overseas to shoot. Nothing’s worse than arriving a day late for the big festival. Naturally, the Internet is the best place to research your destination. Get all the dates and times ironed out before planning your itinerary. You can also book your rooms in advance on-line as well as study train and boat schedules for those important connections. In foreign countries, culture shock alone is often enough to test your patience. You should not have to worry about being somewhere on time.
- Once you arrive at your destination, plan ahead for the shoot. Your Internet research may not be 100% reliable. Sometimes schedules change at the last minute. If you are photographing a festival, for example, go to the location where it is to take place and inquire locally. Ask three of four people the same question until the information starts sounding repetitive. Scope out the site, study the best spots for angles and lighting and arrive early on the day of the event. You do not want to miss photo opportunities because you were in the wrong place at the wrong time.
- In Japan, certain places are off limits to photography and should be respected. For example, you may not understand why you are not allowed to take photos of a particular part of shrine while other parts are okay. In this case the inner sanctum is where the deity resides and is considered sacred. Taking a photo is akin to capturing the spirit and walking away with it. Other times photography restrictions are less esoteric but should nevertheless be followed. Photos of certain public places are forbidden because of security concerns. At other locations the property owners may want to be exclusive copyright holders of any images for financial reasons. I have been asked many times in Japan whether or not the photos I am taking are for business or for personal use.
Jeff Morgan – Wales
- It isn’t necessary to fly thousands of miles around the world to take pictures with interesting subject matter. My own speciality is Wales and Welsh affairs, all my pictures are taken within 150 miles of my home.
- Specialising in a country, county, city, town or subject should give you and intimate knowledge of your chosen field. Use all types of media to build on that knowledge, from the internet to local newspapers etc. Know when things are going to happen before the event and not after.
- Someone once said to me, that my pictures were “of predictable composition!!” Well I suppose in one sense they are, but I would say they were of “timeless composition.” What I mean by that is that they will sell today or in 50 years time in the editorial market that I specialise in.
- Experiment by all means; throw in something visually different occasionally, silhouette, a detail; look through something at the subject etc. All these visual devices will give you a new outlook on your chosen subject.
- An interest in subject matter is more important to me than photography itself. Photography gives me access to those subjects that interest me.
- Don’t discount things just because you see them every day, they may seem ordinary and you think no one will be interested but there’s a picture researcher out there who is looking for that very subject.
- Getting keywording right is crucial, it’s how your images are found on Alamy. If you stick the what, who, why, when and where you can’t go far wrong.
- It’s not just pretty chocolate box type pictures of sunsets, landscapes etc that sell. Look out for people working. Look for bad weather-floods, snow, damaged property etc. I personally avoid big corporate events where ever possible and much prefer shooting a local village show or anything where access is not restricted, be discrete and have respect for your subject.
- It is always important to look at other photographers’ work, to inspire, inform and expand your visual horizon.
Steve Benbow – Wales
- Accurate captions: Including the correct spelling of place names. In Wales, places are often refered to by both the English and Welsh names, in some cases there is only one letter difference between the 2 spellings, so it is important that both spellings appear in the captions or keywording.
- Cultural Identity - Particularly useful are icons and features that identify the region and the cultural aspects that define the area. It is increasingly difficult as the visual culture becomes more homogeneous. But it can be a small thing like a road sign or an aspect of architecture that can suggest the uniqueness of the area.
- When shooting - it is important to keep asking the question - what is special and unique about this place or this event and to try to concentrate on those aspects.
- Positive imagery - The vast majority of images sold are positive - they are used to sell an area or country. It is important to search for the positive aspects of even the most depressing area. This can be the light, or people or even an animal that can just give the image that magic that makes the viewer stop to look again.
- New Developments - Particularly when shooting urban areas, new buildings, marinas, leisure facilities, etc are important to show how the area is changing and to update older images of the same place.
Elizabeth Paton & Kerry Cook – Australia
Australia is a contradiction in that it is part of the new world in terms of white settlement and yet the oldest land surface in the world peopled by an ancient aboriginal culture.
Australia, too, is the largest island continent. The majority population lives on the edge. The vast inland is largely desert with which we Australians have a strange love affair. The outback draws many of us to travel inland in our 4wd vehicles in search of what we consider our cultural heart.
We are the lucky country. No wars on our soil, a thriving democracy, a wonderful climate and rich natural resources. Yet we are of necessity tough from our pioneering ancestry. Our parents and grandparents were the early settlers, battling a harsh, dry and isolated landscape. We love our wide open spaces and freedom, flat horizons, blue skies, red deserts and, by contrast, thriving modern cities.
As photographers I believe this is what we pursue. There is a wonderful clarity of light and colour in our landscape which brings its own technical problems. Much of the contrast of white sand against turquoise ocean and deep red rock against brilliant sky requires extensive travel on rough and isolated roads. It is often impossible to photograph during the heat of the day because of contrast problems so while the rest of the world settles down for the evening, the photographer may be standing on a rock on a beach or in the desert. There is a myriad of pattern and large blocks of brilliant colours which lend themselves to interesting abstract designs. There are dunes, salt lakes, red gorges, spinifex deserts, rivers, forests and of course the great Aussie characters. There is a lifetime of images to collect.
Some general tips are:
- Prepare for your trip carefully. This country is vast and isolated. Vehicle breakdown can quickly lead to disaster. Many have lost their lives from heat and thirst.
- Talk to the local population to find unusual places of beauty.
- Be aware of the often harsh light and plan for more even lighting conditions.
- Use of very wide angle lenses, lends itself to this vast landscape. Under Australian ‘outback’ conditions, make use of foreground interest, as there is often little relief beyond!
- A polarising filter is a further ‘must have’, as its use brings out the full potential of a colourful and contrasty landscape. This is particularly important in the North-west areas of the Pilbara and Kimberley, where hugely reflective rock faces pose an otherwise uncontrollable situation!
- Remember that when photographing a rising full moon, it is generally wise to choose the day prior to the calendar date, as otherwise the contrast will be too great.
- Protection of photographic equipment against sand is particularly relevant in Australia, as it is a windy place!
Michelle Chaplow – Spain
- Use your ‘foreign eyes’. As a British travel photographer based in Spain for the last 14 years, I know from experience that as a foreigner it’s easier to visually capture the exotic. A local photographer can just walk by the same scene without recognising the importance of it. I had the Spanish Association of Citrus Fruit Growers contact me for a photograph of an orange tree, after spending weeks trying to source the image from local Spanish photographers to no avail.
- Although a large percentage of communication is non-verbal, learning the basics of the local language, is a huge advantage in photography. The locals appreciate that you have made the effort and you will reap the rewards in your work.
- Local characters add life to your imagery. The Spanish people are extremely hospitable and humane. To photograph people in general you need time and the ability to win their confidence, the ability to reflect trust in the image. The photographer also needs to be unhurried and relaxed. A nervous photographer will pass on those vibes to the subject and it will reflect in the image.
- Personally, I firmly believe that the most beautiful portraits are environmental portraits. People are so much more at one in their own surroundings. A musician with his or her instrument, a potter at work, a dancer dancing, an old lady or couple with their donkey, these images go one step further in portraying that essential connection between humans and their environment.
- Dress code in Spain is very important, as a photographer. I have a general rule that I dress according to the situation. If it’s a corporate portrait, I will wear a comfortable suit, in a national park, walking clothes, in a night club, evening gear. I believe that this helps you ’fit in’ and reduces the barrier between the lens and the subject. Comfort and the ability to have freedom of movement are key factors.
- Local Gastronomy: One of my best selling images is that of a classic Paella, set up in a studio on a plain background. The shape of the Paella dish is instantly associated with Spain, it’s important to avoid cluttering or obscuring the shape. Paella isn’t the easiest food to photograph, I spent hours in the studio, but is definitely been a worthwhile investment.
- Spain is famous for its festivals and local people in traditional dress. These images are widely appealing so it’s worth spending time researching dates of festivals. Imagine arriving, the day after!
- Keep records of the place names, architectural styles, historical dates, provinces, basically any relevant information that can be used in your key wording. Good concise key wording will increase your sales.
- Create a theme, which later could be published as a feature or picture essay.
- Unless you’re on an assignment deadline, try to be flexible with your schedule, if you stumble on a local festival, a spectacular sunset, an amazing sunrise, a craftsman, a celebrity, then seize the moment and change your plans accordingly. In Spain, there’s always maņana.
Hemant Mehta – India
- Weather: India is a vast country with varying weather conditions. The weather varies from cold weather in the Himalayas (north) to the dusty plains of central India and the sandy beaches of the south.
- Dust: This is one factor to be very careful about. Especially for the new age digital cameras. Make sure that the equipment is well protected from dust especially while travelling in rural India. It is a good option to carry dust proof bags and cleaning equipment.
- Travelling details: India is a very well connected country with the largest network of railway and roads in the world. But travelling to the rural areas one has to be careful about the itinerary as there is limited service to far-flung areas. As for the cities they are very well connected through very good service of budget flights.
- Immunity and water: It is advisable to have injections for immunity for malaria and common diseases. One should carry bottled water, as clean drinking water is sometimes unavailable.
- Language and accommodation: India has a well-established infrastructure for western travellers. You need just need to be a little considerate and patient to have a wonderful experience. The transport and the range of hotels are astounding and you will comfortably get by with English language in any established tourist town or city.
- Availability of Raw Stock: Every kind of film and computer chips are available in the Indian markets (in the metros). You must carry extra stock while venturing into the countryside. Always check the expiry date printed on the film rolls as the heat and humidity of India can take their toll on them. Kodak and Fuji have their labs all over the country, including in small cities. You should try to store both your exposed and unexposed films in a cool place to protect them from the summer heat. And if you’re travelling during the monsoon, it is better to have waterproof cases for your equipment.
- Shooting tips: A UV filter permanently fitted to your lens will not only cut down the UV rays but also protect your lens from the heat and dust of India. UV and polarizing filters will also help shoot better photographs in high altitudes. Photographers should carry their tripods as well, for India has a lot to offer through its historical monuments. Fast films (400 ASA) are also useful while photographing the interiors of India’s numerous temples, forts and monasteries.
- Restrictions: Indians are particular as to what they let you photograph. To photograph places of military importance including airports, military installations, tribal areas and sensitive border regions, you would need to seek permission from the authorities concerned. Some religious places like temples, mosques, gurudwara (Sikh temple) etc prohibit photography in the main hall and the inner sanctum. Usually such places have prohibitive signboards on their premises. It is always prudent to ask if there are no such indications. Some temples, forts, palaces, tombs and monasteries levy a fee to bring a still or video camera into the premises. A few wildlife sanctuaries levy a much higher fee. The Archaeological Survey of India issues special permits for photographing monuments with tripods and artificial lights.
Jagdish Agarwal – India
- Do research and more research about the place.
- Plan a specific daily shooting schedule.
- Always visit the local zoo in each city.
- Always visit the local fruit and vegetable market in each city.
- Always carry model release forms.