Colour Space

What is it and should you even care?

Colour Wheel of Primary and Secondary Colours

The concept of colour seems pretty straightforward, something that’s very easy to understand. But when you start to delve a bit deeper it can become a bit confusing, especially in relation to Photography.

When thinking about colour, the starting point for most people is the artist's colour wheel which defines Red, Blue, and Yellow as primary colours. Where two colours meet on the colour wheel, they mix to produce what are known as secondary colours - Orange, Purple and Green. When primary and secondary colours sit alongside each other from the opposite side of the colour wheel, they are known as complimentary colours, which appear to make each other more intense.

Light on the other hand is described in a different way. The Primary colours of light are Red, Green and Blue (RGB), which combine to create the secondary colours Cyan, Magenta and Yellow (CMY).

Colour Wheel of Primary and Secondary Colours (Light)

Digital cameras record colour entirely in the colour space of light, RGB. This RGB data only becomes relevant to traditional theories of colour at the print stage of the photographic process, which - to add to the confusion - is based on using CMY and K (black).

Deciding how to accurately convey colour in what’s known as a colour space throughout the journey from camera to print is therefore an important decision for photographers.

Or is it?

As with all photography related questions, the answer starts with "it depends…" In the case of colour, it depends firstly on the format the file is recorded as, and secondly on the intended output or medium in which the final image will be viewed.

All digital cameras have an in-camera option of two colour spaces; Adobe RGB and sRGB. So what’s the difference and which one should you use? To answer this question, the first thing to understand is that in a digital sense, colour is represented as a virtual, three-dimensional shape, known as a colour space. This shape defines the range of available colours, known as a gamut. Adobe RGB is a larger colour space than sRGB, which means it renders a wider gamut, useful for recording a wide variety of subtle shades of the same colour. Imagine a subject wearing a red jacket, drinking a can of Coke standing next to a post box with a double decker bus in the background. That’s a lot of different shades of red, so It would make sense to record all of those variations by selecting the larger Adobe RGB colour space.

However, it still depends on a couple of things… first of all, if you're shooting RAW files, the colour space setting in camera becomes irrelevant. RAW files capture the full sensor data without an assigned colour space. The choice of colour space is made at the output stage of image processing in editing software. Colour space settings in camera only apply to JPEGs that are generated in-camera, so if you’re shooting JPEG files and want to record a wide range of hues, Adobe RGB would be the best option.

Another factor that affects colour representation is known as BIT Depth, which I won’t go into here, but it’s worth mentioning that while most cameras record what is known as 8 BIT or True Colour which displays 16.7 Million colour tones, the human eye can only differentiate from 2M - <10M colour tones.

Compare the two images below, recorded on a Canon camera set to record both JPEG and RAW files simultaneously. Notice how the reds on the left JPEG image appear more as of a block of solid colour, with less variation in hue compared to the RAW file on the right.

JPEG image recorded in sRGB Colour Space

RAW image recorded with no Colour Space

The JPEG file recorded in the sRGB colour space reduces the shades of red to a more uniform hue, leaving the image flat and dull.

The next consideration is where the image will end up. Screens on digital devices are not all calibrated to render colour in the same way, so sRGB has become the universal default for all digital content. When an Adobe RGB file is displayed on an uncalibrated screen, the colours that fall outside the sRGB range get compressed, producing the result seen in the left hand image above.

It's important to note that while colours from an Adobe RGB colour space can be mapped onto the smaller sRGB colour space, the reverse is not possible - you cannot expand an sRGB file into the Adobe RGB colour space - you can’t recover colour information that wasn’t there to begin with!

So if the intended output is digital, sRGB is the best choice, even if the original file from the camera was record in Adobe RGB as a JPEG. If you intend to have your images professionally printed and want to render all those subtle colour variations, then the larger Adobe RGB colour space is the better option.

The general rule of thumb is to shoot RAW (which has no assigned colour space) or JPEG (with AdobeRGB) and then choose your colour space at the point of export - sRGB for anything going online or to screen, and Adobe RGB (typically as a TIFF file) for print.

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Depth of Field explained

Depth of Field is the photographic term that describes the limit of the distance that extends in front of and behind the selected point of focus, sometimes referred to as the field of focus. Large apertures will reduce the depth of field and small apertures will increase depth of field. Most people understand this basic concept, but what’s often overlooked, especially by beginners who are still learning about the technicalities of photography, is that distance significantly affects depth of field and is a very important consideration. The closer the subject is to the camera, the more noticeable the impact of a shallow depth of filed is, but as the focal distance increases, the depth of field also increases, which means that even at wide open apertures, the depth of field can still be very deep, if the focus point is further away…

Hopefully this short explainer video will help.

Explanation of Depth of Field in Photography

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Long Exposure Photography Explained

Long exposure photography is a great way to lift your landscape images to another level. The effect of leaving the shutter open for a longer time than you would for most other types of photography means the camera can record movement in a totally unique way. This effect is especially noticeable in subject areas like skies which have a few clouds or areas of running water.

Understanding how to use the camera’s built in light meter is an important factor in being able to calculate exposure times accurately when adjusting the variables of ISO, Aperture and Shutter Speed. However, when extending the shutter speeds in Long Exposure Photography, there’s a fourth variable that needs to be taken into account; Neutral Density Filters. ND Filters are basically panes of darkened glass that sit in front of the camera’s lens and reduce the amount of light that enters, thereby necessitating the use of longer (or slower) shutter speeds in order to get accurate exposures. Without the use of ND Filters, the long exposure times necessary to achieve the desired effect in this type of Photography would mean images would be way over exposed. Hopefully this short video will help explain how to use these filters in order to get the desired effect.

I run Long Exposure Workshops for small groups or as 1-2-1 sessions in London throughout the year.

Explanation of how to use ND filters in Long Exposure Photography

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The Value of Authenticity in a World of Artificial Intelligence

Does your brand showcase authenticity?

I recently photographed an event for a valued client and posted a few images on Linkedin and I was happy to see my client re-post it with their thoughts:

"Trust - being open to the actions of others. Steve Franck came to the launch last week and we trusted him to take photos. This was trust well placed! Stunning photos and I highly recommend Steve for your event.”

Of course I was thrilled to receive such praise and recommendation, but what really struck me was the word ‘trust’. I think trust is key in every aspect of our lives, both professionally and personally. The best and longest lasting relationships are built on trust.

For me as a photographer, the notion of trust refers to being able to accurately interpret a brief, and delivering images that are technically correct but also creative and engaging. Trust is knowing that work will be delivered on time and on budget. But trust extends beyond quantifiable deliverables: it’s also about reliable communication, punctuality, the ability to collaborate and what I consider to be the most important element of all: authenticity.

In a world driven increasingly by AI, I believe that authenticity is the thing that will set brands apart in the future. As we consume more and more artificially generated information, both in the form of images and text, there is a lot to be said for the authenticity of a fleeting moment, a fraction of a second that captures a genuine experience or interaction.

While AI in post processing forms part of every photographer’s workflow and is an indispensable tool that every photographer should be able to use, it doesn’t have the ability to generate the authentic moment that can only be captured in camera. That’s not to say that I’m against Artificial Intelligence. On the contrary, I’m embracing it more and more into my workflow as a photographer and it’s become an integral tool that streamlines my post-production process. I see it very much as a tool that needs to be mastered before it masters us.

AI is here to stay and I don’t see it as a threat to the creative industries, more as a new technology that can easily integrate with existing processes, as long as it’s controlled by humans who use it intelligently.

Where I do see a threat is in the potential over reliance on AI in the creative industries, both with images and text. AI generated images are an extension of the generic images found in many stock libraries, and they’re easy to spot: perfectly lit product that feels unreal, generic backdrops, and smiling faces that could belong to any brand. Like stock photography, AI will democratise access to generic visuals, but generic visuals aren’t authentic and consumers can sense when an image is disconnected from reality. Consequently, I believe that authenticity will become a much more valuable commodity.

This is where original, on-location photography offers brands a competitive advantage. By leaning into something that can’t be fabricated - real moments, real people, real places - brands can position themselves as genuine. People want to see the real story behind your brand, the actual team members, your workspace, your products. That drives engagement and develops a human connection which builds trust, which in turn creates loyalty.

Original photography captures the unique textures, ambience and style of your environment, the energy that reflects your brand and its values, whether that’s on a factory floor, an office space or an executive boardroom. Investing in original photography isn’t just about aesthetics, it’s about creating problem solving opportunities for your brand. It's also a rich resource that provides unique assets for campaigns, websites, reports, and social media.

As mentioned above, this isn’t about rejecting AI. In fact, the best strategies often combine the efficiency of AI with human creativity. The businesses that will thrive in an AI driven market are those that successfully integrate the new technology with those elements it can't replicate: originality, presence, and authenticity. Original, on-location photography isn’t just a creative choice, it’s a strategic differentiator.

If you want to showcase your brand’s authenticity, there is no better way than through genuine, original imagery captured on location. For corporate portraits and headshots I bring the necessary lighting and equipment to your workplace to minimise disruption so there is no loss of productivity. For lifestyle images and environmental portraits I use ambient light so brand identity can be unobtrusively captured in a relaxed style on location. It's the best way to capture the authentic energy and collaboration that exists in working environments.

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“Stops” Explained

People often talk about “Stops” in photography but it’s not always clear what they’re referring to. Most people are familiar with the concept of ‘f stops’, but that only refers to apertures. A “Stop” actually describes more than just the size of the opening of an iris in a lens… So what exactly is a “Stop?” I hope this short video explanation helps answer that question. Please leave a comment if you’d like me to record a short explainer video on any other photographic topic.

Explanation of Stops in Photography

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Aperture values explained

Aperture values can seem confusing to a lot of people, especially when they’re new to photography. It seems to be one of those things that you just need to accept, and then memorise - the lower the value, the larger the hole. But that doesn’t really explain what’s going on. Wide apertures are described by low numeric values, whereas small apertures are described by higher numeric values. That doesn’t seem logical and often causes people who are learning photography to refer to apertures using terms like “high” or “low”, which also doesn’t make sense!

In order to try and demystify this mathematical oddity, I made a little video to explain what’s going on, I hope it helps. Please leave a comment if you’d like me to do more short explainer videos and suggest topics.

Explanation of why Aperture values appear to be numerically inverse to what they’re describing

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Undercroft Skate Park

Skaters at the Undercroft at London's Southbank.
I've been coming to this area for years but I'm still fascinated by the energy of the place every time I visit. There's always something new that catches my eye, and I'm drawn to the many photographic opportunities the place offers.
It's quite a gritty, urban environment that appears slightly unapproachable, but it seems that anyone who approaches with an open mind and a sympathetic eye is welcomed without judgement. There are often people smoking weed in the shadows but there's never any sense of threat or danger. Indeed, there are often young kids learning to skate in amongst the more seasoned skaters who seem to readily welcome the new generation into their tribe.

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Faunart

I recently had the pleasure of photographing highly acclaimed contemporary artist Daniel Byrne on location at his studio in London, while he was working on a new commission for a major London Hotel.

Daniel creates beautiful large and small scale artwork under the name Faunart, which focus on the interplay of order and chaos found in nature. His work portrays the seemingly random movement of nature seen in the patterns of large groups of animals like birds, fish or butterflies and presents that in familiar forms, whether circular as with the butterflies in these works or in the sweeping curves of a shoal of barracuda or a murmuration of starlings as depicted in some of his other pieces.

"I got Steve in to take some shots to use to promote my work as an artist as well as capture some high definition shots of the artwork itself too. Steve’s natural warmth and professionalism immediately put me at ease, allowing me to relax and focus on my everyday production process whilst Steve melted away into the background capturing me in my flow state unhindered. His magic as a photographer is yes, all the expert photographic skills but more so capturing the essence of and spirit of my creative process. I loved loved loved the shots!"

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Stories

Everyone loves a good story.

Stories are at the heart of our social and cultural heritage. No matter where we’re from, we all grow up listening to stories and passing them on. They’re an intrinsic part of the social landscape; from religious beliefs and dogma to popular culture and art, stories are at the core of human communication. And when it comes to sharing important information, storytelling is one of the most useful and powerful tools we have.

When we share images online we tell stories. We’re sharing our experiences with the world through a visual narrative. For example the images below from a weekend spent sailing with old friends earlier this year. The images combine to offer a short story that describes the experience.

Many stories follow a tried and tested formula and are intended to inform, educate, or entertain. They often depict journeys as metaphores for transformation or personal development. Not all stories are complete however, just as not all stories carry a responsibility to take a moral stance or make the world a better place. Some are simple tools that deliver a simple message, as in advertising or promotion, and it’s the means of that delivery - the story - that help the message succeed in finding its target. Of course the better the story, the more likely people are to remember it.

The most successful advertising campaigns often rely on comical or emotive narratives in order to engage their audience in this way. Similarly, company websites, marketing and promotional materials, even annual reports or promotional brochures all employ a visual narrative in order to get people’s attention and deliver their message.

Storytelling using stills images can take many forms: it can be a single, compelling image or a series of images taken over a period of time. A small collection of images can be used to showcase a process, a practice, or a product. No matter how simple or complex the narrative, photographic images provide an invaluable means of reaching your target audience.

Stories aren’t necessarily conclusive, they can be open-ended and form a small part of a wider, on-going narrative. For example the images below of skateboarders at the Undercroft at London’s Southbank Center don’t tell the complete story of urban skateboarding subculture; what they do is present a snapshot of that subculture, part of a much wider, on-going narrative.

Sometimes all it takes is a few images that represent an action or a process. I recently took an antique clock for repair and the small, atmospheric shop was so photogenic that I asked if I could take a few pictures when I came to collect it. The pictures tell a little story about the craftsman in his workshop. These pictures don’t offer a complete story, but there are details in them that provide clues which prompt us to develop our own interpretation.

Other stories of course carry a much greater responsibility. There is an established tradition of documentary photography which carries an implicit duty to represent its subject matter with honesty and integrity. The stories that I’ve tried to tell through my own work have been made as honestly as possible, with empathy and respect for my subjects.

There are instances where visual storytelling is by necessity more representative than actual documentary. For an awareness campaign highlighting real lived experiences of young people facing issues of homelessness the charity I was working with, CentrePoint hired young models to portray the true stories being depicted, in order to protect the privacy of the people behind them. While the resulting images could be interpreted as less than authentic, they nevertheless communicate a very real truth. Protecting people’s identities in this way shouldn’t detract from their stories.

As a photographer, my interest has always been in telling stories. Even when I’m taking corporate headshots, making environmental portraits or photographing food or product, I believe there is always an element of storytelling involved. It is, in my opinion, implicit in the very nature of photography.

If you want me to help tell your story, please get in touch.

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Architectural Photography

Like most things in photography, architectural photography isn’t as easy as it seems. When we look at photos we often think “I could do that” and it’s no different with architecture. I often find that people take pictures of buildings as a way of easing themselves in to street photography. It’s not uncommon to feel nervous about photographing strangers in the street so even though that’s actually what people often want to do, they retreat in to the apparently easier option of simply photographing the buildings they see. This is often a stage in the process of someone’s development in exploring their areas of interest as well as finding their confidence as a photographer.

However, I think it’s hugely beneficial if you can identify your interests early on and focus your energy on specific genres with a clear idea of your own aims. If your interest is street photography and shooting people, then that’s the skillset and style you should develop. If you’re genuinely interested in photographing buildings and architecture, then you need to think about approaching your subject matter in a very different way to how you would shoot on the street.

Architectural photography is all about scale, perspective and design in my opinion. But that’s not to say the detail should be overlooked as there’s plenty of interesting stuff if you look closely.

One of my favourite locations to take pictures of interesting buildings is in the City of London. With a rich architectural history that reflects the fascinating social history of this area, it is full of architectural gems, both old and new. Especially when it comes to tall buildings and skyscrapers, the obvious perspective is to look up as in the shot above of the Lloyds building and it’s neighbours the Leadenhall Building and the Aviva Tower. The same applies to many of the older buildings in the City. Indeed, this is a perspective that can easily be overlooked but can offer some unexpected and often rewarding surprises, often in the form of hidden statues or sculptures. Below are a few examples of some great, often overlooked architectural details in the City of London.

Gargoyle on the roof of a building, City of London

Ariel statue at Tivoli Corner, City of London

Dragon on top of a column in Leadenhall Market, City of London

Photographing architecture can also present fantastic opportunities for both black and white and abstract images. The forms and lines within architectural design can be subject matter within themselves, as in the image to the left. But more often they are compositional elements leading the eye through a frame to a particular point of interest, as in the image to the right where the S shaped curve draws the viewer to the figure at the bottom of the frame.

Looking for the relationships between forms can be a useful way to add interest. In both of the these images, I’ve tried to juxtapose the smooth curves in the foreground with the more regimental, rigid formality of the buildings in the background.

In both these images, the conversion to Black and White has also helped in removing any distractions which colour can represent. The overcast sky also adds little value in these shots so is best used as a blank canvas against which the architecture is the main focus.

The inclusion of a figure adds scale and the shadows and branches help frame the building

One thing that I find interesting when it comes to discussions about defining certain genres in photography is how opinions can differ so hugely. I once met someone on a workshop I was running who told me about a landscape workshop they had previously been on. The photographer running that workshop had said that as soon as an image contained a person, he no longer considered it a Landscape Photograph. Of course, everyone has their own way of doing things but I personally don’t go in for such strict definitions. In fact, when it comes to Landscape, and possibly even more so Architecture, my personal preference is to include people. Architecture is after all designed by and for people and the built environment would be pretty sterile and lifeless if there were no people interacting with it. Including people gives a sense of scale and forms a connection with the built environment on a subconscious level.

Arguably, the inclusion of people starts to veer towards Street Photography in terms of style and genre. But like most things photographic, there is the potential for things to overlap and cross over between genres. That’s why I tend to avoid overly strict definitions and encourage people to define their own work in a way that makes sense to them.

I run workshops and also guided walks around the City of London which focus mainly on Street Photography but are also great opportunities for Architectural Photography

The slow shutter speed adds a sense of business as the people move through this walkway in the Docklands

The lone figure framed by the futuristic design adds a sense of scale

If you want to develop your architectural or street photography, I run small-group photography workshops in central London

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Legacy - RIP John Downing OBE

When I meet a new group of people on one of my photo workshops, I sometimes start by asking if they have any favourite photographers. Depending on the nature of the workshop, people sometimes mention one or two names I’m familiar with, but often they come out with names I’ve never heard of, usually people they follow on Instagram who have a large social media following but aren’t necessarily what I would call ’Big Names’ in photography.

When I say ‘big names’, I’m thinking of those people who have been influential in the history of photography or have otherwise left a mark on our collective vision and understanding of the world through their work. Each photographic genre contains many such names and depending on your interest you may be more familiar with some than with others. I could reel off a long list of my own favourite photographers, across various genres whose work inspires me but it would probably be easier just to say ‘Magnum’ or ‘National Geographic’.

There are however those photographers whose names and work are largely unrecognised by anyone not closely involved in, or with an interest in photography. Photographers who in the course of their daily lives record the world and global events simply as part of their job, people who inform us about the wider world and show us things beyond the confines of our own experience. I’m referring of course to press photographers.

There are many hugely talented press photographers working around the world who produce stunning work on an almost daily basis, men and women who often put their own safety, even their own lives at risk, simply to report global events and in so doing shape our understanding of the world. I have no doubt that the world’s greatest press photographers belong to that group of men and women whose work has been influential in the history of photography.

It was one such photographer in particular to whom I owe my own passion for photography: John Downing, the former Chief Photographer of the Daily Express, whose book Legacy was published in Autumn 2019 by Bluecoat Press.

When I was a kid, growing up in the 70’s my best friend at school was John Downing’s son. When I went to visit him at his house, John would often be there and I loved spending time with him and listening to the stories he told. His seemed to be a life of passion, adventure and danger, fused with a deep understanding of the world and events that were happening across the globe, especially conflicts - John covered a lot of conflicts in his long career, indeed I seem to remember him often being referred to as a “war photographer”. He was what I thought of as the “cool dad” among those parents I knew from my peer group. He was always friendly, welcoming and very generous with his time, with a great sense of humour a good taste in music.

When he wasn’t at home with his family, he was usually on assignment across the other side of the world, often working in extremely difficult or dangerous circumstances, photographing in war zones, or documenting other significant news stories, typically involving tragedy or human suffering. He covered most major wars, including Vietnam, East Pakistan/Bangladesh, Rhodesia, Beirut, Iraq, Somalia, Rwanda, Croatia, and over a dozen visits to Bosnia. During one of several trips to Afghanistan, he spent nearly six weeks with the Mujahideen during the Soviet/Afghan war in the 1980’s. He was beaten and imprisoned by Idi Amin’s soldiers in Uganda. He was inside the Grand hotel in Brighton in 1984 when the IRA exploded a bomb in an attempt to kill the Prime Minister, Margaret Thatcher.

I remember him showing me some of his work and explaining it to me when I was in my early teens. There was one photograph in particular that stayed with me. It wasn’t anything particularly harrowing or distressing but it was still a powerful image. It was of a simple peasant village somewhere in Southeast Asia. There was a large banner advert for some typically iconic Western consumer product displayed above the ramshackle huts and John explained the juxtaposition of the poverty of the villagers with the aspirational lifestyle promised by the product being advertised. The nature of that narrative, indeed the notion that there is narrative within an image at all had a tremendous impact on me at that time and is still something I aspire to within my own work wherever possible.

John was a master of using natural light and his photography made me think about light in a different way. It made me realise how much impact light can have on an image, how it can dictate the mood and overall feel of a shot. More significantly though, John’s work showed me how important an image can be in representing people and informing viewers. His work introduced me to the idea of thinking critically about visual communication, but above all it helped frame my understanding of a complicated world in ways that other media often can’t.

In 1990 he was one of the first journalists to visit the site of the nuclear power station disaster in Chernobyl in what is now Ukraine. Despite reassurances from the authorities that he wasn’t at risk, he was exposed to high levels of radiation and although no direct link can be proven, there is a high probability that his recent diagnosis with terminal lung cancer was a direct result of that visit. In his dedication to his work, to report on significant global events and their impact on people’s lives, he risked his own.

It is with great sadness that I learned that he passed away on the morning of 8th April 2020.

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Tube People

About a year ago I was on the underground and my attention was drawn to the man sitting opposite me. He was totally absorbed in what he was doing on his mobile phone, and seemed completely oblivious to anything around him, including the man who had just entered the carriage and was now sitting directly opposite him. As a photographer and being interested in people I decided to take a portrait of him on my phone.

I didn’t ask permission as it would have fundamentally altered the situation and the moment I wanted to capture. I guess I’d probably have been refused anyway. There are of course those who would argue that I should have asked first, but I believe that street photography and candid portraits are an entirely legitimate form of photography. Unless those images are being used with a view to commercial gain or are associated with a particular political view or a product endorsement, photographing people in public spaces is a valid form of a photographer’s craft, a way of seeing the world and recording a particular slice of life.

That first image, the first one in this little series, led me to repeat the exercise on subsequent journeys and slowly developed in to a kind of personal project almost every time I’m on the tube.

The project is all shot on my iPhone - it’s the perfect camera to provide anonymity and that’s what I soon realised this project is all about. I quickly recognised that what I was doing was trying to explore the sense of anonymity in what is in effect a very intimate setting. Often it’s worth shooting with a gut feeling and then analysing the subconscious thinking behind the image later. Underground trains in London are shared public spaces where people retreat in to their own private spaces, mostly through electronic devices, where people rarely engage or connect with each other, often in very crowded carriages. We travel together for a short part of our journeys and barely notice the people around us, who they are or what they’re doing. That strikes me as quite a nice metaphor for life.

In some instances I’ve clearly been rumbled, but I’ve only once been challenged. I was asked if I knew the person I’d just photographed and when I tried to explain the project I was cut short. I respected the person’s objection and deleted the image.

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