I’ve decided to take the experience I’ve gained through shooting for the series and continue to create conceptual images, but I’m lifting self-imposed technical constraints from now on, to allow myself a wider range of possibilities. Where the One Frame Movie series was intentionally shot on the basis of a movie still, limited to the 16:9 widescreen format, future photos will be formatted according to their individual concept.

(I’m continually on the lookout for volunteers and collaborators, so please check out the details of collaborative work and get in touch if you’d like to take part.)

The series has been hard work at times and frustrating on a few occasions, yet it has yielded a range of photos of which I can be proud. Aside from what it has brought me in terms of learning and the opportunity to extend my portfolio, I’m glad that so many people took part. Each of them has now gained from my learning process by getting copies of some unique and special photos.

I primarily shoot for myself and to enjoy the process of taking photographs, collaborating with subjects and assistants, and to be proud of the results. I wanted to get past “pretty” portraits which began flooding the Swiss Strobist groups in 2008 and do something more creative with light.

Being a long-standing fan of Annie Leibovitz’s photography, I wanted to try and emulate her results; highly composed and beautifully lit people photographs, unusual and theatrically conceived ideas, and a qualitative level of post-processing to embed the subject in the scene. Thence came the first real breakthrough in my people photography for several years.

The real kick-start to the series was in 2009, when I created the image above with the help of friends at one of the previously mentioned Swiss Strobist meetings. By adding dashes of light to the scene – an idea which came directly from Nick Turpin’s series of thriller author portraits – the picture comes alive. By then selectively editing the photo to remove everyday detritus such as cigarette butts and graffiti, the picture becomes slightly other-worldly and almost fake; facets become even more obvious when viewing the images at their full sizes.

Since my first successful attempts, friends, family and colleagues have all volunteered to take part and I am eternally grateful to them all. Assistants at some of the shoots have also earned a great many thanks: most recently Joscha, who helped me create the final image featured at the top of this article. All of my helpers and volunteers have, in their way, helped to push me forward and try to make better and better images.

At the risk of making this sound like an awards ceremony, I want to thank Jo for not only taking part in some of the photoshoots, but also for giving me much appreciated and valuable criticism which has helped me to see past the lighting geekery to the importance of the subject matter itself. Throughout my development in this series, she has given me honest feedback and helped me to concentrate more on the people involved and how they interact with the camera, rather than being consumed by the lighting and technical aspects. Thanks to her, future conceptual portraits will continue to improve: not just as technical but also as creative exercises.

It’s all too easy to get carried away when you finally figure out, after years of vaguely wishing, how to create a certain effect. I made the transition from “easy” photography – essentially point-and-shoot work with a DSLR – into highly complex and time-consuming preparation. The shot above of Choo Choo, for example, took a little over an hour to set up and get right, whereas previous portrait shoots could’ve been completed using natural light in a fraction of the time. Whilst this is fun and a great challenge for me, I am continually learning how to optimize photoshoots and to spend time on the right aspects of the image. Concept and pre-planning is an important part of the process, so that the photo shoot itself runs smoothly and successfully. (More on this in a future blog post.)

Part of my process has been to try and create as much of the image in the camera as possible, whilst more recent shots have also been aimed to test and extend my post-processing capabilities. Someone said to me recently that they liked the shots which “weren’t composed in Photoshop”, and it would interest me to know whether they realized just how few actually were fakes.

One of the biggest lessons I’ve learned in the series is how difficult it is for lesser experienced volunteers to act the part I ask of them. On my side, it’s a continual challenge – one I haven’t always conquered – to find a new expression for the subject and a new emotion to put at the centre of the image. The darkness and theatricality of most of the shots make it easy to choose fear as the main goal, but I feel that too many of the series have focused on this idea. I want to expand on the range of ideas and by moving away from a series with a fixed theme, I hope that the range of styles and effects will become wider.

I have also found that where a truly theatrical effect is the goal, photos tend to work better when there is more than one person in the photograph. The better shots (and comparably, many of my more constructed studio portraits) work much better in my eyes where there is more than one person in the image. That doesn’t mean that I’m only going to photograph couples and groups from now on, but, as with many of the other techniques and principles I’ve learned, that I’ll be paying more attention to the concept and little details of each photo in future.

A beer and a half-glass of water helped me to relax a bit and I fell back on the assurity that I knew how good my photos in this series are. Sure enough, my light, easy-going approach to the presentation and the audience’s focus on the photos meant that it all went off well. After the show, several people heeded my call for volunteers and stepped forward to get details from me. I’ve already begun arranging the next conceptional photo shoot and will have the images from the most recent complete one – shot a couple of weeks ago – online at the weekend.

Other presenters from Wednesday evening’s event were Christian Pauli; Luca Christen; Wolfgang Schärer; Alexander Tschäppät; Diego Häberli; Rose Marie Vocat; Sister’s Funky Tongue; Sonna B. Groeflin; Babette Althaus; Jacqueline Paglialonga; Clausette La Trine; Willi Grimm & Jon Gale; Karin Scheidegger; Lutz Bergemann; Wayne Sutherland; Christian Hosmann; Markus Guirard; Stanislav Kutac.

Recent images from the series

Here’s why.

I love taking photos. Plans for taking landscape views beckon whilst I sit in the office during the week and make me relax at the weekends. Photography always plays a part of trips away, although I find myself less keen to take standard views these days and concentrate on special memories or on unique situations. My real passion, though, is portraiture. Photos of people of all kinds; kids, couples, families, colleagues, friends and complete strangers. In the studio, in business surroundings or on location.

I have always been fascinated by the human face and form. Portraiture has always been my first photographic love. Many photographers try to capture a little of the character of a person, to show a little of their story or a part of their character. I go one step beyond this and take just as much pleasure in simply capturing the uniqueness of a face, or creating a scene and putting a person in the right position to create a visually striking and interesting image.

In this field, the most common problem for an amateur photographer – myself included – is finding subjects to photograph. My wife stands in for me regularly and the photos of her are, of course, a wonderful document of our life together. Strangers have volunteered for workshop days and I am forever grateful that they have helped make the courses so successful.

What I get from the photographs is different, according to who I am photographing and what my relationship is with them; if they are friends or family, I see the result in a completely different way to a picture of a stranger.

Studio days in 2010, organized through the Swiss Strobist group, enabled me to work out how to use the big lighting equipment and work with a group of volunteers to create some technically challenging people images.

Working with volunteers for the One Frame Movie series enabled me to get some portraits which I would not otherwise have achieved.

Both of these possibilities were opened to me by approaching people through online means; the Model Kartei website, where volunteers advertise for photographic work, as well as amongst people who know my photography through forums such as Flickr, Twitter and Facebook.

There is a point, though, where asking around amongst the people I know to try and find photographic subjects starts to become wearing. I feel guilty for asking those who have volunteered before to volunteer again, in case the requests become annoying to them. (I am wary of asking friends that I see rarely to pose for me, lest they think I only want to see them for photography.) It’s not about the volume of photographs either, but the variety of faces and scenes passing in front of my lens.

Many of my friends themselves are photographers, and are either reluctant to be photographed, or prefer to focus on finding their own models. Even offering free photoshoots seems to elicit little response, with people either declining to take part, or a variety of reasons leading to plans falling through. I have come to realize that photography plays a tiny part – if any part at all – in many peoples lives and that my passion for the image is rarely repeated in people outside the photographic world.

If you have read this far, then I hope you have some measure of interest in my photography. A project due for December, in which photographers put their talent to charitable use, is on my radar and I hope to take part. But between now and then, I want to continue to organize portrait sessions: free ones. I want to use the skills I’ve spent so much time and effort honing, and I want to give you, one of your family members or friends the chance to get a really good photograph of themselves. I hesitate before using the word “art” but my drive to create images is always there, waiting to be used.

Although the One Frame Movie series is complete, there is no reason for me to stop creating images in their style and to provide you with a unique image of yourself; anything from a costume-laden creation to a more standard, classic portrait.

So please: email me. I would love to your face add to my collection of portraits.

If you’d like to come along, please step over to Facebook to check out the details and I’ll look forward to seeing you there. Here are a few examples of recent additions to the project.

The projectionist and I tried out a variety of options to create the backlight effect, but this “faked” light effect was the best option. A regular digital slide projector was far too weak, and we found that the shutter speed of the traditional film projector (running at around 1/25^th of a second, if memory serves) made capturing the light from the projector whilst its shutter was fully open too difficult using the faster shutter speed of my camera. All of the light in this shot was therefore created using these two flash guns; there was pretty much no ambient light at all in the room. Lili’s glasses are the regular, polarized 3D glasses which cinema-goers use.

I found a great location for this most recent photo session in Emmental: the 19th century covered wooden bridge near Rüegsau was one of the first search results which came up when I started searching for images from the region, and proved to be a perfect spot. Although the setup of lighting and framing for the picture took a little while to get right, as usual, I only shot this setup and one other, more simple version, before moving on to a second location for the day.

Many thanks to Claudia and her son for taking part, and I hope you enjoy the photos which came out of the session!

The most recent photos from the series

I’m constantly on the lookout for people to photograph and I’d like to invite you, dear reader, to participate. I’m looking for volunteers over the age of 25 and I’m flexible as to the location within Switzerland. You get a free copy of the final piece in high resolution, and I get another photo to add to my series!

The photoshoot is, of course, free of charge and would take place one evening or one weekend. If you would like to involve your partner, family member or friend, that’d be great too, although this isn’t a “must”. I do ask, though, that female volunteers please bring a friend or partner with them, even if they’re not going to be in the photograph.

If you don’t want to volunteer yourself, but know someone who might be interested, please pass on my details to them! Under special circumstances, I’d be happy to travel to areas across the border into Switzerland’s neighbouring countries, within reason.

If you think you could be interested and would like a free, extra-special portrait, you can check out some examples of previous additions to the One Frame Movie series. I’m available for regular portrait sessions too and I’m also accepting bookings for weddings. I hope to hear from you and look forward to collaborating with you soon!

Why have you picked up a camera and started taking photographs?

I was given a Polaroid camera as a Christmas present when I was very young and a strong memory from my childhood is of reflected lights in camera and binocular lenses. My father always took lots of pictures when we used to go on holiday and so I suppose my interest started there. I always wanted to be creative but was never very good at drawing and painting, so I started using a camera and after learning how to develop my own photos at school, my interest grew from there.

What makes you push the trigger and what or who are your influences?

My main influences are photographers who excel in specific areas: Henri Cartier-Bresson for street photography, Jeanloup Sieff for black and white work, Gregory Crewdson for lighting, and Charlie Waite and Ansel Adams for classic landscape photography. More recently, I draw inspiration from people like Joe McNally and Nick Turpin, who stand out from the crowd in their chosen metiers.

I’ve been taking photos for such a long time that I tend to “see” photographs even when I don’t have a camera with me. My approach to photography is twofold; shots on the street or when I’m travelling tend to come about spontaneously, as I see something about to happen, or when the light is unusual or particularly striking. I’ve developed a good eye for street photography after regularly pounding the streets of London for several years before moving to Switzerland, and if I have a camera with me then I tend to be able to anticipate something happening which is worthy of a photograph. My second approach is the more carefully considered shot; setting a tripod up for a landscape scene and waiting until the light is just right is a great way to relax, and my One Frame Movie series contains portrait photos which take a fair amount of planning and control over lighting.

How do you feel when you are traveling out there in the world and making photographs?

Relaxed. There is something about being out in the fresh air, seeing scenes and taking the time to stop and contemplate them, which is a great change from my day job in front of a computer. There’s nothing quite as satisfying as arriving home with aching muscles and a memory card or film full of shots to be proud of.

What is the most difficult thing a travel photographer can experience?

It used to be the threat of having equipment stolen or damaged, but these days, it’s the heightened sense of security which everyone seems to feel: particularly in the U.K.. Not only do you run into problems with security guards and even the police telling you that you’re not allowed to photograph buildings in public – which isn’t even true – but even passers-by seem to be more aware of a camera-carrying photographer. Where I used to be ignored, perhaps fifteen years ago, I now have to keep developing my techniques of being inobtrusive. The situation is much easier for a street photographer here in Switzerland, as the public sense of being under imminent threat is nowhere near as acute as in many other western countries.

Has photographing people changed your point of view on them in any way? (e.g. Do you catch yourself staring at their faces from time to time?)

I suppose that through photography, I am more aware of the difference between beauty and an interesting face. Faces which are generally seen to be beautiful or attractive seem to follow certain standards and they are rarely as interesting to me as subjects which have something about them which sets them apart. I’m also acutely aware of the difference between a person’s physical appearance and their character; you can rarely tell what someone’s actually like just by looking at them. Part of my role as a portrait photographer is to try and capture what makes them appear as they do: whether a physical display of an aspect of their character, or simply a physical trait.

Do you remember the first photograph you made that took your breath away or that made you say: Wow! If so, what was it?

My own photos are rarely “wow” material for me until much later. Being in a beautiful location is much more “wow-worthy” than the photo which results from it. (In landscape photography, for example, all I really do is stand there and press the button. The natural world does all the hard work.) One of my favourite photos from when I was a teenager is of my grandfather: at the time, it was just a snapshot, but now, many aspects speak to me as an adult which I would never have seen at the time. Looking back, I’m also really pleased with the shots I took of friends at school, as they provide me with happy memories.

Could you tell me more about the “One Frame Movie” project?

The “One Frame Movie” photos are so called because they’re designed as if they were still frames from a dramatic movie. I became interested in learning how to better control artificial light and became involved with the Swiss Strobist group. In 2008, I took to organizing practical meetups and wanting to push the boundaries beyond boring portrait shots, I took the first photo in what was to become the One Frame Movie series. Since then, friends and colleagues have helped me by volunteering to take part and the series is an ongoing work.

If any of your readers in Switzerland would like to volunteer, I’m always on the look-out for people who want to take part! Shooting this year will re-commence in March or April.

Has being a part of the flickr community helped your photography?

Greatly, yes. I have made many good friends through Flickr and the work of friends like Eke Miedaner, Nick Yoon and David Hobby (amongst many others) keeps me on my toes! I also use the site a lot when I’m searching for location information, technical details or equipment reviews.

Many of the projects I have worked on involve portraiture, taking my subjects into alternative environments instead of the studio to create unique and characterful images. I have photographed bands, couples and individuals over the past few years and as my collection of images increases, the more requests for photography I receive.

I am continually on the lookout for interesting and characterful places to use in my photography and I am compiling a list of possible locations, to which I can return in the future and use in my photography. I am particularly looking for locations in Bern (city and canton), although suggestions for locations further afield are more than welcome. The first locations on my list will be for the continuation of my One Frame Movie series, which will not only take place in Bern but also as far afield as Winterthur, Zürich, Lausanne and Geneva. I wrote an article for the Swiss Strobist blog back in September which should give you an idea for the kind of places I’m looking for.

I do not have a fixed date in mind for any photoshoot or locarion, but I would like to provisionally compile a list of indoor and outdoor locations, contact the owners of such places, and gain their provisional permission for future photoshoots. I would, of course, be sure to contact them well in advance and arrange a mutually convenient time.

Photoshoots are almost always small: my model, an assistant and myself at most. I often set up artificial flash lights but these are entirely self-sufficient and would be used without any physical effect on the environment.

So, if you know anyone who runs a bar, restaurant, theatre, cinema, meeting hall or the like, or if there is a cool old stairwell or corridor in your workplace, building at home or on your route to work, please drop me a line or leave a comment here.

Some of the previous shots taken for the One Frame Movie series

After an enquiry from a gallery owner regarding a possible exhibition – an idea which has since dusted over after the gallery owner stopped responding to any emails from myself or a friend – I spent a week and a few hours over the next couple of weekends adding to the set, creating images such as the ones in Zürich, Lausanne and Bern, which have proven to be amongst my favourites so far. The shot above, of fellow photographer Shawn Koppenhoefer, was one of my favourites of the Lausanne set (as yet not yet published in full).

With the arrival of colder weather, I decided to hit the “pause button” and take a break from the series: to regain perspective, get fresh ideas, and enjoy living life away from the camera. This shot of Manuel Glauser was the last of the series I took in 2009, taken when the first of the snowy weather arrived in central Switzerland and helped me learn that a night shoot in sub-zero temperatures is limiting in the extreme for both portrait photographer and model alike.

New volunteers sought

Now that I’m well into 2010, I’d like to re-start the search for volunteers for the series: this time, with much less urgency, as the continuation of the series is purely for my own enjoyment now and I’m under no pressure to meet any deadlines. Photography is likely to begin in the spring, when it’s warmer, although I can arrange indoor sessions if the need arises.

What will you get for your efforts?

The photography will be a collaboration: you help me get the pictures I want and you’ll get a high-resolution copy of any successful images from the session, fully edited and ready to print or use for non-commercial purposes. You agree to let me use the images on- and offline for my own self-promotion and non-commercial use. (If I begin negotiating a commercial use for the photos, I’ll ask your permission first.)

Where can I see the photos you’ve taken so far?

In this Flickr set.

Where do I sign up?

Right here: send me an email at and you’ll get an answer straight away.

The first shots of the day were taken amongst the unusual concrete architecture of the train station and underground shopping complex at Stadelhofen, a shoot during which I was expecting to be interrupted by security guards despite gaining official confirmation from the SBB that photography in Swiss railway stations is allowed for non-commercial purposes. (More information about this part of the shoot can be found in an earlier article I wrote, entitled “It’s The Idea That Counts“.)

Tiefenbrunnen is a lake bathing area, which I’d seen in a few photos by friend Eke and had long wanted to visit, and the shoot there produced one of my most successful shots of the day. The nearby China Garden, in the park area at Seefeld, was an opportunity to try some different photographic styles and use a simple combination of black and white photography, shallow depth of field and movement to create a more natural effect. After visiting the Seefeld area, we paused on the way back to the tram stop to set up an addition to my One Frame Movie series, entitled “Running Scared“.

Finally, once the evening began to draw in, we headed for the Minster Bridge in the city to take a few shots using the illuminated city as a backdrop.