I’m just back in. It’s a beautiful crisp January afternoon in the Oxfordshire Cotswolds. Despite the clear blue sky, not a day to dawdle on the location shoot, thanks to the cutting wind.
Location photography in Britain is such a testing discipline. I am often racing storm-clouds to a location across the country, despite the weatherman’s assurances that the day will be fine.
I had just that problem with the weather on a shoot last summer. I was booked to cover an Open Day at a huge grain store a few miles from the studio. The agency added that throwaway remark that will be familiar to any pro: “See if you can get some nice exteriors while you’re there.” It seems such a reasonable request….. but architectural photography, (which I better make clear I love shooting) is unsurprisingly, all about the light. Only when the light is where you want it, can you begin to think about framing your shots and responding to the building aesthetically, as the architects will expect of you, since they sweated blood to achieve it. Surprisingly, this rarely seems to fall into line with a day photographing visitors, enjoying guided tours of a facility for the purposes of PR.
There will be moments when you see a shot and have just enough time to set it up. Factories often have areas painted different colours to identify them. Powerful lighting and an interesting angle can make a dramatic shot that is almost unnoticed by the naked eye. A pleasantly surprised client is usually a happy one.
Interior grain store: yellow hoppers
As for the exteriors, it was hopeless – grey skies, overcast and drizzling. I knew I had nothing for the client.
Watching the weatherman that evening I realised I had a lucky break, should I choose to take it. He was describing a change in the weather and a great day to come. I knew I had to go back and get my exteriors. I also knew that there was no budget for a second visit, so the shots would have to be good enough to earn their keep, but it was close enough to be feasible. Back at the site, as and when they pulled into the yard, I commandeered lorries, begging the goodwill of the drivers. Each time, I had to work fast, delaying their work schedules as little as possible.
By the time the lorry shots had been taken, the sun had moved around the building and I was able to start shooting my exteriors. I think I will be forgiven for saying the building is no beauty. It was an instance where colour really adds nothing, but in black and white there can be great drama.
If you are ever in the OX7 region, driving on the B4030 between a little hamlet called Gagingwell and Enstone, look to your right (watch the winding road) into the old airfield. You can’t miss the grain store, but I rather hope you won’t recognise it from my photography. Without wishing to be unkind, let’s just say my job is usually to portray the world in the best light possible.
