Hu Jintao, President of the People's Republic of China

As many followers of my blog, Facebook and/or Twitter will know, I had a very unique assignment last week, photographing the British Prime Minister David Cameron on his recent visit to Beijing. It was one of the most interesting assignments I have ever had, mainly because of the access that I was able to get to the PM and the people that he was meeting thoughout his trip.

When I was approached to undertake this job, I assumed that that the PM would be meeting some high-ranking Chinese officials and I hoped that he would be meeting with those at the top. When I found out he would indeed be meeting the main leader in China, President Hu Jintao, my levels of anticipation were raised significantly.

Hu Jintao, is rarely seen outside of formal surroundings and images of him are much harder to come by. His security is tighter than for any other person in the country and he was recently voted by Forbes magazine as ‘the most powerful person in the world’, ahead of American President, Barack Obama. Whether you agree with that statement or not, the opportunity to photograph this man was one I did not want to pass up.

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The Guardian Newspaper | UK

<<Return to the Learning Zone With today’s post, I wanted to give readers an insight into the day-today shooting of a pro-photographer. I’ll be talking about something that is a key skill for working photographers, especially those who work on-assignment usually to tight or restrictive deadlines. When you are working as a photographer, it is of paramount importance that when you are assigned to a job, you ‘get the shot’ that your client wants.

Most editors/clients have little patience for excuses such as ‘the light wasn’t good’, ‘i didn’t have the right lense’, ‘the atmosphere wasn’t right for a picture’ etc. These are poor excuses and a client hires you because they expect you to overcome these obstacles and get the picture, because it’s your job to deliver.

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Charlotte, poses for a photo, during a break between classes. 2007

*This week’s ‘Photo of the Week’ is an image from my story on the Bethel Training Center for Blind Orphans, currently being featured on the Photophilanthropy website. Below is the extract which supports the story. To see more images from this story, please click on the Photophilanthropy link.”

“I can see, and that is why I can be happy, in what you call the dark, but which to me is golden.” – Helen Keller, Blind and Deaf US Writer.

There are around 500,000 blind and visually impaired children in China. As a result of China’s strict one-child policy, children born with physical or mental disabilities are regularly abandoned as parents strive to have their only child born ‘normal’ and well.

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A Japanese child, perched on his mother's bike. 2003

I was trawling through my archive today, looking for images to accompany a presentation that I am giving as part of my workshop tomorrow. As I looked through my ‘older’ files, I stumbled upon many of my images that I took while I lived in Japan between 2003-2004. I had just finished University and I was quite unsure about what direction my life was taking. Having been dabbling in photography for a year or two, I decided to take myself off to Japan in order to experience a completely alien culture to my own and see what it brought out in me photographically.

At the time I did not work as a professional photographer. I was on the JET programme, an initiative run by the Japanese government that brought native English speakers to the country to teach schoolchildren. I was based in the small and little-known town of Himeji, on the coast, south of the larger cities of Kobe and Osaka. My main school was in Himeji itself, however for two days of the week I would get on a boat and head out to a small group of islands off the Japanese coast to teach in a school that served the small archipelago.

My daily commute involved a 20 minute bike ride to the local docks, a 25 minute speedboat ride and then another 20 minute bike ride to the school. Not the worst way to travel to work! On one of my commutes whilst cycling on the small islands, I stopped at a small junction and saw this young Japanese buy perched on his mother’s bike. Using my small Minolta Dynax 5, loaded with my favourite film at the time, Fuji Velvia 50, I snapped this one frame of the boy.

I love this photo, as it is one of the first portraits that I was truly happy with and it takes me straight back to my experience of living and working in Japan. The islands (called Ieshima, by the way) were a unique place, and like Japan, hold a special place in my memories living, working and travelling in Asia.

My Image on the front page of Canada's national newspaper yesterday.

I got a surprise yesterday evening when I got a text from a colleague telling me that one of my photos had run on the front page of Canada’s national newspaper, the Globe and Mail. Regular readers of this blog will know that I have been contributing the visuals from China quite a lot to the Globe and Mail recently. They are a great team to work with and I was delighted to see that they had decided to run my photo of Mao Zedong’s personal photographer Hou Bo, taken at her home in Beijing, as part of the coverage of China’s 60th birthday.

If you missed my last post about this assignment and meeting this remarkable photographer, please head here to read it.

China. Beijing. A young boy in a hutong near Tiananmen Square. 2005

I first came to China in the autumn of 2005. I had just finished a 1-year paid internship at Magnum Photos in London and upon the completion of the internship, Magnum gave me and my fellow interns a grant in order to help begin our work as photographers. The grant basically enabled us to afford a plane ticket to anywhere in the world. I decided to go to China.

For 6 weeks, I walked the traditional alleways, or  hutongs, that make up the old part of the center of Beijing working on a story about the disappearance and destruction of these traditional neighborhoods. One evening I came across this young boy, standing, watching the world pass him by in a hutong to the south of Tiananmen Square. At this point, I spoke virtually no Chinese which presented the challenge of trying to capture a portrait without being able to communicate with my subject. So, how do you do it?

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