AUSTRALIAN PHOTOGRAPHY MARCH 2016 AUSTRALIANPHOTOGRAPHY.COM 61
but to add that most important human factor to the story,” he adds.
The need to photograph without impeding the work on site has
seen Evans become adept at working quickly, developing in his
mind a secondary image set-up, ready to go in case the first plan falls
f lat, and establishing a rapport with the workforce, who in general
just want to go about their working day. All of this work comes from
commissions, he points out, as it is understandably very difficult to
gain the necessary site access just to build a portfolio.
He agrees there is a general perception that industrial
photography relates to dangerous and dirty situations but says
it is misguided. For example, in photographing for Rob Dolan
Winery the client wanted a very ‘industrial’ feel to the warehouse
and processing areas combined with the clean high-key images
of the sterile environments of the laboratory and tasting areas.
A continual compositional problem is gaining access to his
preferred vantage point from which to shoot the hero image.
It may be off limits for health and safety reasons, or simply
inaccessible, though by working closely with a site guide,
Evans usually identifies a suitable alternative.
Diverse subjects
Evans explains it is the diversity of the subjects you photograph
over the course of a single day that creates the technical
challenges in the genre. He carries several small lighting kits
from simple Canon Speedlites to the excellent Elinchrom
Ranger Quadra system, and many of the images in his portfolio
are a combination of using available light, light painting, and
multiple f lash units. Working underground, he says, he will lose
the first 30 minutes because the equipment and lenses fog from
the warm and humid environment. He uses the time to arrange
the f lash heads, work out compositions and get as comfortable as
possible working in full protective equipment. As there is no
"quickly nipping to the surface" if something breaks
underground, he always carries back-up equipment. Hauling a
fair amount of equipment on each assignment requires a solid
weight training and cardio program, he quips.
Shooting underground has a few challenges, says Evans.
“The main issue is that very often you will be working in dark
areas, lit with a variety of different coloured light sources.LEFT
“This was a very difficult set-up,” explains
photographer Trudy Schuringa. “The space
was small and the walls were red. I was
able to bounce the light from the ceiling,
angled towards the tour group. I specifically
positioned the people to cover the light
that’s reflected in the back window. You
can slightly see it. I used mobile lighting
equipment and a wide-angle lens. Canon
EOS 5D Mk II, EF 16-35mm f2.8L II USM
lens @ 23mm, 1/80s @ f/4.5,
ISO 320.BELOW
Dock Square Library, Docklands,
Melbourne, during construction. Photo by
Emma Cross. “I lowered the ISO to 50 to
compensate for using f8 in bright morning
sun and still hold the highlights’” says
Cross. “This photo was taken to show the
use of cross laminated timber panels in the
construction of the library. The shadow of
the worker adds interest.” Nikon D3X, Nikon
24-70mm @ 60mm, 1/160s @ f8, ISO 50,
polariser filter.