Dundonald Interview - part three

Here is the final instalment of an interview with professional golf photographer Mark Alexander regarding a recent shoot at Dundonald Links.

On an 18-hole course, such as Dundonald Links, is there a strategy you bring to the shoot?

Every hole is shot and most holes will be shot from a number of different directions using different lenses and types of lights. I tend to shoot early in the morning and late in the evening. Different light provides different story-telling platforms as each hole will look different in the morning compared to what it looks like in the evening. The way the shadows fall across the fairways or the way the saturated light falls onto the green creates a different emphasis on the design, which, for a beautiful course like Dundonald, you really want to highlight.

What is a day on the course like for you?

Dundonald was shot at the start of October. Although the weather can be more changeable in Scotland, it can also be quite beautiful at this time of year. Number one, the light becomes lower in the sky which gives you beautiful saturation and great colours, and also, it stays lower in the sky for longer throughout the day. Fortunately the sun comes up a little later, so I’ll be out on the course by about 7 am and then the sun comes up by about 7.30am. I normally won’t leave the course until about 6:30-7pm at night.

In the middle of the day, the light is too high in the sky so that’s when I nip off for a bit of lunch and a breather. By contrast, in the summer when the sun is up very early, I have a good period of light at the start of the day (from 4:30am onward) and at the end of the day (until about 9:30pm). During the late morning and early afternoon, the sun becomes too high in the sky. Thus during the summer, the good light is bookended to those two periods. In the winter, these periods of good light almost merge together making it a longer day.

What kind of camera do you use?

I use canon, and have done all my life. On this shoot I was using a 5D Mark II and 5D mark III and my main lenses were a Canon EF 70-200mm f/4L IS USM lens and a Canon EF 16-35mm f/2.8L II USM lens.

Is there much to be done to the photos after you’ve taken them? What kind of processing do they undergo?

I shoot in RAW, which provides me with the greatest quality of image possible and I process them in what is called the digital darkroom, in much the same way as old films were processed. The main purpose of that is to reproduce what I saw in the field and to produce a file to the highest possible standards. It takes a bit longer to do it this way, but I think it is worth it. My objective is to convey what I saw when I was on the course – it is certainly not to put in any detail that wasn’t there originally. 

Dundonald Interview - part two

Mark Alexander discusses the marketing potential and business applications of golf course photography.

Dundonald Links is recognised as a must-play links course. Professional golf photographer Mark Alexander reveals his approach to capturing the natural beauty of this stunning Kyle Philips design.

Once you’ve captured a series of photographs and processed them, how do you convert your artwork into a marketing tool?

Once I’ve delivered the high-resolution and thumbnail images to my client, it’s up to them to utilise the images the way they see fit. This is something I can advise them on, but this could mean looking at a new website, using the images for media inquiries, creating social media content or producing art to decorate the clubhouse.

It’s important to note that golf magazines always find it very difficult to find good photography. So, if you have decent photography, you’re one step ahead of the pack. Editors want something that sparkles and prompts a response from the viewer, and if you are able to give them that, they’re far more likely to use it, especially on a big spread. With this kind of photography, you’ll often find that suddenly your course has been put on a more prominent page. 

Likewise, tour operators and people who promote golf courses and destinations also struggle to find imagery that stands out from the crowd. So if you have a selection of professional images, they will be more inclined to proactively promote your club.

In addition, the images provide the potential to open communication channels to spread your messages. I often help my clients work through these opportunities, but from my side of the fence as a photographer, when I am creating the images, one of the key things is to capture a good variety of shots. To ensure that each photograph has a different atmosphere, I shoot with different lenses, at different angles and at different times of the day. For example, you can have highly architectural images which look at the movement of the land and the way the fairway changes, and you can also have images that look at the broader environment in which the course is set. So, by capturing a variety of shots, I ensure my clients have a selection of images that can be used to tell different stories.

When you are asked to provide a consultancy service, what is your first approach?

First, I like to sit down with the client and discuss their objectives; what they want to achieve, and by understanding their rational, we can work forward towards a clear goal. I like to explore different options like creating adverts, e-brochures, new websites or pamphlets. Whether the goal is to attract new visitors, get more coverage in magazines or go up in the top 100 lists, when I start to understand my client’s objectives, I can tailor the marketing strategy to suit their needs.

Stay tuned for an insider’s look at a day in the life of professional golf photographer.