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  • 1. welcome january Throughout my career and life I have had heroes; people I’ve looked up to, admired, been influenced by and respected for their achievements and attitude. Many of them have been photographic heroes. Most of these have been people whose work I could never hope to emulate, but from whom I have managed to grasp nuggets of insight – a few words that have given me more understanding of my work and/or the industry. It is why each month we try to bring you as many exclusive interviews with the world’s greatest photographers, so that you can benefit from their experiences and hear and learn from the best. This month we have compiled a series of interviews with some of the most iconic and important photographers in their fields and I’m honoured to have them feature in our magazine. Toscani, Watson, Schapiro and Schadeberg, thanks for the insights. Every month we feature your images and this month sees us devote 18 pages to the winning and commended images from the Professional Photographer of the Year Awards 2010 from Page 103. The quality of the images you enter gets higher by the year and ever harder to judge. I hope you agree with the selection, although as with any photography competition I’m sure there will be great debate over our choice of the winning images! We had an incredible rise in the standard of student entries this year, which bodes well for the future of our profession, despite a lot that I hear and see coming out of the universities. Someone who is giving his time to back up his beliefs is photographer Jonathan Worth. You can read about his ground-breaking Phonar Project in Turn On, Tune In, Drop In from Page 38. One of the most discussed channels for promoting a photographer’s work is the photographic exhibition. How to stage one on budget and successfully can often seem like a secret dark art, so we decided to speak to the experts to find out how to get it right. You can read what they had to say in Make an Exhibition of Yourself from Page 80. While on the subject of exhibitions, what we at PP have noticed during 2010 is the vast number of them devoted to rock photography from the past 30 years or so. We mention them and occasionally feature the most interesting but we wanted to look into the ‘Why?’ in more depth, so we asked ex-music journo Peter Silverton to take one of his personal journeys into finding out the truth and asking the difficult questions in Let it Rock from Page 74. We have had an amazing response to our new regular column The Dench Diary from Page 42 and to our revamped monthly podcasts featuring myself, our deputy editor Eleanor O’Kane and the drink-friendly, sometime working pro himself, Peter Dench. You can find out more about the podcasts in On Your Wavelength on Page 30. As the owner of a couple of Pentax 67s with lovely wooden handles I couldn’t wait to get my hands on the 645D, Pentax’s return to theTHIS IMAGE / COVER IMAGE: ALBERT WATSON medium format marketplace. However, I thought that the leading garden and lifestyle photographer Jason Ingram was better placed to put itEDITOR’S IMAGE: MATT HALSTEAD through its outdoor paces. You can read his findings in Back in the Game from Page 98. Now, as I’m running out of space, it just leaves me to thank you all for your support in 2010 and to look forward to 2011. Grant Scott, Editor
  • 2. NEW PHOTOGRAPHY 8 Portfolio The best of your work posted in the Professional Photographer online gallery. 59 Exposure contents january Darkrooms revisited. A nostalgic look at the place many of us once called home. NEED TO KNOW 27 Being There PP Editor Grant Scott travels to northern Pakistan to photograph Jemima Khan – with the usual mishaps. 34 Dispatches Photographer Clive Booth realises that wedding photography can be a challenge and a pleasure. 42 The Dench Diary Photojournalist Peter Dench’s real-life tales of a sometime working pro. 46 Film School Film maker John Campbell’s regular news-packed look at the world of convergence. 49 Frontline The photographic director at 4 Creative, Channel 4, Ed Webster, gives advice on how to get commissioned. 146 Legend Peter Silverton takes a look at the life and times of the French street icon Robert Doisneau. INTERVIEWS WITH... 38 Turn on, Tune in, Drop in Photographer Jonathan Worth has turned photography education on its head and embraced social media. Eleanor O’Kane finds out why and how. EXCLUSIVE... 60 Photo Power Priest and nun, taken by Oliviero Toscani for a Benetton advertising campaign, 1991. Oliviero Toscani has been and remains one of the world’s most controversial photographers. Jesper Storgaard Jensen travelled to his studio section exhibiting the winners and commended in Tuscany for an exclusive conversation with this NEWS & REVIEWS images from all categories. photographic provocateur. 14 Click 135 Stop Press... 68 The All Seeing Eye This month’s line-up of the best news, dreams, The latest essential news, gossip and kit from the Albert Watson is one of the most successful and themes and photographic schemes. pro world. influential professional photographers of the past 40 years. Here he speaks to Sean Samuels about 25 Diary his career. Our pick of this month’s photographic exhibitions. KEEP IN TOUCH 80 Make an Exhibition of 57 Object of Desire 30 Podcast Yourself We fall in love with a great pair of headphones. Every month we go online to discuss the world of We speak to the decision makers to help you photography and you can hear our debate for free. understand how to create a successful exhibition of 98 Back in the Game your work. Pro photographer Jason Ingram puts the Pentax 32 Subscribe 645D through its paces. Check out our latest subscription offer so you’ll 86 The History Boys© OLIVIERO TOSCANI never miss an issue of your favourite photography We talk to documentary photographers Jürgen 103 The Professional Awards magazine again. Schadeberg and Steve Schapiro, who have been Winners Announced responsible for photographing some of the most We have had our best-ever standard of entries this 53 Feedback important moments of the last century. year, so we have celebrated with a 29-page special Your thoughts, your opinions, your page. 5
  • 3. friends januaryJulia Molony Sean Samuels Oliviero Toscani Jonathan WorthJournalist Journalist Photographer PhotographerJulia started her career on the features Deputy editor of our sister magazine, There are few photographers working Jonathan Worth works from Londondesk of the Sunday Independent in Photography Monthly, Sean is an in the professional commercial arena and New York as a freelanceIreland. She is now a freelance writer occasional contributor. This month he who have created more controversy photographer where his client listliving in London and covers arts, meets two legends who between them than Toscani. His driving passion to includes the New York Times andculture, entertainment and lifestyle have nearly 100 years’ experience in use his photography to get people to Vogue. He is a part-time lecturer onstories for a number of newspapers the business. On page 68 he reveals think, debate and engage has always the BA photography degree course atand magazines, including the how Albert Watson’s graphic style has been intimately connected with his Coventry University, and his researchObserver and Guardian Unlimited. marked him out as one of the most innate understanding of how outrage developing sustainable workingIn this issue she talks to some of successful professional photographers can be used to raise a brand’s public practices for photographers has wonthe country’s major gallery owners of all time. He also examines the awareness. Despite his idyllic life in wide acclaim and been discussed inand curators to discover why they reportage work of Steve Schapiro, the Tuscan countryside he still retains the European Parliament. On page 38choose to exhibit the work of certain which forms part of our feature The that passion, as Jesper Storgaard he explains how his way of thinkingphotographers. See page 80. History Boys on page 86. Jensen discovers on page 60. has influenced his teaching. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane DEPUTY ADVERTISING MANAGER Nicola Crosta ORDER HOTLINE 01858 438840 Professional Photographer is published, 01242 264785 VISIT monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE Leigh Barr EMAIL Archant House, Oriel Road, Cheltenham,, 01242 265895 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds SALES EXECUTIVE Amy Pope Fiona Penton-Voak, 01242 216054 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech CLASSIFIED SALES EXECUTIVE Bianca Dufty Lisa Flint-Elkins,, 01242 211099 01242 264751 EDITORIAL ASSISTANT Jessica Lamb GROUP COMMUNICATIONS MANAGER MD SPECIALIST MAGAZINES Miller Hogg Lucy Warren-Meeks, 01242 264783 CONTRIBUTING EDITORS WHOLESALE AND RETAIL DISTRIBUTION London: Suzanne Hodgart, Geoff Waring PRODUCTION MANAGER Susan Bozzard If you have difficulty obtaining Professional Photographer, New York: Jake Chessum, REPROGRAPHICS MANAGER Neil Puttnam contact Seymour, 86 Newman Street, London W1T 3EX Printed by William Gibbons Phyllis Giarnese, David Eustace TELEPHONE 020 7396 8000 01242 264767 © Archant Specialist. Archant Specialist is part of Archant Ltd. I While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. I Employees of Archant Specialist, and those professionally connected with the competition/ giveaway, for example, employees of the sponsor company, are not eligible to enter. I Unless otherwise stated, competitions/giveaways are only open to UK residents. I Prizes are as described and no alternatives can be offered. ABC certified circulation I The editor’s decision is final and no correspondence will be entered into. I Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. (Jan-Dec 2009): 11,816. If you are sending your entry by text and do not wish to be contacted, please add the word ‘NO’ to the end of your text message. If you are sending your entry by post, please tick the appropriate boxes on the entry form. 7
  • 4. PORTFOLIOEach month we share the best of the latest postings from our online portfolio with our magazinereaders, so for your chance to appear in Professional Photographer, go online and start uploadingyour best images to If you want to see more of anyphotographer’s work, click on their online profile to access their website. LUIS HENRY DAVID ANDERSON, AGUDELO CANO, SCOTLAND COLOMBIA J COLLINGRIDGE, UK8
  • 9. click The new deal Art dealer Chris Beetles is opening a new gallery dedicated to photography, in Swallow Street, in London’s West End, that will sell work by legendary photographers such as Terry O’Neill, André Kertész and Bruce Davidson. The first show, which will take place in February, is a major retrospective of Magnum photographer Eve the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane Arnold. A gallery owner selling fine art since 1975, Chris Beetles has been showing work by photographers since 2006 when he staged a successful show by Terry O’Neill. Since then he has shown work by British greats such as Patrick Lichfield, John Swannell, Cecil Beaton and Duffy, to name but a few. The new gallery hasANDRÉ KERTÉSZ an ambitious 2011 schedule and aims to Washington hold between six and eight exhibitions a year. Square Park, New York. DOMINIQUE ISSERMANN Cannes canned for Sony World Photography Awards Previously held in Cannes, the Sony World Bella Donna Photography Awards is coming to London for the first time in 2011. On 27 April, the Italian actress and model Monica Bellucci neo-classical Somerset House will play host (pictured above and right) originally wanted to be to the awards ceremony as part of a festival a lawyer and it was while studying at university which begins the previous day and includes that she began modelling to fund her studies. events, talks and seminars. During the She was signed by the Elite agency at the age of festival, which runs until 1 May, workshops 24, going on to have a successful modelling will cover topics such as compiling your career and becoming a popular actress. During portfolio, book design and merging film with her career she has appeared on the covers of stills; also photographers including Tom magazines such as Elle and Esquire as well as Stoddart and Pedro Meyer will be discussing Sports Illustrated’s celebrated Swimsuit Issue, and their work in the Photographers’ Studio. has been photographed by the likes of Bruce The awards cover genres from documentary, Weber, Helmut Newton and Ellen Von Unwerth. landscape and sport to portraiture and Now a new book from Rizzoli features 165 fashion. The winners and runners-up will be ARTEM YANKOVSKY Sony World images charting her 25-year career. The book has showcased in an exhibition running until Photography a preface by film director Giuseppe Tornatore. Awards 2011 Open 22 May. For more details on events and Competition entry. Monica Bellucci, by Monica Bellucci, published by festival tickets visit Rizzoli, £37.50, ISBN: 978-0-8478-3507-2. 14
  • 10. “I’m like a muse who enjoys watching an artist portray her and who lives only through the peopleVINCENT PETERS who describe her form.” Monica Bellucci
  • 11. Let’s go deutsche The callingThe shortlist for the Deutsche Börse Panos Pictures is calling for new ELAD LASSRY/ COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES, CAPhotography Prize 2011 has been announced, photojournalists to join its agency. Known forwith German Thomas Demand, Israeli Elad specialising in global social issues, the agencyLassry and Americans Roe Ethridge and Jim has worked for more than 20 years with both theGoldberg making the final cut. The annual commercial and non-profit sectors. It has a listprize, which will earn the winner £30,000, is of photographers based all across the globe,awarded to a living photographer who has made from Bangladesh to Belgium, with its Britishthe most significant contribution to photography photojournalists including Abbie Trayler-Smithin Europe between 1 October 2009 and and George Georgiou. This year the agency is30 September 2010. Judges include Brett also encouraging photographers withRogers of The Photographers’ Gallery, who is multimedia skills to apply – the deadline isinterviewed in our feature about exhibiting 1 March. Full submission guidelines and rulesyour work on page 80. are available from the agency’s website. For the details visit life less ordinaryHas there ever been a photographer as versatile as CecilBeaton? From designing book jackets, stage costumes andBroadway theatre sets to photographing the Bright YoungThings of the 1920s, the devastating aftermath of the Blitz,and the Royal family – of whom he was officialphotographer for a period – Beaton excelled at it all. Born inHampstead in 1904 to a prosperous family of timber ASSOULINEmerchants, the young Beaton was introduced to photographyby his nanny, who owned a Kodak 3A. After graduating fromCambridge University he lasted just a week in the familybusiness before leaving to set up his own studio and from there he went on Beaton: The Art of the Scrapbook. Brought out by French publisherto work as a staff photographer for both Vanity Fair and Vogue. Known for Assouline, the book reads like a giant mood board filled with images thathis society portraits and fashion images, Beaton also worked for the British embody the dreams and vision of this extraordinary talent whose life wasMinistry of Information during the Second World War. His image of a as glamorous as the subjects in his society pictures. James Danziger, formerthree-year-old victim of the Blitz in her hospital bed clutching a teddy bear picture editor of the Sunday Times Magazine has written the introduction.was one of the most memorable of the war. Beaton: The Art of the Scrapbook, published by Assouline, £170, Now, dozens of his scrapbooks filled with clippings from magazines and ISBN: 978-275940472-8.newspapers, as well as playbills, have been immortalised in a book: 17
  • 12. ADRIAN FISK Let me take you by the hand… It seems that everyone is into street photography at the moment but the concept is nothing new as a free exhibition at the Museum of London shows. In London Street Photography, which opens on 18 February, the museum’s impressive collection of street photography from 1860 to the present day will be on display until 4 September. More than 200 images are on show at the museum in London Wall, which portrays the capital as an ever-changing city. This is England During 2007 and 2008 photographer Simon Roberts took a road trip across England in a motor home to capture the essence of the nation’s identity through images of the country at leisure. Now, an exhibition at the Museum of Croydon, We English, is showing 29 images from the project (including Croydon summer festival, pictured), which took him to all corners ofSIMON ROBERTS England. We English is showing until 26 February. He sells sanctuary The dream-like, cinematic style of internationally renowned photographer GREGORY CREWDSON Gregory Crewdson evokes the elusive style of film makers such as David Lynch. On a visit to Rome, Crewdson was invited to tour Cinecittà, the legendary Italian film studio founded by Mussolini and used most famously by Federico Fellini and Roberto Rossellini. Inspired by the strange beauty he found in its crumbling film sets and desolate walkways, Crewdson decided to record the faded glory of the studios for his latest project, Sanctuary. Published in a new monograph, the black-and-white images are a new direction for Crewdson but retain the drama and beauty of his earlier work. Sanctuary, photographs by Gregory Crewdson, published by Abrams, £39.99, ISBN: 978-8109-9199-6. 19
  • 13. The hell of copper, Fenton’s Accra, Ghana, 2008. finest on show The National Media Museum in Bradford has ROGER FENTON, COURTESY OF THE NATIONAL MEDIA MUSEUM acquired a rare Roger NYABA LEON OUEDRAOGO Fenton image for the National Collection of Photographs. The picture, Pasha and Bayadère, dates from 1858 and depicts a dancing girl (theWorld class bayadère) performing for a high-ranking official;It’s all about short lists this month as we enter competition the theme reflects theseason. Twelve photographers are in the running for the contemporary love affairPrix Pictet, including American photographer Taryn with all things from theSimon and the German Thomas Struth. This is the third East. It is among a seriesyear of the competition and has the theme of growth. that Fenton shot after an expedition during the Crimean War and is considered one of hisThe jury, which includes last year’s winner, London-based best works. In the tableau, the pasha or official, is portrayed by Fenton himself, with theNadav Kander, as well as art historian Michael Fried, will musician played by English landscape painter Frank Dillon. Plans are in progress to displayannounce the winner on 17 March. the image; in the meantime it is available to view by
  • 14. click The future is bright The 2011 LPA Futures competition is open and organisers are calling on all emerging commercial photographers to enter. LPA Futures is a division of the Lisa Pritchard Agency and represents five up-and-coming photographers during a two-year programme. Previous winners have landed commissions from major commercial clients as well as gaining attention in international awards, such as the Taylor Wessing Photographic Portrait Prize and the World Press Photo Awards. Judges include Tim Cole, the head of photography for Saatchi & Saatchi Design, and Laura Pannack, one of the 2009 LPA Futures photographers, who took first prize in the portrait singles category of the World Press Photo 2010 awards.LAURA PANNACK The deadline for entries is 7 February 2011. For details about how to enter visit 21
  • 15. click Let’s dance We featured British legend Colin Jones in our October 2010 issue, telling how he went from ballet dancer to documenter of black activism. Now Proud Chelsea presents an exhibition of his images in Fifty Years of the Royal Ballet, photographs by Colin Jones, which runs from 13 January to 27 February. Jones won a scholarship to the Royal Ballet School in 1953 and it was while touring with the company that he bought his first camera in Japan. After a trial with the Observer his career took off and the rest, as theyCOLIN JONES / ARENAPAL.COM say, is history. For the exhibition, Proud had full access to Jones’s archive which provides a rare glimpse of life behind the scenes of the Royal Ballet School. Portraits of stars such as Dame Margot Fonteyn and Rudolf Nureyev sit alongside action shots and intimate behind-the-scenes images of a glamorous and often gruelling world. Fifty Years of the Royal Ballet, photographs by Colin Jones, 13 January to 27 February. DARCY PADILLA An image from The Julie Project. Badge of honour ALBERT WATSON AND THE MACALLAN San Francisco-based photographer Darcy Padilla has Juan Pruano Duque, been awarded the 2010 the oldest cooper, Tevasa Cooperage, W Eugene Smith Grant in Jerez, Spain, 2010. Humanistic Photography for her SUN LEE photo-essay The Julie Project, a study of AIDS, poverty and Capturing the spirit drugs in America. Padilla’s entry Rising sun was picked from more than 182 Renowned photographer Albert Watson has collaborated with entries from 32 countries and her Sun Lee was judged the overall winner Macallan, makers of single malt Scotch whisky, to shoot a series of prize includes a $30,000 grant to at the Association of Photographers black-and-white images for The Macallan Masters of Photography. continue her exploration of the Assistant Awards 2010, which also The project tells of the prized sherry oak casks that contribute 60% human condition. The W Eugene recognised seven best in category of the whisky’s flavour. Starting in the forests of northern Spain, Smith Memorial Fund was winners as well as giving nine merits. before going to the cooperage in Jerez in the south and culminating established in 1979 to honour His image Railyard (above) took in Scotland, the project took Watson on a journey that lasted 12 days the life and work of the the overall prize as well as the best in as he captured the story of The Macallan from acorn to glass. celebrated photojournalist; it category for environmental single. The work will be exhibited around the world and a series of provides grants to photographers The catalogue featuring all limited-edition signed platinum prints will be available. Don’t miss whose work exemplifies 92 short-listed images is available our exclusive interview feature with Albert Watson on page 68. his attitude to photography. via Blurb or at the AOP Gallery. 22
  • 16. We have done the hard work for you and chosen the best photographic exhibitions on show this month. For a full list of exhibitions and events visit Twentieth Century Portraits: Photographs by Dmitri Kasterine National Portrait Gallery, St Martin’s Place, London, WC2H 0HE 020 7306 0055; Until 3 April Dmitri Kasterine’s remarkable portraits are on display in the United Kingdom for the first time this winter at the National PortraitDMITRI KASTERINE / NATIONAL PORTRAIT GALLERY, LONDON Gallery in London. Kasterine has photographed some of the most famous cultural figures of the 20th century, including Samuel Beckett, David Hockney, Stanley Kubrick and Francis Bacon. Twenty newly-acquired photographs will be shown in the exhibition for the first time. Although the exhibition has been running for a while now, we think it is definitely DAVID SEYMOUR / MAGNUM PHOTOS worth a visit. Stanley Kubrick, London, 1969. Manga Dreams Hamilton’s Gallery, 13 Carlos Place, London, W1K 2EU Sophia Loren. 020 7499 9494; The Magnum Mark 27 January to 5 March Magnum Print Room, 63 Gee Street, London, EC1V 3RS Manga Dreams showcases the work of 020 7490 1771; photographers Jonathan Anderson and Until 26 February JONATHAN ANDERSON AND EDWIN LOW Edwin Low, whose new project explores The Magnum Mark celebrates the legacy of the concepts of identity, culture and Magnum’s print archive and its wealth of iconic costume. During a trip to East Asia in images. The exhibition uncovers the process and 2004, Jonathan and Edwin witnessed a craft involved in printing Magnum’s famous cultural phenomenon. The young people photographs, as well as examining its traditional were tailoring their look to mimic that image distribution. Previously unseen press prints of the manga cartoon characters. will be included in the exhibition, alongside work Anderson and Low apply this look to from founder member George Rodger. A small their subjects by using extremely styled collection of Magnum’s most famous work, such as hair, elaborate costume and dramatic poses. Through digital technology and post-production, the controversial The Falling Soldier, by Robert Anderson and Low have created a world that no longer feels entirely like our own. Capa, and Marilyn Monroe on the set of The Misfits, captured by Eve Arnold, will also be shown. Alistair Taylor-Young book The The Little Black Gallery, 13A Park Walk, Chelsea, SW1 0AJ Phonebook, 020 7349 9332; a collection 12 January to 12 February of images The Little Black Gallery in Chelsea presents captured Alistair Taylor-Young’s first UK solo exhibition. on hisALISTAIR TAYLOR-YOUNG Specialising in fashion, beauty, travel and mobile luxury, he is perhaps best known for his phone. commercials and campaigns with brands Alistair will be signing copies of his book at such as Lancôme and Dunhill. The show the exhibition on 22 January, between 11.30am will coincide with the launch of his and 12.30pm. 25
  • 17. Onceinalifetime This month PP editor Grant Scott recalls a shoot with Jemima Khan, in Lahore, Pakistan, that turned into a week of warrior tribesmen, bad food, pashminas, armed guards and rerouted flights. It was 1999 and Jemima Khan, daughter of the late financier Sir James Goldsmith, had decamped to Lahore in northern Pakistan to live with her husband, the retired cricketer and recently elected politician, Imran Khan. I was art directing Tatler magazine which, through a series of connections, had managed to Flying Michael from New York to Lahore was A contact sheet of images featuring Grant’s journey into get agreement from Jemima not only to interview going to be expensive and meant there was no Lahore, the crumbling palace location and the view from the top of the disused cinema. her about this new life but also to photograph her money in the budget for him to bring an assistant. with Imran and their young sons at home in Fortunately, he was willing to accept this and was Pakistan. At the time this was quite a scoop and happy with my offer to help him as best I could. From the moment we arrived intrigue, lack of therefore required my full attention to ensure that With the team in place all that was left to organise information and confusion became a major part the images were as strong as possible and that we were the flights and our accommodation. of everything we thought we were doing and tried got a commercial cover image from the shoot. Flights were booked for the London team to fly to do. We had been told that we would be The idea was that this would and should be a with Pakistan International Airlines via the photographing Jemima at her house. This was not bestselling issue. capital, Islamabad. Michael would fly in direct the case. We were instead driven to a fading and The decision was made to shoot a number of from New York and our accommodation was to be crumbling warren of a building in the heart of fashion-styled portraits of Jemima, which would arranged by Jemima. A day’s queuing at the Lahore just behind the famous Royal Fort. require a small team of fashion director, hair and Pakistan Embassy saw us all given our entrance We were dropped off at the end of an alley where make-up, me and, of course, the right visas, after much confusion. We were ready. we were met by our guard, a proud warrior aged photographer for the job. The additional member The flight out was as good as it could be thanks at least 60, dressed in full dusty tribal uniform of our team would be a friend of Jemima’s who to an unexpected upgrade to first class for the holding a rifle that didn’t look as if it had seen had helped us to arrange the shoot and would be whole team and when we landed in Lahore we action since the days of the Raj. He looked coming along to write the article. were ready for what was expected to be a five-day fantastic but to me a little too like an extra from I had been commissioning a New York based shoot unlike any other we had been on before. Carry on Up the Khyber. fashion photographer called Michael Mundy a lot Our expectations were confirmed as soon as we As any pro photographer knows, the great at the time. We seemed to have a lot of interests in arrived at our hotel – a vast modern complex unspoken art of our profession is that of common; I liked the way in which he approached built specifically for an international football flexibility. Whatever situation you find yourself environmental portraits and, although we had tournament that never happened due to the in, however bizarre, you have been employed toGRANT SCOTT never met, I felt that his easygoing attitude was country’s political unrest. It stood in stark do a job and that’s what you need to keep focused exactly what we needed for a shoot which could contrast to the real Pakistan we had seen on our on. All of the crew and particularly Michael did easily throw up some unexpected situations. short journey from the airport. exactly that and began a recce tour of the 27
  • 18. beautiful but unexpected building to which our An outtake from Grant’s shoot with Jemima for InStyleguide led us. It had evidently once been a palace magazine in London.but was now overseen by a political colleague andsupporter of Imran’s. Filled with rich textiles and Royal Fort to see street children play cricket andfaded, majestic furniture, and oozing atmosphere, the homeless inject drugs on the streets; weit was the perfect shoot location, like a film set visited an ancient shrine and British Armyfrom an Indiana Jones movie. Both Michael and graveyard at night, finding our way in the dark byI were happy and set about working out a shoot looking through the night vision setting of a videoschedule, along with the choice of clothes whichthe fashion director wanted to concentrate on. “The following day Jemima camera. We all visited Imran’s hospital, walking behind him as grateful family members literallyBut where was Jemima? would come for the shoot and fell at his feet to touch the hem of his shalwar No one knew but we were assured she shouldarrive soon. The heat was 120°F in the shade and over the following days qameez. We sat on cushions on a stone floor in the basement of the crumbling palace while aprevented anyone from being too worried or tribesmen would come to visit young model danced a dubious folk dance, whichconcerned. We would just have to wait, lounging had more to do with lapdancing than traditionalin the hammocks strung up in the shaded areas us from the Afghan border to culture. We all got food poisoning. I could go onaround a courtyard. We hadn’t shot a picture yetbut we were already bonding as a team resigned sell us high-quality about this particular shoot, the sights, sounds, smells and experiences, but I won’t. Suffice toto the fact that this would be a shoot over which pashminas.” Grant Scott say it delivered everything we hope from a shootwe would have very little, if any control. – a good job done and the opportunity for Again just as every pro photographer needs to Having had two days to decide how and where once-in-a-lifetime experiences.master the ability to respond positively to we wanted to shoot and where the available light The flight home saw a very tired and not verywhatever is thrown at them, the ability to wait is a was best for each portrait we moved easily well team diverted to Manchester, from where wemuch underestimated skill. I have spent hours and through each setup. As always, preparation not were driven back to London. Exhausted anddays of my life just waiting for that brief moment only made life simpler for Michael and me, it somewhat culture shocked by the wholeof action of shooting. A day’s wait for 20 minutes’ meant the shoot was pleasurable for Jemima. experience, I returned to the office and awaitedshooting has not been unusual. In fact I once It is all too easy to let a shoot become about the Michael’s a shoot with singer Janet Jackson in photographer and technical considerations. In my He had shot on colour negative, a popularLos Angeles which took more than 24 hours to experience this never creates great photography choice at the time and he sent me the editedcomplete two shots! But that’s another story. and always produces a fed-up subject. Thankfully contact sheets. There was a great cover image and Back in Pakistan we had all worked out that Jemima arrived in a good mood and left in one. more than enough portraits to make the articlenothing was going to be rushed or run to any kind Towards the end of our set portraits, Jemima work. Our Pakistan trip had been a success.of schedule. Our first day saw no pictures being asked if Michael would take some pictures of her However, that is not the end of the story.taken and no Jemima. Discussions were taking and her boys, which he did in black and white. Imran and Jemima separated some years later andplace and plans were being made for the rest of The three of them chasing each other around the Jemima returned with the boys to live in London.the week, but very much on Pakistani terms. central courtyard laughing and falling on each The images I had help to create of her in PakistanThat night we would be taken out for dinner; the other made perfect relaxed family images. had been remembered by the art director atfollowing day Jemima would come for the shoot However, when Imran arrived the call was for a InStyle magazine and they contacted me to seeand over the following days tribesmen would more formal portrait and Michael obliged. if, now that I was working as a photographer,come to visit us from the Afghan border to sell us The whole shoot had taken only a couple of hours I would photograph her for a future issue of thehigh-quality pashminas (it was the 1990s after and we still had three days in Pakistan. magazine. Of course I said yes.all!), we would visit Imran Khan’s hospital for As is so often the case it’s the memories of Jemima was as friendly and accommodating incancer sufferers, we would be taken under armed everything that happens around the actual time London as she had been in Lahore, and suggestedguard around the markets of Lahore and finally you spend shooting that informs your experience that we do the portrait in her bedroom as it hadwe would have a traditional dancer brought to of a shoot. And the rest of this shoot was no the best light. She was right and there wereour shoot location for an evening’s entertainment. different in that respect. enough elements within the room to make anThroughout this we would be based in the As promised, two tribal warriors came down interesting composition – including next to hercourtyard of the crumbling palace. from the Afghan border with huge piles of bed a small black-and-white print of her and her Day two and an early start was required to try pashminas wrapped in ancient blankets for us to sons taken in the courtyard of the crumbling GRANT SCOTTto shoot before the heat became too unbearable. buy at prices which would have seemed expensive palace, sent to her as a gift by Michael. PPJemima arrived with her two young sons and we even in Bond Street. Michael and I climbed to theswung into action. roof of a disused cinema which looked over the GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK28
  • 19. podcastON YOURWAVELENGTHEvery month we record a free podcast discussing, debating and chatting around a subjectfeatured in the magazine. We post them on our website and you can subscribe for freeand download them via iTunes. So if you haven’t listened in yet, why not give them a try?THIS MONTH’S PODCAST October Issue report on its reception among pro photographers,January Issue THE SECRETS OF BEING A PRO and examine its aims. The team also asks ifICONS OF PHOTOGRAPHY This month Grant Scott, Eleanor O’Kane and photographers are becoming increasinglyPP Editor Grant Scott and deputy editor Eleanor Peter Dench discuss the secrets of professional isolated in a digital age and why support groupsO’Kane are joined by regular columnist photography. Veteran pros Grant and Peter relate are more important than ever.and photojournalist Peter Dench to discuss the their experiences of working alongside otherimportance of learning from the masters, photographers and how these have influenced August Issuethe point at which a photographer becomes an their working practices. With the days of the THE BAD BOYS OF PHOTOGRAPHYicon and their own personal favourites. communal darkroom and lab long gone, the The 25 Bad Boys of Photography list in the opportunity to share news and advice in person August issue is discussed by Grant Scott,AND THOSE YOU MAY HAVE MISSED… has disappeared. The team also discusses how Eleanor O’Kane and Peter Dench. The debateDecember Issue photographers are sharing information in the centres on the diverse lives of the photographersPHOTOGRAPHIC COMPETITIONS digital age and looks at new ways of networking, in the final list, including Guy Bourdin, DavidGrant Scott is joined by Eleanor O’Kane and including the PP’s United States of Photography. Bailey, Helmut Newton, David Hockney andphotographer Peter Dench to discuss the world of Wolfgang Tillmans. All 25 have broken the rulescompetitions, the contentious Taylor Wessing September Issue in one way or another. The podcast team looksPhotographic Portrait Prize and whether there is THE UNITED STATES OF PHOTOGRAPHY at whether being a ‘bad boy’ is merely a facadesuch a thing as a formula for winning. The regular podcast team of Grant Scott, Eleanor for some photographers. O’Kane and Peter Dench discuss the creation ofNovember Issue the PP’s support group, the United States of You can listen to the podcasts on our websiteSEXY OR SEXIST? Photography, which was launched in the at orGrant Scott, Eleanor O’Kane and Peter Dench September issue. They talk about the origins of subscribe for free and download them via iTunesdiscuss why some images are seen as sexy while the USP, which was a response to an article on by typing professional photographer into theothers are labelled sexist. the loneliness of being a freelance photographer, search tab. PP30
  • 20. Save up towhen yousubscribe 58% As little as £1.66 per issueThis is your last chance to receive this great saving onProfessional Photographer, subscribe today andsave up to 58% - that’s just £1.66 per issue.Subscribe to Professional Photographer by Direct Debit forjust £5 every three months, saving 58%.Or subscribe for £25 by credit/debit card, saving 47%.GREAT REASONS TO SUBSCRIBE• Last chance to save 58% on 12 issues of Professional Photographer.• Spread the cost by Direct Debit – just £5 every quarter!• Receive all issues delivered straight to your door for FREE.• NEW! Free access to a fully searchable archive of digital editions 01858 438840 and quote 01PA32
  • 21. Every issue contains exclusive interviews with the world’s greatest photographers, industry news, the latest kit and must-read articles from the world of professional photography.Terms and conditions: Professional Photographer is published 12 times a year. Savings are based on a cover price of £3.99 per issue. Details of Direct Debitguarantee available on request. For overseas orders please call +44 (0) 1858 438840 or visit Offer ends 26 January 2011. 33
  • 22. dispatches Clive Booth tales from the frontline of professional photography This month: With royal wedding fever about to sweep the nation, just what was it that used to fill me with horror at the prospect of being asked to Once a reluctant guest, be a guest at a wedding? Was I the only person who hated weddings? these days Clive finds that I don’t think so. Of course, I was being immensely selfish, and not giving any thought to a wedding celebration the reason why I would be considered worthy of is the perfect setting in sharing a couple’s special day. For me there used to be two knots at a wedding – the bride and which to shoot candid and groom’s and then my own, deep in the pit of my stomach. Knowing I would have to spend what truly emotive images in his would seem like an eternity making polite conversation with people with whom, for the most signature style. CLIVE BOOTH part, I would have absolutely nothing in common. We would dutifully RSVP. “After all, it is a celebration, not a funeral,” my wife would say.34
  • 23. “..the enjoyment of being a guest at a wedding is directly connected to how close you are to the bride or groom. This dynamic is turned on its head once I have a camera. It will make little difference, and it is even sometimes an advantage not to know who I’m photographing, as the emotional attachment can work against the purity of the moment.” Clive BoothOur friends and relatives often did their best to fallen in love with one of his huskies. So, why enjoyment of being a guest at a wedding isseat us with like-minded individuals. Yet there am I using valuable page space to rant and moan directly connected to how close you are to thewould always be the relative, work colleague and, about weddings? It’s really very simple; an bride or groom. This dynamic is turned on itssometimes, ‘friend’, who had been invited out of epiphany has taken place. Well, it actually took head once I have a camera. It will make littlesome sort of duty. It was with these people, in the place several years ago. I started to pitch up with difference, and it is even sometimes an advantageleper colony of the wedding celebration, that I so a camera, and even though I wasn’t invited as not to know who I’m photographing, as theoften found myself. The thought has occurred to the official photographer, I would shoot pictures emotional attachment can work against the purityme that maybe I was one of them. However, as anyway. Doesn’t everyone take a camera to a of the moment. For the most part my interest wasmy wife, Mari, is just about the kindest, most wedding? Admittedly, they are usually small in catching those ‘oh so often’ elusive moments.sensitive and thoughtful friend anyone could wish compacts, and initially I would get strange looks As I was invited as a guest, I had none of thefor, whom no one would want to offend, I like to as I pulled out my Canon EOS-1Ds MkIII with restrictions of having to make sure I photographedthink of myself as exempt. I once spent almost an 85mm prime lens; mostly from the official ‘so-and-so’ and ‘thingamajig’; nor did I have toentire wedding meal listening to the virtues of photographers. However, I was discreet and stuck shoot anything that didn’t interest me. In fact,deep-pan pizza from the guest on my left, only to to just the one body and single lens on a hand I didn’t have to take any pictures at all. A greatstrike up a conversation in desperation with the strap; usually by my waist or behind my back, place to be when shooting, as I could simplyguest on my right and learn that he had just spent and out of sight until needed. I suppose it’s fairly watch and wait and put the camera between meseveral months in the Arctic and, while there, had obvious, but still worth mentioning, that the and the moment. A really great way to work; not 35
  • 24. dispatchesforcing the pictures, but letting them unravel “There are upwards of quarter beautiful DSLR documentary films, edited toaround me – a discipline that I have used ever great music, as movie shorts.since. Documentary: the purest form of of a million weddings per year For me a no-compromise approach to this typephotography, and one that requires great in the UK, being documented of film would be imperative and so, for it to work,discipline, observation and intuition. It’s just the bride and groom would have to take a leap ofabout the most fun you can have with a camera. by around 20,000 different faith. Budding film makers would need to have atSo many of the pictures I have taken at weddings wedding photographers, whose least one great example of this potential new arthave really burned themselves into my memory. form to show, so as to win the case for creativeThis is because a wedding, at best, should be a fees range between £1,500 freedom. A tricky decision this: do I shoot stills ordeeply emotional experience for those at the and £4,000 – not to mention do I make a short film? Also, will I be shootingcentre, which then emanates outwards. And as solo or will I have a crew with additionalwith most human emotions, happiness, when those shooting celebrity photographers? At the higher end, for example,shared, is infectious. It is rare to go to an unhappy and society weddings... So it’s with A-list celebrity or society weddings, I thinkwedding. It’s like swimming in a sea of emotion: this will become the norm. The potential to shootfrom the pre-church nerves, through to the serious business. It seems to beautiful film shorts may, in fact, increase what aexuberant outpouring of love expressed with me that, in a market that must wedding photographer/DSLR film maker maysmiles and tears post-ceremony. If you look earn. Maybe I’m living in cloud-cuckoo-land, butclosely there will always be someone (usually a have reached near saturation surely a client has to understand that this level ofbridesmaid) in a trance-like state, mesmerised by point, the question is, what quality, from capture to edit, will inevitably costthe bride, allowing herself to dream of the more money? After all, once the wedding is overmoment when she too will be a princess for the can photographers offer that it’s the pictures or, indeed, the film, that willday. All I have to do is make sure that I am in the is different?” Clive Booth remain. Putting aside the huge marketing andright place at the right time. I greatly admire wedding photographers, andthe ones that stand out are creating pictures whichwork in their own right, regardless of the factthat they were shot at a wedding. I’m not talkingabout what seems to me the often painful andenergy-draining group shots, but the documentarystyle of shooting, from such wedding luminariesas Jeff Ascough. This work is inspirational, andwhen I look at it as a photographer all I can say is,“I wish I’d shot that.” My friend, assistant andwedding photographer, David Griffin, gave mean insight into wedding photography as aprofession. He said: “Most of all you have toenjoy it. Then you have the necessary drive,enthusiasm and energy you need if you’re goingto shoot dozens of weddings a year. People skillsare essential, along with patience, as thingsdon’t always go to plan. So being able to reactto changing situations while remaining calmis imperative.” I have an appreciation for the sheer amountof effort it takes to deliver on a once-in-a-lifetimeevent. I certainly don’t intend this to be a guidefor wedding photographers, as many of you are I watched Crash Taylor’s very open and honest awareness effort, combined with talent thatfar better qualified than I am to offer advice. interview with PP editor Grant Scott, filmed at should result in commissions, I have my ownThere are upwards of quarter of a million Canon Pro Photo Solutions 2010 [available to philosophy and set of rules when it comes toweddings per year in the UK, being documented view on the Professional Photographer website]. shooting stills of weddings. These are:by around 20,000 different wedding He really spelled out just what it takes to make Number one – and probably the single mostphotographers, whose fees range between £1,500 a living in the business. Much of what he said important factor for me – I am commissioned forand £4,000 – not to mention those shooting applies to many of us, myself included. my shooting style. I cannot give a cast-ironcelebrity and society weddings, or those of the The documentary style of wedding photography guarantee that I will photograph everyone. In mysuper-rich, who demand even higher fees. So it’s definitely seems to be on the increase, as case the bride and groom are usually friends or,serious business. It seems to me that, in a market brides and grooms are looking for what I believe on occasion, clients, so we already have an CLIVE BOOTHthat must have reached near saturation point, the to be a collection of pictures which capture the understanding. They know my style of shooting,question is, what can photographers offer that is atmosphere and the essence of their day. In my which is why they’ve asked me. Most importantly,different? While researching this Dispatches opinion there is a gigantic opportunity to shoot I’m not going to compromise that. Whether it’s36
  • 25. black and white with vignettes, dodging, burning, desaturation, selective sharpening and, on the odd occasion, cropping. I love to make my own prints, as they are still to my knowledge the best way of showing my work. As I don’t make my living from shooting weddings, much of how I photograph them will be self-indulgent and quite possibly unrealistic. I have shot a grand total of six weddings in an official capacity in as many years, and two-thirds of those have been for friends. I’ve shot many more as a guest with a camera. It was a chance picture at a friend’s wedding that caught the attention of my friend, and now agent, Mark George. He says: “Photography, like all other art forms, relies in part on the viewer recognising and feeling familiarity with the event being presented. This picture (left) does just that. It is beautifully observed. Everyone who has been to a wedding has seen the grandmother seated, exhausted; the little girl on the floor with her mother rushing by trying to find her. Everya gift or a commission, my pictures are my angles and ideally shooting through people wedding has boys, their once-tidy outfits nowreputation and will be seen. (I mean through natural gaps that appear in a askew, hurling themselves on their knees across Number two – and easier said than done – it’s group or crowd). This somehow increases the the dance floor – or, as in this case, lying on theirimportant to overcome the horror and fear of intimacy of the stolen moment and usually means backs, kicking the wall. The way Clive has shotcocking things up. that the subject has not seen the camera, so is not this image, using his signature drop focus, helps Number three: Preparation, preparation, influenced by it. A good assistant will make sure to draw the viewer into this recognisable scene.preparation. It’s another shoot, so the normal rules that he or she stays nearby, yet far enough away so Finally, the interaction between the grandmotherapply. The more I know about the bride and as not to interfere with the necessary space and the little girl is classic. Even though thegroom, numbers, locations (ie light, where it will needed in which to shoot in, around and through viewer cannot see the grandmother’s expression,fall and at what times of the day) the better I feel. the guests. As I shoot so much, memory cards it is easily guessed. How much more interestingBefore the day of the wedding I always visit the need to be cleared at intervals – another useful is this as a record of the family members presentlocations at the times of day when the key job for an assistant. And, most importantly, when than the normal boring wedding picture?”moments of the proceedings will be taking place. shooting with available light, one who can use a I had been shooting pictures professionally forPredicting where the light will fall is now much reflector is worth their weight in confetti. a while, and yet it was this one shot that somehoweasier with the advent of iPhone and iPad apps Number six: Equipment. Maybe two camera appealed to Mark in a way that much of mylike Sun Seeker, Helios Sun Position Calculator bodies would help, especially when using primes; previous work had not. This picture played aand Sunrays. On a few occasions I have managed although you have to weigh up the case for significant part in him deciding to represent me,to negotiate with the vicar to allow me to sit on capturing moments through the simplicity of and so as a consequence shooting my friends’the front row, or even kneel at or near the feet of one lens and one body. Maintaining a degree of wedding was a turning point in my career.the bride and groom. As I don’t use flash, this has stealth is essential to capturing the elusive This same wedding gave me a half-dozen picturesnot interfered with the proceedings, and I usually moments. A small shoulder bag with a couple that I would happily hold up or include on myset the camera shutter to silent. more lenses is my personal preference. website or in my book today. So while I may not Number four: People skills. I will spend the Number seven: Lighting. As the ISO sensitivity entirely enjoy weddings as a guest, I have tomorning with the bride and her party while they of cameras like the Canon EOS-1D MkIV is so admit that they are among some of the finestare in hair and make-up – a busman’s holiday for high with fast primes, I believe it is now occasions I know at which to capture genuinelya fashion, beauty and portrait photographer using increasingly possible to retain the essential degree beautiful, atmospheric and emotive imagery. PPa Canon EF 180mm macro; quite simply the best of invisibility in almost any natural light. But iflens I know for close-up beauty, along with additional lighting is required I will use an LED.35mm, 50mm and 85mm primes. Engaging in Number eight: Edit and post-production. I amnon-intrusive, easy-going banter will ensure the as ruthless with the edit as I dare to be, while To view more of Clive’s weddingpicture-taking does not become more important trying to please the bride and groom. There is photography visitthan the event. As with all ‘people photography’, usually an official photographer, so with my skills will make the pictures, and so a images it’s less about who is in the picturesgood rapport is essential. – although I do research the key people and try Number five: Assistant or no assistant? For the hard to make sure I have photographed them to GO ONLINE FOR MORE DISPATCHESmost part I will shoot on my own and keep it my own satisfaction. I post-produce every single FROM CLIVE BOOTHsimple, working with prime lenses at varying frame in my edit. This will be a mix of colour, 37
  • 26. Jonathan Worth is a freelanceTURN photographer Eleanor: How did the Phonar course come about? whose client list Jonathan: I’ve been teaching for two years, which is also how long the Phonar course has been running as a 10-week course within the BA includes among photography degree. The photographer Jonathan Shaw is associate head of others, the New the media & communication department within the school of art & design at Coventry University. He had seen my work and wanted to develop a course York Times, VogueON, which had, at its heart, the development of a sustainable practice. He didn’t and GQ. For the past want it to be a fashion or a documentary course, nor did he want it to be based purely in the arts or 100% commerce-oriented. The idea was to two years he has develop a photography course that would resolve the contradiction between art and commerce. That’s how we got started and every class I have written taught a class on and taught for the past two years has tried to deal with the question, ‘What is the BA photography a sustainable practice?’ in a different way.TUNE degree course at Coventry University called Phonar that encourages Eleanor: Explain what you mean exactly by a sustainable practice. Jonathan: I mean how do you get people to pay you to do what you want to do? So, as a photographer, how do you get someone to pay you to take pictures? That was a very simple thing when I trained to be a photographer. If someone wanted a picture to illustrate someone else’s text, then as long as I could go along and deliver that, it was fine. Now we are in a completelyIN, photography different world. There is an abundance of people who can make images; it’s not technically exclusive any more and you don’t need to go to college to students to use learn how to use a camera. My nine-year-old has a camera and she knows digital media to find how to use it, so the idea that you can train photographic suppliers is vaguely outmoded. I feel guilty as a lecturer training ‘photo suppliers’ knowing there and build audiences are no jobs for them to go out and get.DROP to allow them to Eleanor: How does the Phonar experience compare to your own make a living. experience of studying photography at university? Jonathan: I left university 12 years ago and I didn’t go back and graduate. The ethos of the The day after I finished the course I moved to London and thought: “How on course, which can Earth am I going to do this? How will I make a career out of this?” be accessed onlineIN Eleanor: Is that because you thought you hadn’t been taught to think commercially enough? by non-attending Jonathan: What does ‘commercial’ mean? It means you are a technician, but students and I had more than that, I had ideas, I wanted to work out how I could get observers, has people to pay me to do what I wanted to do. I didn’t want to be a wedding photographer. All the other courses I looked at then were either very arts drawn widespread based or very commercial and no one was thinking of the idea of resolving art and commerce. This idea of a sustainable practice has become quite attention and even trendy now, it crops up in a lot of places. been discussed in Eleanor: On the Phonar course you espouse the idea of photographers the European allowing a certain amount of work to be freely distributed for little or no payment, yet the idea of the course is to train photography students to be Parliament. Here capable of making a living. It seems paradoxical. he talks to Eleanor Jonathan: It is a paradox, isn’t it? The word ‘free’ is misleading and it’s the thing people get most pissed off about, especially photographers. O’Kane about his Traditionally I priced my pictures according to pages, ie full page, half page, revolutionary quarter page, and I still do that. If someone is going to charge somebody else to look at my images I expect to be cut into that deal. That hasn’t changed. approach to training However, if a blogger is using my images I can’t charge for pixels in the way the next generation I charge for pages, it just doesn’t work. Most of these bloggers are time-rich, cash-poor kids in their bedrooms who aren’t making any money out of using of photographers. my image. Using a traditional copyright setup I would criminalise this use of38
  • 27. my images, but what I have learned is that you can swim with this tide. SOAPBOX I asked him if he was ever contacted by people about his work and, obviously,Ironically I often only know if one of my images has been used by the rise in he gets emails every day, so I suggested he give them a forum where theytraffic to my website, although often the image isn’t credited so I don’t quite could get together and ask him questions. I told him if he allowed thoseknow how they find me. I’ll go back and as long as they aren’t charging people to follow him publicly, then he could design his own book, and printanyone to look at the image, I’ll just ask them to put a credit on it. on demand so he wouldn’t have to worry about the costs of a large print run,Usually they are just so relieved that you’re happy to let them use it. or storing then or getting them into shops. For Steve, the first step was Previously, when I went to these websites – usually fan sites of someone building a Twitter following so he could engage with his followers directly.I’ve taken a portrait of, say actor Heath Ledger or singer Alicia Keys – I’d ask [For more on Steve Pyke read our exclusive interview in last month’s issue.]them to take it down unless they paid me and inevitably they would agree but,actually, what did it achieve? I don’t think I’ll ever be able to charge for Eleanor: You have an impressive list of contributors from the world ofbloggers using my pictures on their site, so I embrace that and look at the professional photography. How did you get them involved in the course?good side. It raises my profile and when this occurs I have to focus on giving Jonathan: I had a hit list of people who are changing the world ofpeople a way or level at which they can buy into my ‘product’. photography and I rang them up and went to see them. They were interested because of the nature of the project, because of the other people in the group,Eleanor: So you believe you actually can make money by giving things away and got very excited. Again I was putting a community together, one offor free? passionate and committed people.Jonathan: Hah, yeah if you like. A very practical illustration of this was whenI did portraits of [science fiction author] Cory Doctorow last year. I read that Eleanor: You’re seeing it from both sides, as you’re still working as ahe had given away his book for free and yet the predicted income on the book commercial photographer. Are you enjoying the experience?he was just about to publish was £60,000 and I thought how the fuck does that Jonathan: Yes, this is only a visit to academia but I’ve been given a reallywork? My work goes out for free, the same as Cory’s, and I can’t do anything long leash. My remit is provide an answer to the question, ‘what course wouldabout it. How do I get the £60K? So I asked him and we tried to work out how I want to do?’ I’m at the point in my career where I feel quite comfortableit might work for a photographer. I have to stress that this isn’t a silver bullet ringing up Simon Roberts or Steve Pyke and asking them to get involved inbut it applied to this way of working. I took a picture of Cory and did 110 the course. These photographers come on their own terms and each class isprints. Cory gave me copies of the manuscript and signed every one, 110 the type of thing I’d love to do if I were the age of my students.pages. We referred to this as ephemera, it’s something that happens verybriefly as opposed to the infinitely reproduced digital object. Eleanor: Twitter has become a major part of building yourI signed every print so we had 110 signed manuscript pages community.and 110 signed prints. The book was freely downloadable “My remit is to Jonathan: Twitter is a brilliant research tool. It’s aboutand I took a high-res version of the image and uploaded it tuning the network so you gradually flush out the peopleto Flickr so you could download that too. Then we put the provide an answer who are only tweeting about what they’ve had for breakfast.signed prints on sale, with the first in the series costing to the question, And that’s at the heart of Phonar, how do you become the£125, and they went down in stages until the last 50 cost reliable source?just £5 each. I put them on sale to see what would happen ‘what course would Eleanor: Why is it vital to be the reliable source?and the most expensive ones went immediately. There wasa clamour for print one and the first 10 all went to the same I want to do?’ I’m at Jonathan: Because this is our currency, if you’re not abuyer. All the cheaper ones sold out and there was a gap in the point in my reliable witness, someone ultimately worth listening to, thenthe middle that remained unsold. I thought: “But all these how can you expect to command authority? How can youpeople know they can download this image for free.” career where I feel expect someone to believe your stuff is worth buying ? quite comfortableEleanor: So why were people willing to pay for something Eleanor: Do you feel your students are well prepared tothey could get for free? ringing up Simon face the real world?Jonathan: They wanted the ephemera, they wantedsomething closer to the magic and that’s what they paid for. Roberts or Steve Jonathan: In lots of degree courses you go in, the door is closed behind you and you stay inside for three years.I was selling to people who were really into Cory Doctorow. Pyke and asking Then on graduation day they open the door and spit you outAt that time he had 30,000 followers on Twitter, now he’s got60-odd thousand. The point being he had a community of them to get involved again. We don’t do that. The first year is an incubation year where the students are closed off. In the second year wefollowers, as did I, albeit a smaller one. They liked the in the course... introduce this idea to the students of a broader communitypictures but they wanted Cory because they loved him. and by the third year the students are engaging dynamically Each class is the with the broader community.Eleanor: How are other photographers using this theory? type of thing I’d loveJonathan: I had a conversation with my friend [the New Eleanor: So the real world is opened to your studentsYork based, British photographer] Steve Pyke about two to do if I were the rather than hitting them right at the end? Jonathan: Precisely. One of our students got an internshipyears ago and he was talking about a book that he wanted todo. He had a great project on at that point and he said he age of my students.” with Annie Leibovitz last year. Another has been nominatedwanted to get to a place where he could make it into a book. Jonathan Worth for a Luceo [student project] award – that is a year’s funding. 39
  • 28. Eleanor: You teach that it is important to have context to your work. SOAPBOX Eleanor: I suppose we’re talking about multi-layered projects.Jonathan: Let’s take the stalwart cliché of an ‘interesting face’. The one I get Photographers are starting to work to these principles already,shown most often is of a homeless person. That’s all well and good but making films etc.anyone can work a camera, document someone and justify it as an Jonathan: Of course, I don’t think any of this is new, just that we now have‘interesting face’, but let’s think beyond that. Let’s think about homelessness different ways of distributing that make us more efficient with a bigger reach.and its causes. It could be mental illness, family breakdown or financialreasons and each time you think about one of those issues you find a whole Eleanor: You’ve put most of Phonar’s content online too.other bunch of people who populate the issues. Gradually you come to an Jonathan: There’s very little I’ve held back. There’s nothing to stop peopleunderstanding of what your subject might represent beyond being just an using the online material elsewhere but they can’t have me look throughinteresting face. their portfolio, they can’t sit in a room with 10 other students and they can’t If you do that, then next time you show me your portfolio you provide a hang around with Simon Roberts. So you still have to pay for all thatstory for the original picture and more importantly – with regard to this idea analogue stuff. The idea that we are giving our classes away for free is utterlyof the sustainable practice – you can tap into this community of context. terrifying for some. People think, “Well, students just won’t pay to go to uni”An informed and substantial portrait of homelessness in your region would but within two years this course is the hardest to get into at the a great project to take to all of those interested parties, the creative We only accept one in 10 of the students that we interview.directors of the advertising agencies commissioned to represent the charities,for example. Eleanor: What’s been the response from the outside world? Jonathan: It’s been overwhelmingly positive. All of a sudden the networkEleanor: But sometimes it seems that a background story caption can started to tune and people started contributing ideas. Suddenly the course isbecome more important than the image itself. full of the type of content that I would have loved to have followed.Jonathan: Well, then you need to tell the story with pictures rather thanwords, you need to create better pictures! You need to be informed to know Eleanor: The course content is constantly honed then?what to point your camera at in order to best tell the story. Jonathan: It doesn’t stop and it’s getting better all the time. Once people Words can be handy for telling the story but they are tools in your tool have bought into it they want to see things through. Not many photographybag, along with podcasts and moving images. You make a photograph and students will have Jon Levy, the director of [photography company] Foto8,the photographic print is the pinnacle of that but that doesn’t work on an reviewing your work and talking one-on-one with you.iPad and it doesn’t work as a podcast. So why not use a podcast to get otherpeople interested in your work, people interested in buying a fine print? Eleanor: Can this work across different genres of photography, such asWhy wouldn’t you do all these things when you can? fashion, where photographers are working in a traditional way? Jonathan: Take the fashion example; let’s be realistic about it, I worked forEleanor: Is there a danger that all these tools can distract from the image? iD magazine for years and they would only pay £150 a page. I was never aJonathan: People come to me and show me their pictures and start to tell me fashion photographer, I was a portrait photographer, so I was very oftenwhat their project is about. I stop them and say: “No, I’ll tell you what the doing single-page pictures for £150 and it cost me more than that to do astory is about after looking at your images.” And if that doesn’t marry up shoot. I did keep the rights to my images so there was the resale factor but Iwith what you wanted to say, then go away and tell the story better. The extra keep the rights to my images now.bells and whistles aren’t crutches to carry a bad picture, they are tools for If you do want to be a fashion photographer it’s likely you’re going todoing different aspects of the job. work for free for years before you get paid. Could it work for them? Well, the Cory Doctorow example won’t work, but yes, I can think of aEleanor: The course has attracted quite a lot of attention. bunch of ways one could tune that approach according to a person’sJonathan: I had a phone call out of the blue from the Royal Society of the particular way of working – wasn’t this an agent’s role once upon a time?Arts saying they’d like to make me a fellow. I thought, that’s great, I get I imagine this is exactly what the good ones are doing now – hustling.access to the bar and restaurant! They are probably sick of me now.And shortly after that I got another call from someone saying the European Eleanor: The Phonar course is coming to an end for this academic year soParliament was discussing a change in copyright legislation and was what’s next?interested to hear what I had to say about it. They also wanted to talk about Jonathan: Now that they’ve followed this course, the students wouldthe Cory Doctorow project and how that worked. I told them all about it and normally be spending the next two terms preparing for their degree show butput all the details online. our guys, they could be talking about books, magazines, newspapers, viral I was quite honest about what I felt I hadn’t done well, and what I’d do strategies... hopefully something I haven’t even thought about. PPdifferently next time. However, the bottom line was that two years previouslyI’d taken a picture of Cory Doctorow for Wired magazine; the resell on thatimage was about £200 in two or three years whereas with this project I made£2,000. So as a traditional supplier [photographer] I’d made £200, but as a I’d made £2,000 and I’d given away the picture for free, apparently. GOT SOMETHING TO SAY? TELL US YOUR VIEWS, GOOD OR BAD AT 41
  • 29. thedenchdiaryThis monthphotojournalistPeter Denchmakes a decisionto enter the worldof convergence,weighs up his 1st Frank Sinatra – or was it Dean Martin? – once quipped: “I feel sorry for people who don’t described as the affordable Martin Parr (and Parr’s drunken brother). I pull out a decade ofoptions for entry drink. When they wake up in the morning, that’s as good as they’re going to feel all day.” work on Britishness. They’re concerned. The work features ‘real people’. Would I be ableto the Sony World I’ve never wanted Frank, or Dean for that matter, to feel sorry for me. The longest I’ve been to replicate that using actors? I lucidly explain that this would be easy. You don’t have to wait forPhotography without a drink in adult life is five days. I was on a North Sea fishing trawler shooting on hours for that decisive moment but can apply what you know will happen eventually and getAwards, in which assignment for GQ Magazine. You slept below the waterline next to the engine room. It smelt of paid people to do it more quickly.he took a second fishy men. I felt drunk and threw up often. I vowed to continue sobriety on dry land. 5th Now I feel sorry for people who don’t drink. Who put so many hours in the day and what areplace last year, Forty minutes after docking, following one hot you supposed to do with them? The past four daysand appears in a shower and one bottle of Veuve Clicquot, the sentiment was never referred to again. I think it’s have been a lifetime. Turns out I’m not brilliant. I bore myself. A writer explained to me withbhangra music time to give being dry another try. I might be brilliant. It would be a shame not to find out. I put conviction that you can only be truly creative three to four hours a day. The rest is mentalvideo. It’s all in my new life plan into action, juice a kilo of carrots and meet friend and agent Abby Johnston. tinkering; dealing with emails, phone calls, vacuuming, watching Loose Women on TV .a day’s work for She has agreed to review my folio and waive the fee she can deservedly charge. It’s insightful and I usually sit down at my desk around 8am, so by noon I’m spent. Today the NUJ are on strike.our sometime confirms what I suspect. Commercial clients want to see a high turnover of fresh new work. In a mark of solidarity I down pens and lens, and head to my local for a time-consuming bender.working pro My portfolio is constructed from a decade of editorial hot shots. It doesn’t make the transition. 7th I read on Facebook that respected portraitphotographer... I need the folio to secure one more well-paid job to finance a complete makeover. photographer Abbie Trayler-Smith has become a mum. Might free up some commissions. I see Harry Borden and Laura Pannack already ‘like’ 4th I’ve been called in for a chat with the creative this status. Congrats AT-S. I check Zed Nelson’s team at a digital and direct marketing agency. status to see if he’s due for an op or recovering They have a credit card client and usually source from flu. He seems fine. images from royalty-free stock. Their search has revealed large gaps; the images are often too 8th Regular DD readers will know I’ve been globally generic. It’s encouraging to hear RF absorbed in a project with a South Asian flavour PETER DENCH stock hasn’t conquered every requirement; even documenting second-generation migrant girls more encouraging to hear they want the work to living in Southall. On 5 November I remember have a strong sense of being British. I was once attending Diwali celebrations at a Sikh household.42
  • 30. “The rumble of an amber Lamborghini deposits the star to the bar. “Hello, I’m Special.” Of course you are darling. Blaise asks if I can beOn that fiery night one of my migrant girls Story (FHS), was a series of emotive in a scene as ainvited me along to the filming of a music videofor bhangra sensation MC Special. I meet director human interest features showing the positive impact football has had at the grass roots paparazzo.Blaise at the Blue Green Restaurant in Northoltwhere the shoot will take place. When I arrive, on individuals and communities across the planet. The Italian team of schizophrenics was a personal He then asks if I canMC Special hasn’t, so I peruse the impressive highlight. During one extraordinary period of play the pap incocktail menu and decide on a White Russian.The rumble of an amber Lamborghini deposits play the ball sat idle while one goalkeeper took to all fours and prowled around the penalty box. other scenes.the star to the bar. “Hello, I’m Special.” Of courseyou are darling. Blaise asks if I can be in a scene Ollie whispers the possibility of another intercontinental sojourn. It could be a career I must be good: Actor,as a paparazzo. He then asks if I can play the pap saver. I don’t remember getting home. writer, photographer,in other scenes. I must be good: Actor, writer,photographer, is there no limit? Then it dawns this 16th On this day in history, well last year, I was is there no limit?”is the real reason I’ve been invited. “Hello, I’m landing in Iraq to shoot a reportage on Peter DenchPeter, rapper Special’s special papper.” mine clearance in the volatile northern city of Kirkuk. Today I am in the local library flicking11th Tonight is the World Press Photo 2010 through the paper half-heartedly looking for a job. photography within a Foucault framework, grabexhibition London launch at the Royal Festival I would rather be in Iraq than looking for a job in Gombrich’s hand and skip through the problem ofHall. It’s lit like date night by the pool. I survey the local library. I didn’t even need to be here. meaning and bond with Barthes over the rhetoricthe scene, a giddy Tom Daley. The swinging dicks I could have looked for a job on the internet at of the image. Can I deliver a business plan or fileare out and the bar is swell. I dive in with home but fancied a stroll. The highlight of my day a tax return? No, I cannot. I’ve had an accountantprecision. Moretti, Gary Cochran (art director, is a stroll to the local library to look for a job I for 10 years. They charge around £1,000.Telegraph Magazine), Moretti, Aidan Sullivan don’t want to do. I think about what the Iraqi This year it’s an expense too taxing and I’m(vice-president Getty), red wine, Jon Jones bodyguards who escorted us might be up to. online alone and it’s not going well.(director of photography, Sunday Times The paper has another significant announcement,Magazine), red wine, portrait’s finest Harry more significant than my mum’s 60th birthday. 18th I’m in a meeting at Channel 4. They want toBorden, air kiss-kiss Laura Pannack, and Moretti It’s the grand opening of Crouch End’s first turn this column into a series. There’s a hamsterwith Irina Kalashnikova. I come up for air and J D Wetherspoon pub. One of those shops where on the desk and Christopher Walken is dancingcheck the clock. Half an hour late for drinks, part you can cash in your gold arrived last month and outside. LazyTown’s Robbie Rotten, who is todeux. I collect thriller writer Tom Knox and TV thrives. The local degentrification mirrors my play the lead, is washing cups. The alarm stopsproducer Ollie McMullen from Gordon’s Wine career. I look at the pub menu, curry and a pint the nonsense. Two hours later I’m in a meeting atBar (not decorated since 1890) and move on to £5.59. I finger my ring and stride in. It has been Channel 4 showing my portfolio. I used toSoho House. Ollie did PE at school with 32 days since my last direct photographic freelance for the Discovery Channel shooting onColdplay’s Chris Martin. Ollie and I travelled commission. This is turning into the drink diary. set for £500 a day and drinking tea with celebritythe world together. We worked on a project for builder Tommy Walsh. My DC contact moved onfootball’s governing body, FIFA, documenting 17th Thanks to the University of Derby I can and I got lost in transition. It was a welcome wage26 stories in 20 countries. Football’s Hidden confidently illustrate the development of prison and I’m hoping C4 might fill the hole. They show 43
  • 31. the dench diaryme what’s required. A super-slick flick-book ofcampaigns by LaChapelle and von Unwerth “Despite this I decide to the stand is. Tim is busy elsewhere. I flick through the price list: Event photography £100 anstartle the retina. My dream of meeting up on setwith the girls of Hollyoaks After Dark recedes Photolease a Canon EOS 5D hour; corporate portrait files £50 each. There’s a flyer for Cherub of the Year Competition with awith each flap. The omens for work aren’t goodbut we have a mutual friend and float the idea for MkII body and start my ‘life-changing’ £10,000 up for grabs. I scan the room for unattended babies. Nothing.a Christmas bevvy. convergence adventure – Push through the crowd and present myself at19th Attend a talk by the understated and often £99.56 down payment, the bar. I can afford two glasses.underrated George Georgiou (check out FaultLines: Turkey from East to West). We shared the £49.56 monthly payments 30th The snow falls and the month closes with a diary first, no new paid photographic commission.ITV breakfast show sofa in 2003 talking aboutour then-projects; palates sticky and stomachs for three years. Despite this I decide to Photolease a Canon EOS 5D MkII body and start my convergencebouncing from the previous evening’s awards No penalties if you pay it adventure – £99.56 down payment, £49.56show imbibing. Today it’s a pleasure to be in theaudience. He talks in a matter-of-fact manner back early. It could happen, monthly payments for three years. No penalties if you pay it back early. It could happen, althoughabout his need to spend five years on a project,of moving to the territory he wants to document although I expect by the I expect by the time I do pay it off there’ll be another upgrade. Hover cameras? It’s not lookingto get a better understanding and fending offthe threat of financial ruin. It’s great time I do pay it off there’ll like a very Merry Christmas at Casa Dench but I wish you all a terrific one. I hope you feel a bitphotojournalism. Afterwards, I sit down for the be another upgrade. better about your lives by reading about mine andbeginning of a talk in association with the RoyalPrivilege Society, ‘handing out bursaries to the Hover cameras?” Peter Dench return in the new year for more adventures of a sometime working pro. The next instalment isdouble-barrelled since 1853’ and enjoy a jolly already shaping up to be a cracker. Yesterday Iintroduction by its speaker. received a phone call. Words more joyful than for the annual romp to the Taylor Wessing Portrait “it’s a healthy baby girl” were shouted in my ear;24th The competition season is under way and I Exhibition at the National Portrait Gallery. “ARE YOUR JABS UP TO DATE?” PPstart to upload my Sony World PhotographyAwards entries. I can’t defend my second place in 25th Plan to attend daughters’ school Advent fair. Next issue: The Dench Diary takes to the skies!advertising last year. I haven’t completed an I’m thinking a crispy cake, mulled wine,advertising job in 2010. Instead opt for portraits, scratched Dylan CDs and a few 50p novels – www.peterdench.comcampaign and contemporary issues. It’s not £5 top night. Arriving, it’s like John Lewis onlooking good so decide on a trip out. I’m after location. This is competitive parenting at its You can hear Peter in person each monthan experience embracing naked ladies, possibly fiercest. Kids have been drafted in as mini Boden on the Professional Photographer podcast,ginger, mature breasts, underwear, maybe a mannequins. Local business Tim Spiers available on iTunes or on our website atwounded deer. Clear your filthy minds. It’s time Photography is selling hard; well, his assistant on 45
  • 32. [ THE WORLD OF CONVERGENCETo make sure you don’t get left behind in the rapidlychanging world that is DSLR film making, John Campbellbrings you the latest news, the most exciting Hardworking software VIDEO CONVERTERS ] Editing HD is a really memory-intensive process. Ensuring that you are able to edit free from slowdown can be a big problem.films and the best kit from this brave new world. Make sure your Mac or PC can cope with the relentless strain on your CPU. You willEDITING SOFTWARE The Adobe CS5 Production Premium bundle is an awesome package. It contains Premiere Pro, probably have to convert your video files to a compatible format for your editing software.Once you have converted your video files for After Effects, Photoshop, Illustrator, Encore Here are a selection to get you started:editing, you will need to have quality editing (DVD creator), Soundbooth (for sound mixing)capabilities. Choosing the right software package and a bunch of other pieces of integrated software For Finalis pretty much like buying lenses. If you only that will speed up your workflow. If you are Cut Prospend a few quid on a bit of glass, then the final working on a budget you can purchase each piece users, Redimage is going to be average. Editing software of software independently. Giantcan really enhance your ability to create quality Softwarefilm. The editing process is as important as has createdshooting. It is said that a film is made three times: Magiconce when it is written, once when it’s shot and Bulletonce when it is edited. Don’t sell yourself short. GrinderHere are a couple of the leading editing packages 1.0.2, which will convert your DSLR/HDSLRcurrently out there. video to edit-friendly formats, add time code, I am a PC user, and my preferred system is and generate web-resolution proxies, all in aAdobe Creative Suite (the latest version of which single time-saving CS5). The fact that it is fully integrated www.redgiantsoftware.comallows me to import unrendered files betweensystems such as Adobe Premiere Pro CS5 For those of you looking for a cheap or free(video editing software) and Adobe After Effects For Mac users, Apple’s Final Cut Studio has alternative, check out Squared 5’s MPEGCS5 (motion graphics software). This dynamic become one of the leaders in digital editing; Streamclip for Mac and Windows. It’s a freelink saves hours in real time. And as interfaces offering Final Cut Pro 7 for video editing, Motion download that will enable you to to convertgo, if you’re used to Photoshop, the switch to 4 for motion graphics, Soundtrack Pro 3 for audio unreadable codecs on both Mac and PC to aPremiere Pro CS5 and After Effects CS5 will be post-production and Colour 1.5 for grading. multitude of formats.slightly less daunting. MOTION PIXELS Understanding really got the DSLR film buzz kickstarted. what is out there will The first is The 3rd Letter (aka 36 Stairs). It is undoubtedly inform a short film by film maker Grzegorz Jonkajtys, you of good and bad co-written and produced by Philip Koch. practices within this It was one of the first films I saw that was new format for shot on a Canon EOS 5D MkII, and in shooting film. Each month, I will be sharing cinematography terms it is truly an outstanding DSLR films with you that reflect this. piece. This month, I’m looking back at which films My next choice is the first short/promo I ever46
  • 33. THE PRODUCTION SHOW, EARLS COURT 2, LONDON, 15 TO 17 FEBRUARY 2011Take a look at the world of film, video and TV in what is advertised as the largest event of its kind in 10 years. The Production Show will allow you to see newequipment as well as attend free seminars and updates on the world of 3-D, funding, pitching, commissioning, DSLR and location filming. You will also beable to mix with more than 6,700 creative professionals from film, TV, commercials and music video, as well as documentary film makers and suppliers ofall things film, including Audio Network, BBC Studios and Post-Production, Fujifilm, Film London, Northern Ireland Screen, Namib Film, ProductionBase,WFTV, Skillset and many more. Get your tickets now. THE GRAPEVINE ////////////////////////////////////////////////////////////////////////////The hottest rumour currently doing indeed to hide a new Canon camera? removable sensor which, it appears, isthe rounds is about a supposed launch placed into a guide rail. Any dust issueson March 11 by Canon of a new is-this-a-new-canon-camera/ which may arise from changing theDSLR camera. A new 5D perhaps? sensor have, somehow, beenAs unsubstantiated as it is, this rumour Canon applied for a patent in Japan for alleviated. This could possibly lead to aappears to be everywhere. I’m not sure a new EF 24-70mm f/2.8 L II USM lens. new generation of cheap alternativeshow reliable it is, but maybe it’s the that will enable us to upgrade ourcamera that was spotted in New York, Nikon applied for a patent in cameras cheaply, retaining the bodyhoused in a Sound Blimp. Was this Japan for an interchangeable/ and only investing in a new chip.BIG RIGS allow you to keep your monitor on all the time; in your arms absorb the shocks and bumps that I A quick-release adaptor and quick-release you usually get with hand-held movement,We have already seen some great rigs out there. plate. which the rig transfers as fluid movements toBut an all-in-one bundle from DSLR Indie the camera. As there are no straps or harnesses,Specialists is a fantastic addition to any new quick and wide movements can be made withinfilm maker’s ever-expanding kit. The PrimePlus The Manfrotto 595B Fig Rig – named after film the same shot in one smooth movement.complete DSLR rig is really an outstanding buy director Mike Figgis, who created a rig At around £185, this is a winner for film makersat only $1,559 – that’s around £995 before for smaller video cameras – is a wanting a smooth hand-held look to their films.shipping. For this price, you get: well-used accessory. Follow focus with whip crank and speed With its unusualcrank; design, it An alternative to the Fig Rig is the Halo RigI A matte box – 16 x 9 and 4 x 3 aspect ratio claims to be the Mini for DSLR and small cameras. It has fivefor high-quality 4 x 4 filters, with sunshade and only modular mounting areas for accessories such as lights,French flags and two 4 x 4 filter holders; system in the mics, receivers, monitors, field recorders andI A 7in 1,080p HD TFT HDMI LCD monitor world that can the like. It has done away with the bottomwith infrared remote control and bright screen. smoothly support section to allow you to mount it on to anyI An LCD articulating arm to mount the your camera and standard ¼in tripod or mount, or even set yourmonitor to the rig; act as a frame upon rig down. Other rigs often require a mountingI A high-quality 3ft HDMI to HDMI mini cable which to mount your system to do this. Add a quick-release plate orfor DSLR; accessories, including zoom controllers, mics, directly mount your camera and it’s ready to go.I Lithium-ion batteries and charger, which mixers, lights, monitors, arms etc. The muscles saw which utilised a full-length version”. The cinematography is narrative and was shot excellent and the pace, driven by the edit, is entirely on a 5D MkII. equally good. Betrayed was made with the intention of If time-lapse video is more your thing, then being the first five minutes of a feature-length for great inspiration and technical brilliance take film. According to its creators, the idea a look at Tom Lowe’s film Rapture and all his was “to tell a story unto itself, while at the other works at It will same time attracting equity financing for the definitely get your creative juices flowing. PP 47
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  • 35. frontline from theNeed to put a face to a name, get the background story, the right advice and the insidetrack on how to get commissioned? This month we talk to Ed Webster, who is responsiblefor commissioning all of Channel 4’s billboards, print ads and 30-second TV spots.Ed Webster Tell me about your role at 4 Creative and how you work with photographers. brief, we’ll also shoot reportage, still life or fashion as well as our conceptual images. I’m sure they could shave a monkey and train it Work is really evolving on the digital side of4Creative but I’m not sure my job exists anywhere else. things too. Traditionally, photographers and agents 4 Creative is an in-house advertising, design and have wanted to be very specific about exactlyCareerhistory: production company; I used to tell people that we where the work is going to end up. In the past we were an agency that did our own production but would have shot an image to be used for theBarrister’s clerk it’s probably more accurate to say we’re a national press, magazines and billboards, but thereRunner: GGT Advertising production company that does our own creative. are increasingly options for digital billboards andPress production: Lowe Howard-Spink We work very heavily with freelance people other outlets. Whether you’re making a 30-secondHead of creative services: across the board and my role is to seek out and commercial, a short film or a still image,Spirit Advertising commission art directors, copywriters, designers, it doesn’t really matter where it ends up.Photographic director: 4 Creative, Channel 4 illustrators and photographers. We don’t have an art-buying department, Are photographers increasingly adapting to although increasingly many ad agencies don’t this digital revolution? either. Once I commission a photographer, I then I think some are and it’s not necessarily the produce the job rather than outsource, as an ad younger ones but those who are forward looking. agency does, so I work very closely with them. I’ve been working with some people and On a job there will be myself, a photographer and transplanting their skills as photographers. I shot an art director, so it allows me to be a lot closer to a personal project with Jenny Hands in the the creative process. Personally producing the summer which used her lighting skills and work also means that you can pick from the very photographic sensibilities, and transferred them to best stylists, production designers etc. the moving image. The industry likes to compartmentalise people quite a lot, but with“...the ad industry is generally What kind of work are you producing at cameras that shoot HD video, such as the Canon 4 Creative?quite slow at adopting something We have a very good relationship with our EOS 5D MkII, image makers are going to be less pigeonholed. If you can direct talent you canas its own. It needs someone else on-screen talent so we’re lucky that, more often direct talent; if you know how to light somethingto do it first.” Ed Webster than not, we have the option of shooting them. It’s lovely to have the choice of putting the talent you know how to light it, so we’re on the cusp of that change. For an industry that prides itself on front and centre on our work. Depending on the looking forward and is all about the new, the ad 49
  • 36. frontlineindustry is generally quite slow at adoptingsomething as its own. It needs someone else to doit first. I understand that attitude – they’recommitting hundreds of thousands, if notmillions, of pounds to a commercial or abillboard. Increasingly there are some smallercompanies and, more to the point, photographerswho are trying things for themselves. Even thisyear, as the weeks go by, I’ve noticed that morephotographers are trying things out.Are there advantages to commissioning aphotographer to shoot your moving image aswell as stills ads?In the ad industry an agency generally hires adirector for the on-air side of things, who comeswith a production company, then for the off-airproject a photographer will be hired and come but I don’t care who they’ve worked with. If you What attributes does a photographer need towith their own separate production company. thought like that you’d only ever work with the be able to work in the entertainmentQuite often there’s a bashing of heads, with the same 10 photographers. While I’ve loved working industry?two separate crews saying “this is our shoot!” and with David LaChapelle and Ellen von Unwerth, I think one needs to be able to work quickly –the agency seems to be powerless in the middle. I’ve also got a massive kick from working with sometimes you’re given five minutes to captureBecause we’re a commissioning company which new people and photographers who haven’t been an image, so preparation is all-important.also produces the work we are closer to the commissioned very much in this country before. I’ve produced shoots where we’ve shot less than acreative process and can look and see how we can roll with an actor but we knew what we wanted inmake it work; can we combine the shoot, do we How do you find new photographers? advance and were ready the second they walkedneed to have adjacent sets, shoot on different Occasionally it will be through agents, but on set. Be a good judge – if the person you’redays? I think the traditional agency model, where sometimes it’s about keeping your eyes open shooting isn’t in the mood or you’re starting tothey are commissioning the work but not to what’s out there already in terms of editorial lose them, you’re probably not going to get whatintegrating themselves by producing it across and advertising, even beyond the UK. By doing you’re after, so get a few shots and let them go!different disciplines, is going to change sooner this you often find people who aren’t signed Also, some talent will just do what they want,rather than later. There are more formats to watch to agents or who are just starting. Also [it’s whereas others actually look to be directed, soout for, so the production needs to be a bit of a through] them contacting me. It’s often luck being a great communicator is very effort, but in terms of creative vision I don’t more than judgment.see any reason why it can’t come from one Can you suggest any ways in whichperson, whether they’re traditionally thought of as Do you look at portfolios? photographers who have not previouslya director or a photographer. Very rarely – I tend to look mainly at websites. worked in entertainment can show these Apart from anything it’s because books take up so attributes in their portfolios?Is there a place for photographers who take much room! It’s lovely to see a book but In reality, you may have to shoot an image wherestills only? 90% of work I see is online. Then I’ll try to get the subjects aren’t available on the same day orAbsolutely. Some people are photographers photographers in to meet up. even the same country, so even though you mightbecause they are in love with the single image and not view it as pure photography, learn the tricks ofthat makes complete sense. Probably the work What do you class as a good portfolio comping images. It’s really easy to do badly but isthat we’ve done here that I like the most, website? invaluable if you can do it well. Of course, it’sgenerally speaking, has come from one single Simply one where you can see the work as clearly largely about the image, but take the chance toimage that gets the idea across. For TV it’s a lot of and quickly as possible. The worst sites are the shoot whoever you can. If your dad is infun to start with a single image and then elaborate ones that try to be too clever and take an age to The Rolling Stones, it might help, but if youwith dialogue, music, movement, etc. For me, it’s load or where you have to turn detective to find know someone who is mates with The Chucklethe most natural progression, whereas it’s very the work. Although I would like to be a detective. Brothers – get in there too.difficult to come up with a TV spot and ask That would be cool!yourself “What’s the off-air?” because you’re How have changes in budgets affected thetrying to shoehorn 30 or 60 seconds of action into Is it important to have a good rapport with the way you commission?a single image. That might not be for everyone photographers you hire? I’m always honest with what budget I have.but that’s how we work best. I’ve been lucky to get on very well with most of I’ll never fleece a photographer – if I’ve only got the people I’ve worked with. You’re not a quarter of their day rate, I’ll tell them.Do you seek out new talent? commissioning them to become best friends, but After that, you might have to get creative withI do my best! A lot of ad agencies only want to of course if you get on with people you’re more how to shoot something. I’m very lucky that wedeal with photographers who have worked with likely to be able to bounce off each other and don’t have to pay any agency fees, so all thelots of other ad agencies. I’m not knocking that, work as a team. money we have goes into the image. PP 51
  • 37. SAVE 25% when you subscribe to THE PHOTOGRAPHER’S GUIDE TO TURNING PRO for just £22.40 for 6 issues or pay only £11.20 every 6 months by Direct DebitThe Photographer’s Guide to Turning Prois a new bi-monthly photographic titleperfect for enthusiast photographers whoare keen to make money from their hobby,as well as photographic students lookingto take their first steps on the road toprofessional photography.Great reasons to subscribe: Take advantage of a great discount Get ahead of the game by seeing new issues of Turning Pro before it hits the shelves Get your copy delivered direct to your door FREE delivery to the UK SAVE 25%EASY WAYS TO SUBSCRIBE 01858 438840 please quote code TPR4 Available in WHSmith and from www.subscriptionsave for £4.99 per issue
  • 38. feedback.tell us what you think at the last issue, on our Exposure page, we published one of the doesn’t shock it has no value Winning art competitions is, andimages short-listed for the 2010 Taylor Wessing Photographic regardless of its aesthetic nature? probably always will be, a lottery,Portrait Prize and gave you the opportunity to view the uncensored As a member of the public I am as but like its popular namesake it’s aversion on our website. Here are some of your reactions to Portrait susceptible to scenes around me as lottery that delivers a life-changingof My British Wife by Panayiotis Lamprou. The debate is far from anyone; which means that for the result to the winner.over, however, so if you missed the December issue go to our most part they pass me by, because Brian Wilson, via emailwebsite to see the image that any single image may be out of myeveryone’s talking about and let us know your thoughts. context; it’s not part of my daily life Dear Professional Photographer, and seeing it or not seeing it makes I have looked at both the images no difference to what I do and how I [the one on our Exposure page feel. As a photographer, and one and the uncensored one on the who strives for a raised profile, I see website]. I cannot really, honestly scenes as potential images that prick say it should have won but I at emotions, but the emotions I wish certainly don’t think it should have to stir are not shock for shock’s sake. been censored in any way. I wonder Real images that produce real, what the reaction would have been life-changing actions are valued for if it had been a picture of a the change they make in the half-clothed husband or partner attitudes of people who would rather showing his genitals taken by not see what they know is going on; a female photographer or a gay but how would this image change male photographer? We live in a YOUR life? What would you do strange world. tomorrow that you haven’t done Christopher R Harland, via email today as a result of viewing this image? Would you lose sleep at Dear Professional Photographer, night, or donate to a charity? No, is [The image] should never have been the answer. entered or short-listed and certainly What does this image say and do? NOT a winner... It provokes comment and discussion; Alan Peters, via email it causes sane photographers to wonder how many moons orbit the Dear Professional Photographer, planet that art critics and I visited the private view of the photography competition judges live Taylor Wessing exhibition 2010. on. It doesn’t do much else. I usually take A-level photography The morality of the UK is already students each year to the show dented by decades of bombardment because it is the only London by visual, aural and written pieces of photography exhibition that displays art, but this image doesn’t shake the a range of approaches to final keystone loose so that we can contemporary portrait work. all be free. I would not have The types of image that eventuallyDear Professional Photographer, been going on for years: ‘picture submitted this image as a reach the walls of the finalIt seems that today in order to shock!’ Whether it’s junkies competition entry for many reasons exhibition are all representative ofstand out from the crowd a shooting up in dark moody images, and, had it been my wife, it would the sub-genres of portrait work.photographer’s image must have kids in Chinese sweatshops in low stay firmly in the private collection. They explore the figure in a rangeshock value. This one does, but light, or mature women with their Apart from its “Ooh, Matron!” value of contexts and poses. The overallapart from that, what else does bits hanging out on a summer’s day, I struggle to see what aesthetic it impression is of the need to find ait say and is it worthy of being they all fall into the same category: has. It’s a nice summer picture of a particular ‘take’ on portraitslistened to for all that? This image single-second shock value only. sexually-experienced woman with depicting mood, psychologicalmay be part of a trend that has Does this mean that if an image no knickers on. So what? tension, being deadpan etc. This is 53
  • 39. feedback.usually enough to inspire students to expressionless. In fact she looks I wish I had the courage to do it from the top shelf! In my view, notbroaden their practice and develop half-asleep. She’s giving nothing first. worthy of a first prize but if it is ofgreater confidence to push their own away to the photographer, and Max Santini, via email one’s interest then I can see nothingwork further. they’re not really doing her any wrong with it, although some may The photograph by Panayiotis favours either. Technically it’s about Dear Professional Photographer, find it offensive and perhapsLamprou is the issue of the as bad as it gets. It’s so bad I find it What does it say? I’m surprised that demeaning of the female form?exhibition this year. The photograph difficult to know where to start. So I more people (photographers) seem In conclusion... a personal hung inside the show, not visible won’t. It’s just bad. Very bad. to have little to say either. As a Ron Yates, via emailuntil the visitor is well inside the It may survive on a kind of weird, photograph, a portrait, I’m very Dear Professional Photographer, [The image] should not have beendisplay. Its placing is deliberate, in unsexy, unerotic porno level uncertain what it says. And I’d entered. We don’t need this type ofmy opinion. The curator was aware though... I wouldn’t know. It has certainly like to know what the image in our profession.that it would cause a reaction so it is clearly been entered into the judges thought it said. Technical‘buried’ near the back of the show. competition to shock and test the merit – okay I suppose; a statement?I would have been more convinced judges. And, of course, it’s hugely Of what? An exposé? Certainly that. Roy Powell , via emailof their belief of their own judgment successful, in that here we all are, My eye kept being drawn to the little Dear Professional Photographer, The picture is perfect, not onlyand agenda if they had placed the looking at it and giving our heart on the board on the table – I technically [but] all its elements,image more prominently. I think it is comments. But is it a portrait? No. did like that. Magnus, via the Professional including the most provocative, aresensationalist and purposely It’s bad, it’s controversial, it Photographer website in harmony in sense of their shapes,provocative, and has been selected provokes debate, but it definitely conditions and implications.for those criteria only. I think it isn’t a ‘portrait’.should have been titled the Pudenda Chris Bestall, via email Dear Professional Photographer,Prize! The image has little merit on What is good and artistic about the Suneta, via the Professionalany other level. I think the judges Dear Professional Photographer, image? In my opinion, nothing; but Photographer websitefell victim to a shallow image, large I see the Emperor’s tailor is still this does not mean it should not [Editor’s reply]in scale, but lacking concept. doing brisk business. have been submitted, only that Thanks to everyone who Finally, I can’t take my students to John Rickwood, via email it should never have progressed contacted us about this image andthe show due to the nature of this beyond the entry stage. for sharing your views.image, because the amount of Dear Professional Photographer, Terence Davey, via emailexplaining and justification needed I have spent the last 27 years Dear Professional Photographer,would outweigh the value of the shooting women and I have many Dear Professional Photographer, At the beginning of the magazineoverall exhibition. shots from off-key moments with I am unable to understand the you publish readers’ photographs.Phillip Tootell, via email women in life. reasoning behind the picture other It would be great if you could put Private and intimate, not for public than the photographer’s desire to take their website so we can look atDear Professional Photographer, consumption. an erotic photograph. Whilst there other work, because I spend timeWhat does the picture say or do? Nothing infuriates me more than to is nothing wrong or particularly Googling them, as I’m sure manyIt’s a particularly poorly executed pass off a private moment as art. immoral with this picture it does not other readers do.picture of an apparently When you run out of talent, you stand out (in my eyes) as anything Darren House, via emailuninteresting (and uninterested) sensationalise, offend and provoke. exceptional. There is nothing candid [Editor’s reply]female. For me, it fails on a number Whatever it takes to get newspaper or to suggest that it was arrived at Thanks for your email, Darren.of levels; here are a couple of them: and magazine columns. innocently and whilst it was taken If you go on to the Portfolio As a portrait it fails because it Competition judges should hang in pleasant surroundings, shows section of the website you cansays nothing about the subject. their head in shame. no real difference from many of the click on the photographer’s nameYou can guess her age I suppose, but By taking up the issue your pictures found in some of the to find out more details andher expression is quite, well, magazine is furthering the insult. more upmarket (?) men’s magazines whether they have a website. PP For more controversialPROFESSIONAL PHOTOGRAPHER ON TWITTER images from the world ofDon’t forget you can send us a message via our Twitter account @prophotomag. photography, turn to our interview with theThe Dench Diary was an absolute pleasure to read this month along with the iMac review. From @DeanoBeano1 legendary Italian photographer Olivieroway to spend a Friday lunch! From @waynefordSat in the pub with a glass of Merlot, reading The @peterdench Diary in @prophotomag, can’t think of a better Toscani, for whom no topic is taboo. See page 60.Please note that we reserve the right to edit letters when necessary. 55
  • 40. of desireWe know they are not strictly kit but whether you use them for editing audio on your nextHDSLR video or for blocking out distractions when you need to focus, these wirelessSennheiser RS 180 headphones might become a valued part of your home office setup. REASONS TO BUY THE SENNHEISER RS 180 WIRELESS HEADPHONES SOUND DESIGN FOR LIFE1 INVESTMENT Balance controlsallow for right/left volume 4 3-in-1 action – the sleek transmitter also functions as a chargingadjustment while automatic cradle and dock. The openlevel controls ensure you backed design allows for ahear speech and music at the natural sound quality.optimum levels. In addition HAPPILY EVER 5the RS 180’s open designheightens sound quality. AFTER Sennheiser UK HERITAGE2 picked up the top prize for Founded more than best after-sales support at 60 years ago, the recent Audio Pro awards;Sennheiser is a world leader nice to know if you do havein electro-acoustics. any technical questions.You know that you’re in PARTY ON 6good hands when yourheadphones bear the same The transmitter canlogo as those worn by accommodate upBritish Airways pilots. to four sets of headphones, so why not invite over three ROOM FOR3 of your best friends and MANOEUVRE have a silent dance-off Wireless means before getting back to yourfreedom to travel up to post-production? PP100m from your stereo orcomputer (within line of Sennheiser RS 180sight). Imagine being able to headphonesmoonwalk to your printer Price: £219 inc VATand back without missing a Available frombeat or strangling yourself. 57
  • 41. exposure Images that have us thinking, talking and debating... The images on this page are now historical documents but they were once an essential part of our daily working lives. The chaos, the chemicals, the tea and the banter were all part of a regular trip to the darkroom. Photographer Richard Nicholson started shooting them in 2007 when there were 204 pro darkrooms in London alone. Today there are fewer than 10. You can relive your darkroom days or discover the world before digital at his exhibition, entitled ANALOG. But before you do, remember to refresh the fix and devRICHARD NICHOLSON and to put the bleach away. PP ANALOG, Riflemaker, 79 Beak Street, London W1F 9SU, 10 January to 5 March 2011; 020 7439 0000; 59
  • 43. ICONS OF PHOTOGRAPHYPOWERSex, disease, war, religion, AIDS and racial injustice.No issue was taboo for the legendary Italian photographer Oliviero Toscani whenit came to advertising the Benetton brand. Jesper Storgaard Jensen travelledto central Italy to speak to Toscani, the successful commercial photographer whodecided to use his camera as an instrument for political and social change. 61
  • 44. “When I start a new projectwhere creativity is involved,I don’t have any guaranteeswhatsoever as to how itwill turn out. I don’t wantto have that certainty,because creativity meansentering uncharted territory.Of course, you hope and youdream that the project willeventually go in the right © OLIVIERO TOSCANIdirection, that you will begratified. But you can’thave certainty, because it Oliviero Toscani looks relaxed. In his studio, “When I met Luciano Benetton in 1982,would be like looking for there’s a poster-sized, black-and-white photo of I asked him: ‘Are you willing to do a publicity his late friend, Andy Warhol. “I used him as a campaign that will become the most famous inconsensus. And consensus model several times, and he usually wanted to be the world?’ When I told him about my idea, heonly leads to mediocrity. paid,” he says with a smile. Before our interview starts, he drags me out on to the balcony of his had some doubts; especially because many of the people around him – his fiancée at the time,So what you have to do is studio in a tiny Tuscan village. The valley rolls many of the Benetton managers, the marketing out before us, glowing with the colours of staff, his children – were against this listen to the marketing autumn. Not far from where we stand you can They were all very embarrassed by my photosand then go in the completely see the farmhouse where Toscani lives with his Norwegian wife. It’s the same place where as the campaign went on. But in the end Luciano Benetton was very courageous. He gave me totalopposite direction.” he produces wine and olive oil, while also freedom. That was fantastic.” breeding horses. When you look today at these ground-breaking However, his apparently relaxed state of mind advertising images, what really strikes you is is in stark contrast to his verbal intensity, as he that there is no sign of any product. Not even a speaks to me of his creative process with such hint or suggestion about what’s for sale. The same confidence that it’s difficult not to believe every strategy is on display in one of Toscani’s recent, word he says, without question. But it was his hotly-debated campaigns for the Italian clothing images for the Italian fashion company Benetton company No-l-ita, in which a gaunt, nude female which spoke even louder throughout the 1980s model suffering from anorexia was photographed and 1990s, making a solid case for Toscani’s to promote the company’s products. photographic philosophy. The young priest and “In the case of Benetton, I really wasn’t the nun kissing, the black horse mounting the interested in the company’s sweaters. I think that white horse, the words “H.I.V POSITIVE” . the different companies’ products are more or less printed on a naked buttock, the black woman the same. On the contrary, I think it’s important breastfeeding a white baby, the coloured condoms for a company to show its social intelligence and and a soldier’s blood-drenched and bullet-riddled sensitivity to the society around it. So I started clothes. Images which gained Toscani global fame with the issues that interested me and began and notoriety across more than 120 countries experimenting. The results showed that this where the ads ran. These were not images usually concept worked. In fact, during the 18 years that used to sell brightly-coloured knitwear. I worked with Luciano Benetton, the company62
  • 45. ICONS OF PHOTOGRAPHY© OLIVIERO TOSCANI grew in size 20 times over. I simply took these areas of interest and put them into the advertising campaign. And today I use, whenever possible, the same concept,” he explains. “The rational part of these photos can be expressed in my ‘photographic philosophy’; that is, the most important part of photography as an art is that it must surprise and communicate. This is what it’s all about: communication, communication, communication. Actually, I believe the only objective that art should have is to describe human conditions. Apart from the rational part of the photo, you have, of course, the emotional part of the process. Take, for example, the Roman Catholic religion. It’s based on dogmas and to © OLIVIERO TOSCANI Previous spread: Benetton campaigns from 1989-1997. Above: A Bosnian soldier’s blood-drenched and bullet-riddled clothes, Benetton campaign 1994. Right: Newborn baby, Benetton campaign 1991. Opposite page: Condoms, Benetton campaign 1991. 63
  • 46. “If a company wants to create an advertisement for, let’s say, chocolate, they’ll calla marketing company that will do a so-called analysis below the line – that is,they link the product with, for example, love, sensuality, taste, beauty, health – andin that way they develop the publicity strategy. I don’t work like that.I don’t work on commission. I work with the issues that interest me.” Oliviero Toscani64
  • 47. ICONS OF PHOTOGRAPHY me it’s been conceived to make us suffer as much as possible. ‘Only in that way we’ll be able to reach paradise.’ But it’s a lie. Who can be certain that the paradise exists? And then all these Catholic dogmas, they are so ‘easy’ – so cowardly inhuman. Why should I accept a dogma if I disagree? All these Catholic priests have been fooling us for years. They should all be thrown in prison for their false propaganda. So, for me, going against these dogmas through my images has almost been an act of duty,” he says, laughing. Toscani feels that he inherited his photographic eye from his father, Fedele Toscani, who was a photojournalist for Italy’s biggest daily newspaper Corriere della Sera. His most remembered image was of the recently-executed Italian fascist dictator Benito Mussolini, hanging in a Milan square, taken in 1945. Controversial imagery seems to be an inherited gene for Toscani. “When I was a kid there was no television. But through my father I knew exactly what was going on. I was on top of contemporary life when I was young. And I still am. I never watch TV; especially not in this country. The so-called truth, reality, ethics, morals are all given by Berlusconi’s stations, which has a cultural level way below mediocrity, and which kills all kinds of creativity. It’s like a democratic dictatorship. I’m not a publicity guy. I don’t know the target, the pay-off and all that stuff. I’m what you call an imaginater. I imagine images which socially speaking are part of contemporary life. You could say that I look at real life as one who has been locked up for years and then, when he eventually is set free, he looks at the world with totally new eyes. I’m like that. I’m death curious,” he says. Toscani’s collaboration with Benetton ended in 2000. His final Benetton campaign was arguably the most controversial. It portrayed a total of 26 death row prisoners in several different US prisons as they awaited execution. When the parents of one of the prisoners saw the images, an avalanche of protests began across America. Subsequently, the campaign turned many Americans against Benetton, and the retail chain, Sears, Roebuck & Co, cancelled its contract with the Italian clothing company. It was the end of the collaboration between Oliviero Toscani and Luciano Benetton. “It was an© OLIVIERO TOSCANI Left: This image was first taken for an editorial that appeared in Elle France in 2005. Oliviero Toscani is now reusing the picture for a new cultural project about aesthetic surgery. 65
  • 48. “The fact that a photo is static is also its value. It’s not a limitation. Cinema justifiesits work: there’s a beginning, a middle and an end. Not in a photo. You value aphoto based on your culture, morals, consciousness and ethics. You have tointerpret each photo you see and that’s the strength of photography.” Oliviero Toscani © OLIVIERO TOSCANI © OLIVIERO TOSCANI © ORAZIO TRUGLIO66
  • 49. ICONS OF PHOTOGRAPHYOpposite page – top clockwise: Priest and nun, had to explain himself. “When we did the creativity, architectural monsters, terribleBenetton campaign 1991; Oliviero Toscani; ‘H.I.V Positive’ Benetton ad, no one was talking . pistachio-coloured houses, illegal additions,Graveyard, Benetton campaign 1991. seriously about HIV and AIDS. But after the horrific modern churches and so on. We must ad appeared, a big debate took place worldwide. stop accepting all this ugliness. We have to doincredible experience. Going on to death row is The same thing happened in the anorexia case. something. So we are creating a database of thelike going into a coffin,” says Toscani. “There’s a We all know that this illness exists, and the easiest entire Italian territory where everyone can submitstrange atmosphere; a mix of sophisticated thing is not to address the problem. In fact, their photos of these monstrosities. I would like totechnology and the Middle Ages. And there’s creating a controversy around the ad is such an work with schools; teach young people to expressa strange smell – no, there’s a stink of death. easy reaction because then you don’t have to themselves in a creative way. For example theyIt’s one of those places that the human race should speak about the real problem. When you look at could make a short documentary project, How tobe ashamed of. The advertisement campaign was this skinny girl, you have to take a point of view. Live in Society. But I’m afraid it’s not possible.just an excuse used by the press to explain why And that’s uncomfortable for many. So they get So many things are not possible in this country,our collaboration ended. The truth is that my job angry. But they get angry with themselves where mediocrity and superficiality are the namewas becoming too managerial. I had too many because they don’t have the courage not to be of the game. I really hate this country, and itpeople under me and my involvement seemed to sanctimonious. irritates me when I say it. Italy has such greatbe focused on holidays, wages and other practical “As far as the accusations of being cynical, I potential, but we are about to ruin it all.”problems. These things didn’t interest me. So I look at it in a different way. I don’t think it’s Despite his apparent anger with society,wanted to leave Benetton, but I also wanted to do possible to use human dramas to sell a product. Toscani describes himself as an optimist,this last project. It took three years, due to the On the contrary, I think you can use a product to who feels both fortunate and privileged.bureaucracy and shooting in seven different US focus on certain social problems. Regarding “My generation invented the youth concept.states. The very day the campaign was launched, provocations as a way of communicating. I’ve travelled all over the world. I’ve metI left Benetton.” Yes, it’s still very important. You need to interesting people. I was there when the miniskirt There has definitely been less international provoke interest. Provocation is, in my opinion, started to conquer the world. The only peoplefocus on Oliviero Toscani in the past decade. a new aesthetic dimension.” I envy are Bob Dylan and Muhammad Ali.However, he has continued to outrage the Italian Even though Toscani turns 70 in 2012, Listen to Dylan, his words are important.”public on a regular basis – as in 2007, with his he continues to erupt with ideas. Last year he When I ask him about what photography meanscampaign for No-l-ita. “If a company wants to travelled all over Italy with a team of young to him he lights up with a great smile. “I believecreate an advertisement for, let’s say, chocolate, photographers to create Razza Umana (Human that being a photographer is the most beautifulthey’ll call a marketing company that will do Race). It’s a project in which Toscani wanted to work in the world. It’s like writing with light.a so-called analysis below the line – that is, mark the 150th anniversary of Italy’s unification Just like God himself. I don’t think that otherthey link the product with, for example, love, by portraying the different physiognomies of the professions have the same beauty. The fact thatsensuality, taste, beauty, health – and in that way Italian people today. The thousands of photos a photo is static is also its value. It’s not athey develop the publicity strategy. I don’t work taken – and those yet to be shot – will go into an limitation. Cinema justifies its work: there’s alike that. I don’t work on commission. I work impressive archive, and some will be shown in beginning, a middle and an end. Not in a photo.with the issues that interest me. exhibitions during the 2011 jubilee year. You value a photo based on your culture, morals, “I’m interested in anorexia. It’s about wanting His latest project, however, seems even closer consciousness and ethics. You have to interpretto disappear, to become invisible, not wanting to to Toscani’s heart. He’s passionate about Italy’s each photo you see and that’s the strength ofbe dependent. There are so many interesting natural beauty, landscapes and aesthetics in photography. That’s why a single image, moreimplications in that illness. Initially, I did a short architecture, and wants others to join him in often than TV or movies, is able to create anfilm on anorexia and, later on, I started to do defending it with their cameras. His latest mission uproar in society.portraits with anorexic people. At a certain point a is the project Nuovo Paesaggio Italiano (New “Remember the photo from Warsaw with theclothing company contacted me. They wanted me Italian Landscape). “Three decades ago I was Jewish child with his hands raised in front of ato do a campaign, so I asked them: ‘What do you already saying that Italy was getting destroyed. group of armed SS soldiers? Today, 65 yearssay? Do you want to be famous overnight with the And today that feeling in me is even stronger,” later, it’s still impressive, because it makes ussmallest possible budget?’ They accepted, so he says. “The Italians are about to lose their sense ask: what on earth happened? That’s fantastic.we placed a double-page ad in la Repubblica of beauty. Our landscapes inspired painters such That’s photographic art.” PP(Italy’s second biggest daily newspaper) and as da Vinci, Raffaello [Raphael], Giorgioneplaced 80 big billboards in Rome and 100 in and so on, so what has happened? From an – Human Race ProjectMilan.” Parents’ organistions in Italy protested, architectural point of view I think that the last 60 –the Institute for Advertising Self-regulation (IAP) years in Italy constitute a total disaster. Just look New Italian Landscapebanned the campaign, and once again Toscani around at all these horrible buildings: no ideas, no GO ONLINE FOR MORE FROM THE ICONS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 67
  • 50. ICONS OF PHOTOGRAPHY THE ALL SEEING EYE Albert Watson is one of the most successful photographers of the past 40 years. He has created many iconic images and his pioneering work has graced the covers of countless magazines across the world. Sean Samuels spoke with him to discuss his style, creative process and approach to the business. Looking at your immense volume of work, the images we’ve chosen are very graphic and I’d like to know how and why you developed that style. If you look at everything I do, it’s really a combination of three things: It’s graphics, it’s film or a combination of the two things – the filmatic graphic, I call it. What I mean by that is sometimes the shots are very simple. If you look at my shot of Tutankhamun’s Glove, I think that is very straightforward. If you had 10,000 photographers you could probably get as many as 9,500 or more of them who could take that picture. The thing that interested me was at that time nobody was doing anything like that, so it wasn’t that the photograph was exceptional; it’s not, in fact it’s straightforward. It’s a concept rather than being a wonderful photograph. It’s a wonderful object and the concept behind it is more important than the photograph. Monkey with a Gun is also a graphic and an idea. What was the idea for that? I have no idea. It just popped into my head. There’s an interesting article in the New York Times today about where ideas come from; they suddenly pop into your head. The article says there is probably a complex series of triggers in your brain where one thing leads to another and they all line up perfectly in the end, and you have an idea. Once I saw the image, I worked on achieving it. I thought there would be something interesting in it. Having read that article in the New York Times, have you looked back on any of your work and wondered what the influences might have been? There is a process for photographers, for sure. A lot of photographers I meet – not all, but a lot – are very lazy. Say they are going to photograph somebody; the person turns up and the photographer chats to the person, so they are nice and relaxed, feeling comfortable and good, and then they shoot the picture, there’s a soft box and it’s done, the person looks quite good and that’s it, but there’s no concept, so there’s not really a lot of depth to it. Sometimes you are lucky and you can do a straightforward thing like that with a softALBERT WATSON Right: Monkey with a Gun. Opposite page: Fashion shoot for the cover of Italian Vogue, 1989. 69
  • 51. ICONSOF PHOTOGRAPHY“I might give a talk to photographers and they don’twant to talk about photographs, they want to talk aboutthe kit. That’s one of the sad things. The equipmentis important, but it’s not about the car, it’s where youtake it.” Albert Watsonbox or the light from just a window and you can sometimes create a strong Above and opposite page: Breaunna, a professional dominatrix in Las Vegas, fromimage, but other times it’s not so easy. In a way you have to do some Albert Watson’s latest book project, Strip Search.preparation. It’s really important. You can always be spontaneous after youbegin that process. I planned the multiple mirror shot of Jack Nicholson, butwhen he arrived he had a cigar in his hand. I didn’t ask him to bring that. stuff, talking about equipment and lenses, and how many megapixels and soThen he said, “I can blow smoke rings.” I said okay and therefore the cigar on. I might give a talk to photographers and they don’t want to talk aboutbecame part of the shot. You don’t want to plan it to death. You should photographs, they want to talk about the kit. That’s one of the sad things.always be open and always looking. That’s the thing that The equipment is important, but it’s not about the car, it’s where you take it.a lot of photographers don’t do. The good ones are always looking. You need to learn to drive a car, get that out of the way and then you can take it somewhere, but don’t concentrate on the car. If you’re on a scenicDo you believe the extra thought that you give your work is the reason route you don’t stop to look at the ash tray of the car because you polished itfor your success? that day.I really try to follow it through that when someone gives me a job I have aresponsibility not only to the people who have come to me, but also to Do you think you know instinctively what a magazine is looking for?myself. If somebody comes to you and pays you a lot of money to do a day It could be, although I think as the work I was doing in the 1980s and 1990sor pays you nothing, the interesting thing is you never get that day back became stronger sometimes it was difficult for the magazines to accept that.either way, so you might as well maximise that day and get something out of When I say stronger I am not using the term to mean better. It means heavier,it beyond just doing the job, beyond just saying, “Well that’s not bad.” the photography had more weight to it, but magazines, in particular fashionSo why not be prepared and think beforehand about what you might do? magazines, demand lightness and approachability. Sometimes when yourAnalyse it and go through some books to begin to get some inspiration. pictures become heavier they can be a tougher pill to swallow. It was aLook for things and get some ideas. I have had this discussion with natural progression for me over a period of a few years to make the workphotographers before and sometimes they argue against that. The planning more powerful, more graphic and more photographic. When I look back onis an important part, but that doesn’t mean you don’t have escape routes the 1970s work, which was very successful for me, I find it too lightweight.from that plan. You should always be thinking, switched on and looking thewhole time. Once you have locked on to a persona for a portrait – it doesn’t If that was the case how did you continue to match the expectations ofhave to be a famous person – that person can pull you towards them and clients?demand your attention and you can’t say, “Excuse me I’m going to go off One thing I was good at so far as clients were concerned was that part of meand think about an idea.” Unless you are truly a genius who can think on two was a good communicator. I was always trying to protect the client. If I wastracks, you are thinking solely about the person, but not about what you are working for somebody at a company I really felt I was working for thegoing to do with that person. company, not necessarily for their representatives. Sometimes that was tough because people would ask me to do things that were just silly orHow do you reconcile your understanding of the subject when they inappropriate or not powerful and I felt it was better that the work be moreare in front of you with your concept? iconic and memorable because I thought that made for better advertising.A certain process begins when you pick up a camera and begin to think That’s why I had a lot of success shooting covers, because I shot them simplyseriously about photography, which I did in 1966. That’s 44 years ago. and iconically, and when you stuck those covers on a newsstand they stoodIf you begin to think of a process something happens to your brain. There’s a out. That’s why I shot so many covers. I was always after simplicity andpattern that you slip into that helps you begin to understand what the intensity. It was always the simplest picture, almost like a passport, but itdemands are. A lot of it is just experience and it’s not a simple thing was a matter of getting intensity into explain how you do it to someone who picked up a camera only yesterday.There’s not a 44-year short cut. I’m not saying you have to go on automatic, How did you achieve this intensity? ALBERT WATSONbecause with photography every day is different. The subject is different and One thing down the line I did learn to do was to light. I felt that was a basicso are the demands. There’s something about becoming fluent in what necessity all photographers should do. I found it interesting that a lot ofyou’re doing. A lot of photographers get sucked into too much technical photographers were using the same equipment and doing the same things70
  • 52. with light. It was all a bit anonymous. What I found interesting were thecontrast ratios of a lot of lighting and how they could be manipulated. I oncedid a class for students with a series of portraits using an electric 250Wlight. The point was to show what wonderful things you could do just with alight bulb if you learned how to work with it. A soft box is fine for certainthings, but it’s not particularly flexible. It’s fixed and cumbersome; everyonelooks quite good in it, but you’re not going to pull something out of thegeography of someone’s face with it.Would you say that by being open-minded and always wanting toexperiment you have been able to work in any situation?I think so, in the end. A lot of times you look at a young photographer’s bookand in a weird way it looks like my book UFO. You see it especially right atthe start if he has a photograph of his girlfriend, a photograph of hisgrandfather, a photograph of a sunset, a photograph of the car on a beach, astill life. There’s a little bit of everything and I think the weird thing with mewas that I never really lost that love of a little bit of everything. One minuteI was shooting car photography, the next minute I was directing TVcommercials, the next minute I was doing a Vogue cover, still life orlandscapes. The way I see it is I discover a road, it goes straight and then ittakes a curve; then it’s in a forest and then it’s up a hill and you follow thatroad and at the end you finalise an image. I am working naturally. Once youget the technical thing out of the way, that does open a lot of doors for you.Everybody thinks I am a very technical person, but I am not at all. I justlearned to do a lot of things; I didn’t want to particularly, I found them very And on that journey how often have you found yourself abandoningannoying, but they were necessary because I found they opened a lot of your first idea?creative doors. You were able to get things out of the way that held you up. All the time, but very often, although you have abandoned that first idea, asSome people might ask how I did that and I’ll say I thought about it and long as you get started, abandoning an idea puts you in a stronger positionworked hard on it. because it puts you in the right direction. Even when you make a mistake One way of working that was crucial to me was the use of Polaroids, not you learn something from it. To get to that final image there can be lots ofso much to see how my use of light was, because I knew that, but how one twists and turns and bumps, failures, pitfalls and flooded roads, before youshot linked to another in a story of 10 or 15 pages. I wanted to know that the get to that final image; you try to think about it in a clear-cut way, but it’sfirst shot I was doing linked to the second, and the third linked to the first very tough. However, if you are well-equipped with knowledge, that can betwo, and how shot number seven related to shot number one. I was very a little bit easier.locked in on that. That’s the film training I’ve had, it’s like putting togethercuts. What we called Polaroid books, I always kept them in my pocket, After all these years, do you still have to submit a portfolio for jobs?I would stick them all together and a lot of these books look impressive now Oh I haven’t done a portfolio in 20 years. That said, there have been jobs forbecause they show the ways in which the ideas were finally resolved. which a portfolio has been sent in because the client is looking forIt’s probably fair to say I am a perfectionist. Mary Ellen Mark said to something particular and they may not be totally familiar with everythingme: “Oh my god, you’re such a techie, I wish I knew all that stuff,” and you do. The portfolio is there to help show what you are thinking of, whatI said: “Mary you’re supposed to learn some of that stuff, it’s kind of your the work might be or, more importantly, to determine if it is work they arejob, you know.” I’m not saying you need to know every single detail about looking for. I can show them a portfolio of 50 images and the client mightphotography, but you should know certain things. want something that is in there or something completely different.I like the idea that getting those answers to certain problems out of Do you do a lot of personal projects?the way enables you to go a much greater distance creatively. Not a lot, no. In fact I don’t do nearly enough personal projects, but when IOh, absolutely, it frees you. Someone says, “I want you to take a picture of a do they take a lot of time, for example, the new book Strip Search, which isgirl nude on a bed in hotel room.” I want to see the hotel room, size up the about Las Vegas. Other projects would come in and block it, which meant Ispace and the first thing I am doing is looking at the light, I’m looking at the wasn’t able to finish it.bedside table lamp, I’m looking at where the strobes might plug in, whetherI need a 1K light or a 5K light, can I sling something outside? Can I mix What drives you to do personal projects?light? I’m analysing all that very quickly in my head. It’s not always easy, of Freedom, but in a weird way you are never 100% free. You can get close tocourse, sometimes it sounds as if I walk in and it takes me 14 seconds and I 99.9% free, but I think there is always a slight compromise. Sometimes you ALBERT WATSONhave the solution. But there are times when I walk in that room and head set out to do something like the Vegas book, and it was a big undertaking todown that road and take a wrong turn, you’re trying to get to the right place, do a project of that size. It’s not like photographing fire hydrants ofbut it’s not always easy. New York; it’s a much broader look at something. I went out there to see72
  • 53. ICONS OF PHOTOGRAPHYwhat I could find and what I found I put in the book, as opposed to doinga book on Paris, for example, where you do the Eiffel Tower, the Place de la “One thing down the line I did learn to do wasConcorde and the Champs-Élysées and so on. In other words it was aboutwhat I found interesting in Vegas. to light. I felt that was a basic necessity all photographers should do. I found it interestingYou say you went there to find the subject. Once you got there, whatwere you doing every day? that a lot of photographers were using theLooking, I was always looking. I had some plan, I said I wanted to do acertain amount of desert and it was a matter of beginning to circle from the same equipment and doing the same thingscentre of Vegas and going to the outside. I didn’t just shoot somebody and with light. It was all a bit anonymous.”then say, “Let’s go and do a landscape.” I tended to go on a real mission ofexploring and finding. I was never going to go there to do a book on Vegas Albert Watsonà la National Geographic. I was never going to analyse and say here’s aCirque du Soleil performer, here’s gambling, here’s architecture, here’s the Is there a time when you felt the pace was too much?Strip and so on, I was going to find things I felt were unusual. What I found Not really, I don’t have a problem working. When I do get time off I’m verywere funny, eccentric people living there, including Breaunna, working as a private and enjoy my time immensely. I was always lucky I never had aprofessional dominatrix. She was absolutely fantastic to photograph. problem with stress; that isn’t to say I didn’t feel it or I didn’t feel the pressure of stress, but I always believed I could deal with it and that it madeWhy was that? me better. I was just lucky that it was in my personality. A lot of people areBecause she was so charismatic, she understood the camera very quickly and not equipped to deal with stress. I have seen a lot of people buckle, they gethad never been photographed before. When you go through the contact worried and it confuses them and they make mistakes. That’s another benefitsheets you couldn’t miss her, she has a natural instinct for the camera, which of preparation; it can help to lift some of the a very unusual thing. Very good models have that. Christy Turlington hasit, but it’s very rare to find it in someone who hasn’t gone through that What helped you get through that stress? Was it a love for makingprocess. Christy Turlington developed into a very good model, to say the images?least, but at the beginning she wasn’t as good as she became, whereas this Yes, there you go in a nice simple sentence. I found something I was good at,girl Breaunna seemed to be good right from the get-go. which I was made to do.Can you put that quality into words? Well on that perfect note Albert, I think we’ll end there, thank you.Charisma and a natural instinct for a camera, and she also had good facial Okay, well many thanks for calling on time. It’s been nice chattinggeography and body language. She was short, she was about 5ft 2in, but the with you. PPproportion of her face and her attitude were perfect. She was far enoughremoved from being a model. There’s sometimes a danger that models can www.albertwatson.netbecome anonymous, but she had enough persona and almost felt like ayoung actress.How long did you spend on the Las Vegas project?We spent about 16 weeks over three years, off and on. The longest time Ispent in one stretch was 10 days. When I went out there to photograph, I shotvery intensely because it was so expensive to do. I was out with threeassistants and a truck full of equipment. I had the same routine almost everyday. We would start at 9 o’clock in the morning, have breakfast andbe on the road by about 9.45. Then I shot until 1 o’clock in the morningand I was averaging 13-hour days.That’s a long day. Is there a period of your career you would describeas your busiest time?I’ve always been busy. I’ve done some incredible runs and nobody knowshow many things were done at the time. Sometimes there was a project andbehind it 600 TV commercials, so never mind all the photography, there wasall that jammed in there as well. I’ve done a vast amount of commercialwork, which helped the creative work because it focuses you. When you getsome time off you make damn sure you use it well.Right: Film director Alfred Hitchcock with a goose, for the Christmas issue ofHarper’s Bazaar, 1973. Opposite page: ‘Malcolm X’ fashion story for The Face, 1992.
  • 54. LETITROCKIt seems there has been no end over the past few years to the number of photographersbeing rediscovered and to the unearthing of rare rock images to exhibit andsell. Former rock journalist Peter Silverton wanted to know what it was about rockphotography that made it such an enduring subject for both pros and collectors.74
  • 55. GET EXHIBITEDI could begin in the mid-1990s, when global of Clash images. At Proud Chelsea, a Lennon certainly something to be considered in whatCD sales had overtaken those of vinyl. exhibition, the latest in a very long line of pop Marty McFly’s Back to the Future trip evokes inOr in 1978 when vinyl sales peaked in the US. and rock shows at all the Proud galleries. us. In particular how his story relates to our wishOr on June 21, 1948, in midtown Manhattan, In east London – Shoreditch, in fact – more to acquire, own and display images which, mostly,with the press conference Columbia Records Mick Rock, an exhibition version of his book date back to the margins of our memory, if notcalled to announce its new 12in Long Play Exposed: The Faces of Rock ’n’ Roll. Recently, at further. Certainly, there is a pretty much universalmicrogroove record album. the National Portrait Gallery, Beatles to Bowie. fascination with the world as it was just before I could start with Marty McFly and his In west London, at the Brompton Quarter we were born or when we were very small.DeLorean-powered journey back to the future Brasserie, Shake, Rattle & Roll: The Rock & Roll Some would call that nostalgia but how can we(and his own past) which enabled him to teach Exhibition, with works by David Montgomery have nostalgia for something we’ve never known?Chuck Berry how to play guitar in Chuck Berry and Terry O’Neill. In Liverpool, a retrospective of Or, at best, only recall, in blurred or fracturedstyle – and to find, to his discombobulation, that the photographs of Astrid Kirchherr, girlfriend form, from our earliest years?his mother was once, well, hot. The eruption of to the fifth Beatle, Stuart Sutcliffe, who died I’ll come back to that but first it’s worththe present in the past, that is – with a rock and before fame. Though she did, it must be said, thinking a little about the nature of the imageroll soundtrack. make some excellent images, it’s also true that if itself. A photograph, in particular, is a But, no. When considering the rise and rise they’d not been of the very early Beatles... well, representation of reality. On the other hand, is it?of the rock and roll photograph as a collected fame is obviously a big part of the attraction of Which brings us back to Moses.object, as a north London Jewish-ish (through these photographs. As you probably recall, when Moses returnedmarriage) Catholic atheist (and, to steal an What else explains their ever-increasing lure, from his mountain-top chat with God, he cameold Nik Cohn line, not untypical of the sort), though? Well, as I indicated earlier, a major factor down carrying a carefully chiselled top ten ofI feel I should go back even further – to c1250 in the rise of the rock and roll photograph as a no-nos for his fellow travellers. There at numberBCE and the foothills of Mount Sinai. framed item on walls has been the CD’s slow two was: “You shall not make for yourself aThe biggest-selling image in all those shows? An outtake of Don Hunstein’sshot for the cover of Bob Dylan’s Freewheelin’ album – the one where Bob isstrolling through Greenwich Village, hand-in-hand with his soon-to-be-exSuze Rotolo. It’s in the gallery window and could be yours for £2,150, framed.“It’s not just for Dylan fans but for anyone who’s been in love.” Guy White I’ll get there soon, too. But first, it’s worth eclipse of the big 12in album sleeve – graven image, or any likeness of anything that istaking a moment to outline the scope of the a broad canvas to engage our dreamworlds. in heaven above, or that is in the earth beneath, orascension of the rock and roll photograph as an What Columbia Records set in train that 1948 day that is in the water under the earth”.object of adoration. There are books. Some recent in Manhattan led, in no time at all, to the arrival There have, of course, been variousexamples. A Kevin Cummins collection of his Joy of original and arresting photography and graphic interpretations of what exactly God had in mindDivision pictures. The Ultimate Metallica by Ross design in just about every home. To be a serious there. (And it’s not as if he was, frankly, entirelyHalfin and others. Mick Rock’s bare-chested Iggy collector of rock albums was to be, willy-nilly, consistent. A little later, he told his believers thatpictures, all gathered together and covered, in also something of a collector of modern art – and they could – in fact, should – set about makingboth hard and paperback. Epoch-defining echoic, epoch-defining images. A brief period – graven images of cherubim etc. Solomon hadphotojournalist Don McCullin’s whole book built 30 years or so – when nearly every home loads run up for his temple.)around one session with the Beatles. Even a effectively had its own little art gallery. One that Many Muslims – though not all – take thishistory of the genre, A Star is Born: Photography the ascension of the CD put paid to. The CD’s commandment to mean a complete ban onand Rock since Elvis – a catalogue for a show at size meant it just couldn’t offer a big enough pictures of any kind. The Taliban are, of course,the Museum Folkwang, Essen. landscape to contain such dreams and notably strict on this matter – dynamiting the There is Rockarchive – now not just online and possibilities. It’s certainly the case that rock and Buddhas of Bamiyan, for example – but Islamicin London but in Dubai, Amsterdam, Japan, roll photographic prints rushed into that void – visual culture as a whole is more or lessMilan, Sydney, Marbella... Brighton. In New which has been further widened and deepened by exclusively abstract rather than representational.York, there is the rock photograph specialist, the more recent drift towards downloads. But it’s Evangelical Christians reckon it refers moreMorrison Hotel Gallery. There are shows on all far from being the complete explanation. precisely to images of God, his relatives (Jesusover London. Bowie in the 1970s at Proud You may or may not agree with Freud’s notion etc) and his pals – saints, apostles, martyrs etc.Camden, followed by Adrian Boot’s collection of repressed desire for the mother, but there is Jews – well, devout ones – won’t even use the 75
  • 56. name of the putative author of this early etiquette The Clash’s Paul Simonon smashing his bass Another question I’ll come back to but firstguide. Synagogues have no equivalent of, say, the guitar down on to the stage. It was used for the let’s get some perspective on the place of the rockStations of the Cross that decorate the walls of cover of the London Calling album. It was voted, and roll print in the arena of photography on theCatholic churches. Catholicism, of course, has by Q magazine in 2002, Greatest Rock ’n’ Roll walls. It’s as if there are two distinct aesthetics inlong revelled in representation. Art galleries are Photograph of All Time. It appeared on a contemporary art. On the one hand, the world offilled with paintings and sculptures that were first-class Royal Mail stamp in 2010, one of nine art photography – in which the dominantonce religious educational devices. It’s the main featuring ‘classic album covers’ – yours for inclination is still very much the Bechers andancestor of Western art – up to and including rock £4.10 the set. Or you can pick up a print of it – their Düsseldorf school. Plain, resolutelyand roll photography. as many have – in Snap Galleries, for £4,000. undemonstrative, concerned with representing Even more pertinently, eastern Christianity has What is going on here? When people – men the ordinary as the ordinary. Objects, restraint,at its very centre... the icon. A representation of a mostly, probably exclusively – buy that picture mute colouring, flatness. Factories, fields,“Springsteen was the biggest-selling show ever. We sold 28 prints, of anedition of 30, of Springsteen by his car.” An icon of an icon, that is, standingbeside his iconography – for £5,500. “For the right picture, people areprepared to pay.” Guy Whitedeity or holy person that may even be more and put it on their wall, what do they think when landscapes and perhaps the odd garishthan a representation. It might, that is, somehow they look at it? Are they recalling their own past? supermarket shelf. A man washing a window.contain something of the deity itself. Some icons (If so, why? A question I’ll come to soon enough.) It is also a world heavily shaped, if notare considered to be not man-made but to have It’s extremely unlikely, they were there that night, dominated, by the word as much as the image.come into existence without a maker’s imprint. though. So whose past are they recalling? “The snake’s dual symbolic meaning presented aTangentially – or maybe not – eastern Christianity Why that image rather than another? Okay, okay, paradox, and a focal point for Fuss’s recent work,has an almost total ban on 3-D imaging. The Clash were a big band, I know – especially which has long been concerned with the tensionsSculpture is out – too close, it’s said, to the popular with men of a certain generation. It was inherent to opposites (male vs female, light vstotems of paganism. Icons can be three-quarter an album cover, too. That’s obviously a major part dark).” That’s from the handout for a show bybas relief, no more. of its appeal. Success has many sons. Adam Fuss, the New York-based British What is undeniable, though, is that God was on Forget the actual context and photograph itself painter-turned-photographer. The photographsto something when he vetoed graven-imaging. for a moment, though. Rather, think, God-Moses are, mostly, of black squiggles – the snakes – onThe relationship between the thing, the object, the style, about the essence of the image, any image. white backgrounds. They are camera-less images:physical matter and the representation of it: that’s Surely, there is – in a very clear way – a photograms (a process made famous by Man Ray,a moot thing. As St Basil put it, “The honour relationship between outer and inner landscape. as rayograms) and daguerreotypes (the firstshown the image passes over to the archetype.” A photograph of an external object is a photographic process, announced to the publicWhen we look at an image, we do – at the very representation of an internal object – a shape in January 1839). One of the show’s very, veryleast – believe it to have some kind of relationship or something like it in our deepest recesses. large daguerreotypes (“in all likelihood, theto the thing it’s an image of. The more universal that internal object – ie it’s largest ever made,” says the catalogue, with a PT Think of a painting of Jesus – who of us, truly, there in us all – the more widely evocative the Barnum of a flourish) is of a vulva – or vagina ascan image him in our own head, without beard, photograph. When we look out, we are also it’s inaccurately referred to. Fuss, the son of anlong hair, djellaba and sandals? Or a photograph always looking in. There could be no meaning Australian fashion model and an Englishof Bruce Springsteen standing beside a car – an otherwise. Good photographs are always schmutter manufacturer, “does not see the vaginaicon of an icon, complete with an essential mirrors. We all know that the world, by and large, as a sexual organ, but rather as ‘architecture’, aelement of his iconography. Give us, this day, our pales in the glare of our solipsism. door to the origins of life.”daily Bruce. So, Paul Simonon smashing his bass? And then there is commercial photography – When God handed out that commandment, he What does that echo in us? Most obviously, of particularly its currently most popular division,knew and understood the danger – and thrills – course, it plays on the importance of violence to rock and roll photography. Not pop or showof our all-too human capacity to confuse the thing us. We love violence – why else would action business or even rock ’n’ roll – in its 1950s quiffswith the representation of it. Even back then, movies exist? The image captures a moment of and drainpipes sense, anyway. Not much blackin his early days, he had a clear-eyed and great drama. When we buy an image like that, stuff, either. Marley aside – and a current show, atwell-formulated grasp of the urge behind so many we are buying into that drama. We enter into its Hackney Museum, of Dennis Morris’s reggaeearly 21st-century middle-aged men’s desire to world. We become its world. Is it then the case pictures – there is little soul or hip hop or R&Bacquire prints of the moment that Pennie Smith that to own this print is, if only in the most imagery on gallery walls. There are jazz shows.captured at the Palladium theatre on Manhattan’s tucked-away parts of our fantasy world, to be There are a couple on now but I doubt if they get14th Street, on September 21 1979 – of Paul Simonon, if only for a moment? many visitors. A friend of mine, a successful pub76
  • 57. GET EXHIBITEDentrepreneur, always says: if you want to clear a the price at another gallery, the Proud – £200 for fortunate enough to realise my commercial careerpub, hire a jazz band. a picture of Pete Doherty splayed on a Union flag. was going down. I do no commercial work now. No, it’s rock music that’s the thing. Old white Which compares to £9,494 at Snap, for Art I work full-time on my archive – managing it,guys, mostly. Or rather, what are now old (or Kane’s image – one of an edition of seven – of supplying prints. It’s my living.”dead) white guys but who were once hot young The Who wrapped in the same flag. What is the appeal of the pictures?men – with guitars, generally. The Rolling Stones, “Springsteen was the biggest-selling show “Historical images are a central part of theThe Clash, Bruce Springsteen, that kind of thing. ever,” said Guy White. “We sold 28 prints, of mythology of The Rolling Stones and Hendrix.Particularly that kind of thing. an edition of 30, of Springsteen by his car.” For the younger generation, that mythology is In the heart of old-fashioned fashionable An icon of an icon, that is, standing beside his closely related to the images.’London, Piccadilly Arcade, squeezed by men’s iconography – for £5,500. “For the right picture, I wondered what others thought. Alex Proudtailoring shops and cashmere boutiques, is Snap people are prepared to pay.” has been running his music photography galleriesGalleries, newly moved into town from the Snap’s top five? Springsteen, Beatles, Stones, for 12 years now. “People seem to have a strongoutskirts of Birmingham where it was set up, in Hendrix, Dylan, in that order. “After that, it’s a sense of nostalgia that relates to musical icons,”2003, by former accountant Guy White, a little bit of everything.” he said. “Rock prints can reveal new sides tocollector of rock images who took to ‘tracking One of Snap’s main photographers is Gered those figures or reinforce the way fans see them,down’ the photographers he admired. Mankowitz. He took the picture of Jimi Hendrix which makes them very popular. Buying a rock Nearly eight years later, he now represents 50 in his military jacket leaning towards the lens. print is buying into an iconic moment andphotographers. There have been shows of Daniel From 1965 to 1967, he was The Rolling Stones’ accessing an unseen side to a rock and roll icon.Kramer’s pictures of Bob Dylan, 1964-65 personal photographer, shooting several album They capture a moment in time that often makes(focusing, significantly, on two of his most covers, including the blurry, frosty morning people feel nostalgic and which they have anfamous album sleeves, Bringing it All Back Home picture that first appeared on Between the Buttons emotional tie to. They are also a very accessibleand Highway 61 Revisited); of punk photography and which, despite the relative failure of way to get into the art market; they are reasonably(from both London and New York and including the album, became one of the most, well, iconic priced and are signed and editioned, which meansThe Ramones, Debbie Harry and Ian Dury); of images of the band. (He is also the son of the they retain their value, like fine art prints.”Joel Brodsky’s pictures of The Doors (particularly late Wolf Mankowitz, writer of the first great Neil Spencer was editor of the NME as thethe first two album images); of Eric Meola’s English rock and roll story, Expresso Bongo – 1970s turned into the 1980s. “We had PennieSpringsteens (twice, with both shows relating to filmed with Cliff Richard in 1959.) Smith, Anton Corbijn, David Corio, Jillalbum covers – Born to Run and Darkness on the The rock print market only really got going in Furmanovsky and quite a few others like ChalkieEdge of Town). The latest show is, in the gallery’s the early 1990s, said Mankowitz. Which links Davies and Joe Stevens, who would ‘get the shot’words, of... icons. with the rise of the CD and eclipse of the album but werent particularly arty. Did we really carry a The biggest-selling image in all those shows? sleeve. “I had my first exhibition at The photo of Elton with his trousers round his ankles,An outtake of Don Hunstein’s shot for the cover Photographers’ Gallery in 1982 – the first-ever looking backwards through his legs wearingof Bob Dylan’s Freewheelin’ album – the one show of rock pictures there.” He shared the space Y-fronts? Yes, we did!” Why rock photography’sWhy rock photography’s current success? “It wasn’t taken seriously at thetime, except by editors like me. The world is catching up. It’s a recognition thatpop/music was a more central part of 20th-century culture than themainstream culture acknowledged.” Neil Spencerwhere Bob is strolling through Greenwich with Harry Hammond, a showbiz smudger of the current success? “It wasn’t taken seriously at theVillage, hand-in-hand with his soon-to-be-ex Expresso Bongo era. “I don’t think either of us time, except by editors like me. The world isSuze Rotolo. It’s in the gallery window and could sold a single print. My 1992 show, though, that catching up. It’s a recognition that pop/music wasbe yours for £2,150, framed. “It’s not just for was a huge success. Then it was media people a more central part of 20th-century culture thanDylan fans but for anyone who’s been in love,” who bought them – from the advertising world, in the mainstream culture acknowledged.”said Guy White. The negative for the actual particular. Now it’s just about everybody.” Neil also pointed to that eternal motor foralbum cover version has been lost. “Often the By everybody, he doesn’t, of course, mean cultural change: cash. Where the money is, that’scase.” In the gallery’s other window is an Abbey everybody. “Well-heeled fans, that is – prints have so often where it’s at: “£900 for a print.Road image, with The Beatles walking in the never been a cheap option. We’ve just sold some Seven prints of each photo. Fifty photos.other direction to the original album cover. prints to a major Hollywood producer.” His prints Even after commission, that’s a fortune.”“A conversation piece on your wall.” come in three sizes and three fixed prices: £1,350, Like Neil, I worked on the music press. Like him, Though there is a younger market developing – £1,500 and £2,250. I can’t sometimes stop myself feeling a littlefor the bands of the 1970s onwards – the big “It became an income stream for me in the envious of the money made by photographerssellers are still the ‘classics’. “The market isn’t 1990s. As my commercial career petered out, so from images they were only able to take becausethere yet for current bands.” This is confirmed by my archive career took off. I was lucky. I was I had taken them along on an assignment. 77
  • 58. GET EXHIBITED...Why are rock pictures so popular? “I think people yearn for those times andthe photos bring back great memories of good times. Music means so much.If you were a mod and loved The Jam, then looking at Weller’s immaculateimage brings back a lot of memories. Or Run DMC and the sneakers they werewearing – people really relate to those great times that we lived in.”Janette Beckman Janette Beckman is a photographer whom I’ve we lived in.” She then added a little something Animals have sex all the time but don’t, so far asknown since she began taking music press more – “a word/rant”, she called it. I can tell, have a founding narrative of any in the very early 1980s. In her archive are “Those images are not digitally altered. They are The knowledge of sex? Maybe but that would runimages of 2 Tone, the mod revival and, when she documents of their time. People are depicted contrary to the boom in internet porn.crossed the Atlantic, the early days of hip hop. as they were, spots ’n’ all. No lies. So different My guess is that the fall symbolised aA long-time resident of lower Manhattan, she has from these days when every trace of character – discovery of the past: the realisation that thingsbeen represented since 2006 by Morrison Hotel, lines, expression, spots, hair blowing, whatever – could have been otherwise. A sobering andthe US rock photography gallery that’s based a are digitally... improved.’ distressing thought – and one linked to death.few blocks from her apartment. “I used to pop So we have icons and we have the past and, Which brings to mind something Steve Pyke saidinto their main gallery on Prince Street and harass therefore, a temporally mediated relationship with in the last issue of this magazine. “For me,them about not having any women photographers. those icons – via prints such as, for example, photography is completely about mortality, notEventually they relented and gave me a show.” Pennie Smith’s Simonon smashing his bass. just of the person you are photographing but yourIn the UK, she sells via Rockarchive and in To re-pose questions I asked earlier, what are own as well.”Australia through the Blender Gallery in Sydney. we getting when we buy a print like that? Hence the peculiar pull of nostalgia – which Are prints now a significant earner for her? Or perhaps what do we think we are getting? is, after all, the essential subject matter of“Yes they are – since 2006 when I published my Or even, what do we secretly think we might get? photography. The Japanese photographer,first book and my images were recognised.” Are we really separating the representation from Nobuyoshi Araki: “People say photographyWhenever possible, she still prints her own black the thing itself? Do we, in fact, deep down, think should try to avoid nostalgia, butand whites. “Recent orders for larger prints – to paraphrase St Basil – that we are acquiring I say photographs simply are nostalgic.”– 40 x 60, in particular – have led me to digital for ourselves a little honour from that archetype? Without nostalgia and a notion of the past,printers. A 35mm neg looks amazing blown up to That picture of Simonon – an icon of an we would all be, well, Homer Simpson.that size.” archetype – is now more than 30 years old. Nostalgia is often thought of as a wish for the What’s her bestseller? There are two. That’s more than the number of years Hendrix past in the present. But it’s not only that, it’sOne: Paul Weller & Pete Townshend, London spent on this planet. What is that image’s also a desire for the present in the past.1980, a Melody Maker cover-shot, taken outside relationship to time past, to then and now and the It’s an imagination of other possibilities, inthe Marquee. “It’s a very simple photo. A moment dialogue between the two? That is, what does which the imagination triumphs over reality –in time when Paul Weller met his hero Pete it say about our relationship to those things? among them, the possibility of being insideTownshend for the first time.” Two: Run DMC Questions which lead me back to God’s book. a rock print on our wall. Paul Simonon on stage& posse, Hollis Queens NY 1984, shot for The past, let me tell you about the past – as God at the Palladium in New York on September 21The Face. Both pictures have more than 50% sold might have put it, but didn’t, it was the 1979, for example. PPout their editions of 50. “They are both very Shangri-Las. (Icons, themselves – of, amongsimple: no hair or make-up, no stylists, no other things, good girls gone bad. Sex, that is.)assistants, no PRs, just me face-to-face with my As those young Long Island ‘myrmidons of PS1: I was on that Clash tour myself, as a writer –subjects. Simple documentary portraits that melodrama’ so cogently outlined and explored on though I wasn’t there that night.capture a moment in time.” hit 45s – Leader of the Pack, Remember (Walkin’ PS2: As a former music press journalist, how many So, Janette, why are rock pictures so popular? in the Sand), Past, Present and Future, I Can rock pictures do I have on my walls? Two, both by Chalkie Davies. In the kitchen, a photograph of the“I think people yearn for those times and the Never Go Home Anymore, The Train from Kansas remains of a meal eaten in Tokyo by Thin bring back great memories of good times. City – nostalgia is a central fact in our psyche. In the toilet, a print of eight of his portraits, includingMusic means so much. If you were a mod and Give us, this day, our daily past. Debbie Harry, Elvis Costello and Pete Townshend.loved The Jam, then looking at Weller’s Posed with a question about the significance of (I thought there was a third, a picture of me with Paul McCartney – see what I mean about the power ofimmaculate image brings back a lot of memories. nostalgia to humans, God would, I reckon, point narcissism? But I must have put it awayOr Run DMC and the sneakers they were wearing us back past Exodus to Genesis. When Adam and somewhere.)– people really relate to those great times that Eve fell, what was that all about? Sex? Unlikely. PS3: All prices quoted are ex-VAT. GO ONLINE FOR MORE DEBATE AND TO READ WHAT PRO PHOTOGRAPHERS HAVE TO SAY
  • 59. Make an exhibition of yourselfHaving your photographs shown in a gallery is one way of building your profile, as well asfinding buyers for your pictures. But how do you get your images on to gallery walls?Julia Molony talks to some of the country’s leading gallery owners and curators to find outwhat it is they are looking for and how they select the photographers that they show.80
  • 60. GET EXHIBITED THE WEST LONDON BOUTIQUE GALLERY them and I’ll happily give them advice.” He encourages people to approach the gallery; Ghislain Pascal, co-owner, Although it might not lead to anything The Little Black Gallery immediately, making an introduction is a good way to get on to his radar. What, I wonder, is the As a former celebrity agent, Ghislain Pascal best way to impress him? was already one of the most well-connected “I do get depressed when photographers ring up men about town when he set up The Little and they haven’t even bothered to look at our Black Gallery in 2008 with socialite Tamara website,” he says. “We don’t do reportage Beckwith and Bob Carlos Clarke’s widow photography because it’s very difficult to sell Lindsey. Having pooled their contacts books, anywhere in the world.” and harnessed Ghislain’s PR power, the They are very conscious of how their location three owners of The Little Black Gallery have influences their client base. “We are in Chelsea,” created a brand that punches well above its Ghislain says. “People come here to buy pictures weight as a presence on the arts scene. to put on their walls. A lot of the stuff is Small, but boutique, the space is all scented decorative; it’s aesthetically pleasing to look at candles and cool music. It’s become the go-to on the wall. Most of our people are not buying gallery for west London cognoscenti looking for to collect.” a stylish investment to adorn their walls. Although pictures of icons such as Kate Moss, The three are closely linked to each other and Audrey Hepburn and even the Queen are reliable to the place. Ghislain used to be Bob Carlos bestsellers, it’s not all about celebrity here. Clarke’s agent before the photographer’s suicide The Little Black Gallery brand’s fine art in 2006. “Tamara was the one who introduced me credentials are firmly established. “We don’t want to Bob all those years ago,” he explains. “And I to be known as a celebrity photography gallery. was her agent anyway. We wanted to be on Park We want to be seen as a serious photography Walk because Tamara and Lindsey both lived at gallery dealing in up-and-coming photographers the end of the road.” and established names. We do try to maintain a The gallery was set up initially to exhibit and standard. But at the end of the day we are a shop sell Carlos Clarke’s work; they now have a room – we are a retail business. in the basement dedicated to him, while the rest “If people are going to email or come and see of the gallery showcases the work of both me, have a look at what we do,” he advises. well-known and emerging photographic artists. Presentation, even at the speculative stage, is key. “We can’t do vanity shows,” Ghislain says At a portfolio review recently, he recalls, “A lot of bluntly. “We’re not in a position to do shows people just brought computers, they didn’t even where we are not going to sell anything. We just bring prints. I’m like, ‘Whoa, you’re a can’t. Every picture on the wall has to sell.” photographer and you want me to look at your That said, they aren’t afraid to feature unknowns. images on a computer screen?!’ That’s not good.” “One of the aims of the Bob Carlos Clarke One hurdle to getting work exhibited – and foundation, which is housed in the building, is to something he encounters all the time – is that support young photographers and we want to “all young photographers overprice their work. carry that through to the gallery.” It’s not just young photographers, it’s all So how do they find the people they work photographers. It’s all about price in the current with? They do accept unsolicited submissions, economic climate. We’re in the mid-market, ALISTAIR TAYLOR-YOUNG but so far, the work that has made it on to the wall not at the top end. Our price range is mainly tends to be from people who have attracted the between £1,000 and £4,000.” attention of one of the gallery’s three co-founders “We know who our clients are. Obviously through other routes. Tamara brings with her an incredibly good list Describing himself as the “eyes and the ears of people. I think we have to prove more than of the gallery”, Ghislain is constantly looking everybody else the value of the work.”Pink Lips, by Alistair Taylor-Young, at The Little Black out for new people to exhibit. Two recent He’s always happy to meet photographers whoGallery. favourites were picked up at the London College are producing well-presented, realistically-priced of Communication graduation show. He came work and to make new connections within the across another in the pages of the Sunday Times. industry. “I normally see a couple of people a “I get out there as much as I can,” he says. week and it’s nice to do that,” he says. “The ones that I saw in 2010, none of them was suitable for the gallery, but I keep in touch with 81
  • 61. Left: Steve Bloom’s work has been exhibited as part of the Wildlife exhibition at Lucy Bell Fine Art Photography Gallery & Agency. Opposite page: Huntress with Buck from the series Hunters by David Chancellor, the winning image in the Taylor Wessing Photographic Portrait Prize 2010, on show at the National Portrait Gallery, London. works, but it’s good if they have a strong sense of how to promote themselves by using the gallery as a launch pad.” What that means in specific terms is “some sort of marketing head, and possibly some sort of idea of how to sponsor their work, or get it made.” Demonstrating a willingness to build and use aTHE OUT-OF-TOWN GALLERY it’s been produced to the best possible standard network counts for a lot too. “Try to bump into and framed or mounted in the best possible way. people in the business and get as much advice andLucy Bell, owner, Lucy Bell Fine Art Photography has still got to fight against painting. as many leads and contacts as you possibly can.Photography Gallery & Agency Because there are multiples of them, on the And see who is sponsoring what. whole, even though the editions are quite small, “Preferably it should be a kind of 50-50With a foot in the countryside, but an eye to they have to be very beautifully presented.” relationship with new photographers,” she says.the wider world, Lucy Bell Fine Art Gallery Lucy admits that at the moment the classics “You would hope that any new photographeroccupies a unique position, delivering are doing well, and a lot of buyers are retreating you are working with would have an idea of theiragenda-setting shows to its sophisticated to the stalwart big names as a safe investment in own work, who likes it, and has some sort ofregional audience. When making decisions turbulent times. But there are still opportunities connection with the industry; or if not, canabout what to put on the walls, like any savvy for photographers who have talent, but not yet a go and make them. You want someone who isretailer, Lucy has to consider sales first and global reputation. One such opportunity comes in fairly grounded.”foremost, so commerciality is key. the form of the Terry O’Neill Award, which she This is particularly important now, when the “We are an out-of-town photographic gallery, started back in 2007, and is exhibited at Lucy Bell market is highly competitive. “There are a lot ofof which there are very few. So we try to bring every year. “I noticed that there were a lot of photographers out there who know how thethe best of the best down to this area,” says students making incredible work, and it wasn’t business works and whom to approach. It’s quiteLucy, the proprietor, who comes from a fine-art getting out there. So I thought, ‘What can I do to important, even if they can’t invite all the rightphotography background herself. She works make it more visible?’” people, that they at least think about it, or givehard to balance support of contemporary, The short-listed entries are featured in two it a go; not just assume that the gallery canunknown photographers, while also making shows – one at Hotshoe gallery in London and entirely support them if their work is particularlysure there are plenty of red stickers on the one at Lucy Bell. It’s also a good way to get out there.sales sheet. Lucy’s attention. She often makes a wild-card “I think it’s important when they are making “We try to keep standards high, but give selection herself and offers them space in their work that they are thinking, ‘Okay, now I’veopportunities to new, upcoming photographers her gallery. “I will be taking some of the entrants; got to market this. I’ve got to sell it, because it’sas well. Because we are not a sponsored or public not necessarily the short-listed entries. I’m quite really tough out there at the moment. Who am Igallery we have to rely on sales, so we have to happy to take risks on those,” she says. going to sell it to? Who do I think is going to beshow what sells.” This doesn’t translate to blanket Other than the award, she encourages interested in it and who is going to buy it?’conservatism, however. Far from it. “We like to photographers to do a bit of research on the Because that’s what the galleries have to doexperiment, and we try to take a few risks as well. gallery and then book an appointment to show her as well. So if young photographers are thinkingBut we need to sell in order to pay our bills, so we their portfolio. “I’d say to anyone going round to in those terms too, then they’ll get a lot morehave to find photographers or artists that we think see galleries, ‘Have a look at what sort of work useful experience.”are going to appeal to people.” they’ve shown in the past before you visit them. And as for the art itself, what sort of thing does So what, in her experience, is likely to appeal Try and find out who they think is right for them, she feel fits well on the walls of Lucy Bell Fineto the people of St Leonards-on-Sea in Hastings? as much as who you want to show with.’ It’s nice Art Photography Gallery?“If they’ve got a particularly strong narrative, to go somewhere where you think there’s a “I think original thought goes a long way,I think that would be something I’d be very possible yes at the end of it.” and obviously technique and ability. And the STEVE BLOOM/STEVEBLOOM.COMinterested in,” she says. “Or, if they’ve done She’s always impressed when a photographer background behind the work; the reason they’vesomething extraordinarily interesting. demonstrates a bit of business sense and PR nous, made it that way. Some sort of thought to give it “Aesthetics are good – for people to buy as well as talent. “It’s nice to work with people depth. Some sort of foundation that people cansomething to put on their walls. Presentation is who have a very professional outlook, even understand.”extremely important; especially at the moment. though they may be fairly new to the industry.If you are buying something, you want to know So they may not know all the ways that a gallery www.lucy-bell.com82
  • 62. GET EXHIBITED THE NATIONAL INSTITUTION opportunity to show.” And how does the selection are not.” With this in mind, he stresses the process work? “People submit images to us as importance of ruthless editing. “Quite often a Terence Pepper, curator of Jpegs, for example, or phone us. We have a portfolio will have six pictures in it, and three photographs, National Portrait Gallery fortnightly meeting where all acquisitions are are very similar, because the photographer discussed – paintings and photographs. We have just couldn’t make up their mind. That lets It’s an imposing national institution on to consider the merit of each picture and its the whole thing down by showing that they Trafalgar Square, so winning space on the subject. ‘Do we already have a picture of that can’t decide.” walls of the National Portrait Gallery can particular person? ‘Is it the best picture that has As for his own tastes? “I love narratives,” he seem like a daunting prospect to anyone ever been taken of them?’ Not everything says. “That’s my personal interest.” but the most established photographers. automatically gets accepted. There are lots of He also has an eye for innovation, or ideas that Indeed, the man you want to impress strict criteria. For example, is the picture taken at reflect the times we live in. “There was a here, Terence Pepper, who curates the the right time in the person’s life?” beautiful picture of a girl’s face illuminated by a photographic section, was made an OBE Relevance, as well as artistry, is key. “It’s a bit laptop. It came third, and the next year there were for Services to Photography and Art. It is like Madame Tussauds,” jokes Terence dryly. 30 people doing the same thing. Images like that, however, by no means a closed shop. “They don’t make a waxwork of anybody who is which portray new technology and comment on And the NPG is deeply committed to going to be famous for less than five years.” how we live, can be interesting. You can look back developing and nurturing emerging talent. The NPG would quibble over the lasting star in 10 years and think, ‘That picture sums up how we lived then and what the aesthetics and things were’,” he says. “People often ask, ‘Do you allow Photoshop?’ That’s not As for what not to do? “A terrible thing that people get into is photographing the world’s most the point. It’s how good it is. We don’t mind a heavily pierced man. He tends to be the subject of more entries than anybody can believe. Photoshopped picture if it makes a point. Just because People will photograph something because it is extreme, but that doesn’t make it a good picture. you have used Photoshop, doesn’t make it a good The mere fact someone is pierced doesn’t make it a good picture. The subject’s got to be or bad image. It’s just a tool to help you. It’s what you photographed in an interesting way.” When appraising a photograph, he’s looking do with that tool that counts.” Terence Pepper for evidence of comment or authorship that demonstrates clearly what the photographer is trying to say. “People often ask, ‘Do you allow Every year the NPG makes between 300 power of the likes of Katie Price, for example. Photoshop?’ That’s not the point. It’s how good it and 500 photographic acquisitions, as chosen “It has to be more than the ‘famous for five is. We don’t mind a Photoshopped picture if it by a panel of curators, including Terence. minutes’. We obviously need to be making a makes a point. Just because you have used “We have a tiny bit of wall,” he says. “The only long-term contribution to British life and culture. Photoshop, doesn’t make it good or bad. It’s just a permanent space is near the entrance which is So you can’t just be totally fashionable.” tool to help you. It’s what you do with that tool called People of Today – a changing display of Those photographers who don’t have access to that counts.” people in the news that we have in the collection. celebrities and luminaries, but would still like to Usually pieces stay up there for about three see their work on display at the National Portrait months, so it’s constantly changing to keep it Gallery, might be better off trying their luck in the fresh and up-to-date. Taylor Wessing Photographic Portrait Prize. “I also initiated something called ‘Photograph Competition is fierce: Of 6,000 entrants, 60 make of the Month’, which is also on the website, so it through to the final exhibition. But for the that gets singled out a bit more. You get a nice winners, the rewards are many. bit of text about the photographer, as well as the In order to impress the judges, originality of subject; who has to be somebody in the news.” theme is quite important. If you’ve picked a Currency is king at the NPG, and it’s vital that subject that several other people have also done, the subjects on display have made a significant this can be an obstruction, as winners are chosen and lasting contribution to British life. The panel with diversity in mind. plans acquisitions in advance according to “A caption can change a picture a great deal,” upcoming calendar events. For example, “We had advises Terence. “We don’t know who the picture Tom Jones, which coincided with his new album is by, but the judges can ask for a caption. A jokeyDAVID CHANCELLOR release,” explains Terence. “There are things or inappropriate caption can make a picture lose that we acquire and then a few months later we out. You have to be very careful. Not only that, know that they are going to be in the news for but many photographers are often really bad at some particular reason which provides a good choosing which pictures are good and which 83
  • 63. she won another award. Champagne producer independent photography gallery in the world, Pol Roger’s New Image competition invited it has had a crucial role in the discussion and applications from photographers to create development of conceptions of photography as an an image for its new campaign. Through that art form. “I always describe us by saying that we Teresa has made lots of contacts and secured an have an expanded view of photography which exhibition elsewhere.” Not a bad launching pad involves everything from its applications in for an unknown photographer. “We just want to fashion and advertising, right through to the give them that first opportunity to try editorial, everyday uses through vernacular photography or even help raise their profile, so that other and the family photo. Our programme needs, by people notice their work,” says Brett. definition, to be broad in order to encompass all But what is it exactly that impresses? And how those different ways which photography makes does it fit in with what the gallery is about? itself present in the world today. It’s quite a “We do want things that challenge us, that push challenge to us because, of course, photography is the boundaries slightly,” she says. “We don’t want everywhere. It’s so promiscuous,” she says.THE DEDICATED PHOTOGRAPHY to see the same sort of work that we see endlessly The gallery has a special interest in the new at portfolio reviews; rehashed clichés or ideas that and the cutting edge with relation to this,GALLERY have been around for a long time. What we try examining the ways in which the discipline is inBrett Rogers, director, to do is introduce the public to new ways of constant flux due to developments in technologyThe Photographers’ Gallery thinking about photography and how it shapes and “its democratisation through the web, and influences our lives. So we are looking for through social networking and digital cameras.”“We are the only gallery that looks at the new approaches and innovative and fresh ideas.” Currently closed for refurbishment, when themedium of photography 365 days a year, For Brett, the flexibility of her vision is new gallery opens in late 2011 it will “hopefullyevery year, in all its various forms,” says explained in no small part by her eclectic have a space where we can feature some of thatBrett Rogers, director of The Photographers’Gallery; the largest public photographicgallery in London, and a landmark institutionof British photography. As a public space, “We don’t want to see the same sort of work that we seean essential part of the gallery’s remit is the endlessly at portfolio reviews; rehashed clichés ordevelopment of the new talent who representthe future of the discipline. That means a ideas that have been around for a long time.” Brett Rogersgenuine commitment to making it accessibleto emerging artists. “We do want to try to flag up our continued professional and personal background. and recognise those new channels ofcommitment to emerging photographers,” Before joining the gallery she worked at the communication and distribution. This will besays Brett. “Because they are the ones that visual arts department of the British Council as called ‘The Wall For All’.”will keep the medium alive with their energy deputy director and head of exhibitions. “My role In the meantime, now is a good time toand innovation.” So what can you do to get encompassed architecture, fashion, painting, approach the curators with ideas and portfolios.noticed by the Photographers’ Gallery? Well, first sculpture and photography. I think that’s quite They will be holding periodic reviews. “I alwaysoff, enter its competition, Fresh Faced and Wild healthy because I see photography sitting very suggest portfolio reviews because it makes our ROE ETHRIDGE/ COURTESY OF GREENGRASSI, LONDON / ANDREW KREPS GALLERY, NEW YORKEyed. “It’s an idea I introduced a couple of years much alongside all those other art forms. staff aware of who is out there,” says Brett.ago. We run the competition every year to support “I come out of a visual art background, so “It’s a good chance to have work assessed.”young photographers,” Brett explains. “We have appreciate photography as fine art. When growing Brett’s keen that photographers “keep ina show of their work, and try to mentor them up in Australia I was exposed to photography touch during the 52 weeks in which we arethrough the process of getting themselves through the pages of Vogue magazine. I used to closed. We are running a fantastic online digitalestablished as professionals. It’s only open to cover my walls with David Bailey and Karen project called Street Photography Now.people who have been out of college for a couple Sullivan images, so I also appreciate fashion Every week, one of 52 leading streetof years. They’ve been out there, they’re photography and applied photography of that photographers emails an instruction to allbeginning to feel the cold, perhaps starting to form. Advertising is, in itself for me, an art form. participants. Each detailed directive acts as awonder whether they really want to do this. I’ve always appreciated it.” call to arms to photographers to take to the streetsWe get about 400 submissions a year, which our Its location is a key part of the gallery’s and capture something based on the instruction.jury whittle down to about 25 for the show.” identity. “We’re in the heart of Soho (the media Everybody is finding that very challenging. The programme clearly works. Take the centre for London), and only minutes away from At the end of the year we’ll have a competition toexample of Teresa Eng, a recent alumni of the busiest fashion street in the world. So I have see who has produced the three most consistentlyFresh Faced and Wild Eyed. “We didn’t know tried to incorporate fashion into our programme interesting images, and the winner will receivemuch about her background,” says Brett. more clearly.” The Photographers’ Gallery does £1,000 worth of Thames & Hudson books.”“After all, the competition is judged blind. much more than just pay lip service to the ideaBut as a result of her inclusion in our exhibition of accessibility and innovation. As the first-ever
  • 64. GET EXHIBITED THE EDGY, CONTEMPORARY GALLERY potential in it. Sometimes photographers off at all to any exhibition proposal. And if we see send in one or two shots and a short overview; it working, we take it on.” Kate Boenigk, managing director, it’s hard to see potential when you are restricted Not all exhibitions at Proud are chosen because Proud Galleries like that.” they are likely to be noisy, media-friendly events. What other common mistakes do “Sometimes it’s just because we like the project When Proud first opened in 1998, it did so photographers make? “They start selling to their and think it will work well within the group.” with a very specific goal in mind; to bring friends or completing private sales that set Kate makes a point of being approachable. “affordable, limited edition photography to editions, print types and prices without really “We meet most people who make submissions. the mainstream,” explains Kate Boenigk, thinking of the larger picture of when their work When they email, even if it’s not for us, we try to the group’s managing director. “At that might enter an exhibition. They’re either advise how they can go further with it.” time it was something that hadn’t really underpricing themselves or setting such large She’s impressed by people who show a been explored before. We still follow that editions that galleries can’t really work with that.” willingness to innovate and think outside the box. same concept.” Exclusivity is an important consideration for “We’re always looking for different ways in In keeping with this, price points are key. any gallery. “Galleries need to keep a tight rein which it’s being done and different compositions They sell limited edition prints for £200 upwards, on editions going out and sales history and so – looking for the next new thing really. and “exhibitions usually reflect on popular forth,” she says. “We love it when we come across projects that culture. Proud Camden encompasses rock and “We are a privately funded gallery so we do are slightly different and quirkier, because we roll and fashion. But we are going more into fine rely on it being commercial to be able to host the know they’ll have a really good reception, not art in Proud Chelsea.” It’s because of this range exhibition and make it a success, so we do only for our clients, but in the press.” that they cater to a very wide demographic and, primarily deal with iconic subjects,” she says, She’s particularly keen on projects that reflect crucially, have cornered the youth market. underscoring again the vital importance of sales. the way each of the galleries interacts with their “The age range of our footfall is anything from Making that decision about what to exhibit and location. “Camden has a strong musicians 15 upwards,” says Kate. what will sell depends a great deal on instinct – heritage and in Stables Market it’s perfect for “It helps that we’ve got two very different something that Kate has been honing during her new photographers, because they have spaces. Proud Camden is primarily music eight years at Proud. Of all the galleries, Proud is a more contemporary body of work and a photography, but that captures a youth market. arguably the most open to approaches and younger clientele.” Our main clientele there are in their 20s, but ongoing dialogue with photographers who are Similarly, the gallery in Chelsea pays due we’ve got lots of different ages coming through.” still in the early stages of building a reputation. respect to its musical and cultural heritage, and Planning the schedule is an essential part of “We always look through all the submissions Proud’s positioning at the heart of a hip, young, Kate’s job, and much of it is structured around we receive,” Kate says. “We’ve introduced the creative scene. “In 2011,” Kate says, “we’re events and anniversaries which add Strand gallery as a hire space. But we’ve often having an exhibition focusing on the King’s Road newsworthiness, relevance and, as a result, bring taken on projects that have been proposed to us and all the musicians who were based around much-valued press coverage to Proud Events. by email. About 30% of exhibitions are taken on that area.” PP “We read up a lot and see if there are just through photographers emailing us directly anniversaries coming up, or anything that is kind through the gallery... We never close ourselves of hitting the papers,” she explains of the process. Once the concept has been established, Kate then goes about contacting specific photographers for contributions. The system works both ways, however, and she’s very happy to hear from photographers who have well-developed ideas of their own that fit into the character of the Proud brand. She’s always keen to hear from photographers who “come to us with a clear and concise concept and plan for their work.” Proud Camden in particular, with its edgy identity, provides “an opportunity to work with photographers who have never exhibited before. It’s more contemporary photography.” Kate advises photographers to select a large sample of work to show her “so we can have a look at their portfolio in a way that we can see Right: David Bowie by Terry O’Neill, Proud Galleries.TERRY ONEILL Opposite: Ballet Studio (Casia), by Roe Ethridge, from the Deutsche Börse Photography Prize 2011 exhibition showing in April at The Photographers’ Gallery. 85
  • 65. THEHISTORYBOYS Iconic images are often associated with political and cultural events in history; they are the images which help to shape our view of the world. Jürgen Schadeberg and Steve Schapiro are two photographers involved in creating those images over a period of six decades in South Africa and the United States respectively. They may not be household names but, as Eleanor O’Kane and Sean Samuels discovered, both photographers have found themselves shooting events which have changed our lives.JÜRGEN SCHADEBERGFrom his home in the Normandy countryside, Jürgen Schadeberg is with a new editorship and policy of highlighting the cultural, political andtelling me about his induction into French village life three years ago. social lives of South Africa’s urban black population. “Drum was the first and“After we moved here, two ladies came to the door with a parcel the only one to really take an interest in the black world rather than the whitecontaining a bottle of champagne, a box of biscuits and an invitation to world,” he explains. “It was pretty different.” For him and many others, thea dinner and dance in the village. Apparently everyone in the village relaxed, colour-blurred atmosphere of the Drum offices was a world away fromover the age of 65 gets this,” he says, as if he still can’t quite believe the rules and regulations that governed public life under apartheid. One of theit. “It’s quite normal here.” few whites on the editorial team, his experience and knowledge – limited More than 60 years after moving from his native Germany to Johannesburg, though it was – proved crucial to the magazine in its early years. “When Iwhere he became known as ‘the father of South African photography’ for arrived in Africa I was a one-eyed man among the blind. There was no historynurturing the first generation of black photographers, he is still touched by the of documentary or photojournalism in South Africa and among the blacksense of social inclusion that he finds in rural France. population there was no history of photography at all. They never had the Born in Berlin in 1931, Jürgen was apprenticed to the German Press Agency opportunities or finances to get into it.”in Hamburg, and was taken under the wing of a photojournalist who taught Part of Drum’s editorial policy was to put a large emphasis on photographyhim the basic elements of photography. Arriving in Johannesburg at the age of to ensure it remained accessible to a largely illiterate black readership. In this20, where the system of legal racial segregation known as apartheid was in its way, readers could be informed of the burgeoning protest movement as well as JÜRGEN SCHADEBERGformative years, the young German found freelance work at the newly the exploits of their favourite jazz musicians and pin-up girls. While trainedrelaunched Drum magazine, one of the few publications at the time aimed at photographers willing to work for a black publication were thin on the ground,a black readership. In its previous form the magazine had depicted the black the offices were buzzing with young black writers, educated in missionarypopulation in either tribal or folksy settings; however, Jürgen’s arrival coincided schools and highly literate. The dichotomy proved a problem. “It looked terrible86
  • 66. ICONS OF PHOTOGRAPHYFar left: Nelson Mandela returns to his prison cellon Robben Island, 1994, and, left (centre), at theDefiance Campaign trial, 1952; below: The ThreeJazzolomos, Johannesburg, 1953. Opposite page:Jürgen Schadeberg with his studentsPeter Magubane (left) and Bob Gosani, 1955. 87
  • 67. “Once you walkedinto the office itwas a differentworld, a differentsociety, differentlaws. No laws, infact, and no racism.It was a positiveatmosphere.”Jürgen Schadebergthat on a magazine that was basically cover-to-cover pictures, all the images Above: Midnight Kids, 1954. Opposite page, clockwise from top left: Punch & Judy man, London, 1977; waitresswere photographed by a white person and all the writers were black.” break, 1979; gambling quartet, 1953. Jürgen, with his unique skill set, was given the responsibility of remedyingthis by training photographers in the Drum office. Under his tutelage ageneration of new and talented figures emerged, notably Bob Gosani who cameto the offices as a messenger boy. Gosani became Jürgen’s darkroom assistant [South African] pounds a month and the rent on my one-room apartment wasand went on to capture some of the most unjust and humiliating aspects of 25 pounds a month.”apartheid. Famously, Gosani covertly captured images of a degrading ritual Despite poor wages and the lack of kit, the Drum offices were a magnet dueknown as the Tauza dance, which was carried out at a Johannesburg prison. to their unique atmosphere in that political climate. “It was an island.Naked prisoners were routinely forced to dance in a humiliating fashion before Once you walked into the office it was a different world, a different society,guards to ensure they weren’t concealing any weapons. When Gosani’s pictures different laws. No laws, in fact, and no racism. It was a positive atmosphere.”were published in Drum there was a public outcry and the government was Assignments, when he was given them, often meant working with his closeforced to act. On his role as the father of South African photography, Jürgen friend and colleague Henry Nxumalo, renowned for his undercover stories ongraciously claims it was merely a matter of circumstance, dismissing his the harsh treatment of blacks by the white regime. One of the few reallymentoring role as “a necessity at the time”. experienced journalists at the time and known as ‘Mr Drum’, Nxumalo would With no other opportunities for learning, ‘Drum school’ became a nurturing go to impressive lengths to get his story, often putting himself in danger, withground for a generation of aspiring young black men, with Jürgen’s band of Jürgen inevitably brought into the frame too.fledgling photographers unhindered by their lack of a photographic heritage. The pair worked together on one of Drum’s first major political stories, about“There was definitely a lot of enthusiasm for learning,” he remembers. the mistreatment of farm workers. “Henry went to work as a labourer on a farm“It’s very easy to teach someone who has no visual background, because there where the farmer was notorious for beating up his men and that sort of thing.are no prejudices. The young photographers picked it up very quickly and we It was a very courageous thing for Henry to do. I don’t think many journalistsproduced some very good photographers eventually.” would do that these days.” Nxumalo duly signed up for work at the farm. “I shot Cash was always in short supply and wages were meagre. “Everybody had him ‘touching the pencil’, as signing up was called, because it was assumed thatto freelance and work elsewhere, photographers, writers, even the editors. blacks wouldn’t be able to sign their own name.” Several weeks later, withKit was very expensive and that was a problem too.” Although he personally Nxumalo having fled the farm, the pair returned to take pictures, Jürgen posingfavoured a Leica, the office camera was a precious Rolleiflex until the Japanese as a lost German tourist with Nxumalo as his driver. “Henry came along as myreleased a cheaper version, the Yashica Flex, which, Jürgen recalls, was “very ‘boy’, as the drivers were known then. My German accent was still strong then,tough, simply built and very simple to use.” so we showed up on the farm with me muttering that my ‘boy’ didn’t have a JÜRGEN SCHADEBERG His role meant that more often than not he was office bound rather than on clue where he was going.” The pictures in the bag, the ensuing article publishedassignment. “I couldn’t be out that much as I had to look after the layout, the in 1952 sparked public and the printing. If I had had a job description it would have been “Henry always chose the worst places to go and he always got his story.production manager/art director/picture editor all in one! I used to get 40 I remember we were trying to do a story about conditions at a very brutal prison88
  • 68. ICONS OF PHOTOGRAPHYcalled The Fort in Johannesburg. We’d heard a lot of reports about it and Henry on in the black world – be it political, social or cultural – there would be nodecided to get into the prison to investigate. Inevitably, the only way in was to white press there. They weren’t interested at all.” The vibrancy of urban blackget arrested. culture appealed to the jazz-lover in Jürgen, who still remembers listening to “We had a problem because we only wanted him to go in for a couple of Louis Armstrong in an air-raid shelter in Berlin at the age of nine.weeks, not longer. In those days it was forbidden for black people to possess “White society was dull, the people called themselves ‘European’ and neveralcohol so we got drunk together in a shebeen and then Henry took a bottle with really realised they were in Africa although they might have been there forsome brandy in it and went straight to the police station and made a lot of noise, generations. They didn’t know what was going on and tried to maintain thebehaving in a drunken manner. But the police totally ignored him – I think world they had come from. That made them terribly boring and not verythey were busy doing something else – so eventually he got himself arrested dynamic, whereas the black society was very dynamic, especially the musicbecause his ID wasn’t up-to-date and he got his story.” As Jürgen recounts and the jazz.”stories of undercover ruses, laughing as he remembers being chased by farmers Working long days and frequenting the jazz clubs of the Johannesburgwielding shotguns and having to pretend his Drum colleagues were his suburb of Sophiatown by night to photograph rising stars was part of the job.servants, it’s easy to forget that this was, in fact, the most serious of work. “You couldn’t really work normal hours. You didn’t get normal pay – nothingFive years later, Henry Nxumalo was found murdered while investigating an was normal!” he laughs.abortion racket. He remains, like Jürgen, one of the most influential figures in As one of the very few white people to inhabit the jazz clubs, Jürgen wasthe magazine’s history. more than welcomed by the black population. “I think it was partly because Whether it was to document a jazz night or a political event, Jürgen often they were delighted that someone was taking an interest in them. They werefound himself the only photographer in the room. “If there was anything going usually totally ignored, you see. The black community felt that they were doing 89
  • 69. Above: Penny whistlers, 1954; below, covers of Drum magazine, left to right:High Ritz, February 1955; Sax player, May 1955; Dolly on the beach, July 1955.Right: Kids on staircase, taken in 2006. JÜRGEN SCHADEBERG90
  • 70. ICONS OF PHOTOGRAPHYthings that were important socially, creatively and politically and yet no onetook any notice. They had no way of expressing or communicating among eachother in the way that most societies have; there was nothing, and I think thatwhen someone came with a camera and asked them questions they were veryhappy about it.” Jürgen has photographed Nelson Mandela across six decades, firstly in 1951and most recently in 2006 when the political leader opened his exhibitiondocumenting the 1952 Defiance Campaign, which first brought him to thefore. “It’s been wonderful to follow him all these years. As Mandela himselfsays, it’s been a long road.” Leaving South Africa in 1964, Jürgen moved to London and lived there for20 years, during which time he met his wife Claudia. He spotted her on a benchin a square in Primrose Hill while he was climbing over a wall to see a friend.“She had the most BBC of accents,” he explains, “and sounded very clever.”In London he taught at the Central School of Art and Design and continued towork as a freelance photojournalist for the left-wing political magazine NewSociety as well as the Sunday Times, Telegraph and Observer Magazines.“We had to do a lot of colour. It was the time when colour television wasemerging, which took away a lot of advertising from the press. To pull back theads the newspapers started the colour magazines and we had to shoot with 64ASA Kodachrome film. It was very difficult to shoot with a slow film but theywanted high-quality colour so we had to run around with a box full of filters.It was quite a job but very interesting.” Although his work during this periodhas not been seen widely, it is these images that Jürgen is most proud of andhe is preparing a book of lesser-known work from his London years. SMITH DONOGHUE The biography on his website contains an exhaustive – and exhausting – listof book titles and exhibitions spanning five continents and five decades.At nearly 80 he shows no signs of slowing down despite moving with Claudiato rural France three years ago, drawn by the lifestyle and cultural heritage.“I think France is the society most interested in the visual arts.” He describeshow, when he was renovating his home, the plumber, mason and otherworkmen took an interest in his images. “They all got quite excited by my STEVE SCHAPIROpictures so I invited them to my next exhibition and they all turned up with Imagine you want to write a film script documenting the life oftheir families. There aren’t many societies where you’ll get your plumber American photographer Steve Schapiro. You might start with thecoming to your exhibition but they all were tremendously interested. It’s a very moments he spent in the motel room occupied by Martin Luther Kingvisual society.” shortly after the civil rights campaigner had been assassinated. The author of several books and 15 documentaries about South African You could begin on the film set of The Godfather while Schapiro wasculture and history, he agrees that his Drum work and the Mandela pictures taking the now-iconic images of actor Marlon Brando, or perhaps theare what he is best known for, although again he resolutely refuses to bask in time he met US politician Robert Kennedy while following him on hisany glory. “I think that one isn’t really that interested in being known. The only 1968 presidential campaign trail.reason to be known is to make a living, so that people will buy your work. You could in fact choose from many pivotal moments in American historyIf you’re not known, people won’t buy your work.” He travels back to South during the past 50 years on which to hang your story. The softly-spoken,Africa for exhibitions and workshops, and says the people are better off and unassuming Schapiro was there, capturing every high and every low.feel freer now. Are young South Africans aware of his part in their country’s The dawn of the 1960s ushered in an era of new hope for America with thehistory? “To some degree they are,” he says. “But things are quickly forgotten. election of John F Kennedy as President. All across the country people feltPeople don’t really learn from history.” they were on the way up. There was an eagerness to excel in all industries and He believes that many young photography students these days are looking a wave of positive action was coursing its way throughout the nation.afar for subject matter. But why go to Asia and Africa when there’s just as much Dark times, as always, were never far away, but in this time of creative genesis,going on right in front of your eyes? He has just published a book about his no one could possibly predict the incredible acts of violence that wouldvillage in Normandy, the culmination of a two-year project, a tribute to village eventually cause the wave to crash and dissipate. The civil rights movementlife. “We’ve got a jazz club, there’s opera in the chateau, a big market nearby... was gaining traction, scientific and industrial endeavours were booming, andEverybody is looked after, no matter what background they come from,” he the art world was at the start of an explosion that would make internationalalmost sings. “Life is wonderful.” stars of its foremost players. All around the world people were hungry for news from this society. The demand for detailed information and enthralling images had never 91
  • 71. been greater. Magazines existed that would regularly dedicate page after page Every photographer strives to find a unique point of view. When Schapiroto well-researched photo-essays from hard-working photographers. creates a photo-essay he is looking for an opening picture, something that isOne such journal was LIFE magazine, which hired Schapiro for the first time going to describe and reveal what the story is about. Once he has this backbonein 1961. The faith they placed in this young and passionate photojournalist he then looks to find the different aspects of the subject or the event that willfrom New York marked the start of a working relationship that would not end complete the bigger picture, but without preconceptions of what he wants tountil the magazine’s closure as a weekly 11 years later. find. He watches what happens before him, looking out for the special “For any photographer in their teens, the ideal job was working for LIFE moments; emotional elements he believes make for iconic images, although hemagazine. This was the highest point on the mountain. It meant I could do admits there isn’t a formula.stories of poverty, stories of great wealth, stories of people well-known and “The thing that is most important when developing a talent is to realise thatstories of people unknown. The variety of situations you might encounter everyone is unique. You have to find the pluses to make a great picture and themeant you would meet a thousand people in one year from all walks of life.” best way to do that is to study photographers to develop your own style, your Schapiro had prepared himself for this opportunity. During the 1950s and own point of view. I don’t know what makes an iconic image. There are someearly 1960s he assisted other photographers and shot his own photo-essays. that just register with you and they stay with you. The image for the filmOne of these was a story in 1961 about migrant workers in Arkansas. Midnight Cowboy is one a lot of people relate to and is considered one of theAnother was a 1960 story on drug addiction in East Harlem. He covered things best motion picture images. I don’t really know why. It’s a subtlety as to whatthat he felt would make great pictures, but also were things he cared about. makes a good picture. It’s a question of what people react to. There’s a This strategy worked. The images formed a strong portfolio and proved his resonance but you don’t always know why.”determination to document life as he saw it. For his story on migrant workers One of the hardest jobs for a photographer is the editing process. Get it rightin Arkansas, he was given a New York Times Magazine cover and for the first and work will pour in. Get it wrong and your efforts may never see the light oftime the camps where the workers lived received electricity. day again. Quite often the images photographers are proud of are a world away “I was trying to show the diversity of America, the rich and poor, the from what sells and it takes great skill and humility to go forward with imagesdiversity of cultures and, as much as I could, the spirit of what America was that are commercial over creative. The now-famous image Schapiro took ofgoing through. I remember taking a class under W Eugene Smith; there were the motel room used by Martin Luther King prior to his assassination in 1968seven of us, all of equal talent, none of us was a genius but only two became is an example of work he feels doesn’t warrant the attention it has gained. It was STEVE SCHAPIROsuccessful. What we had over the others was a strong drive that this was what the best image he took of the moment, but isn’t one he picked at the time.we wanted to do. When I grew up it was the golden age of photojournalism and There’s another picture in his book American Edge which he is particularlyyou could always find some way to cover things you cared about.” proud of, showing people at a debutantes’ ball in Baltimore, Maryland, in 1963.92
  • 72. ICONS OF PHOTOGRAPHY“People like to be photographed unless they feel you are making fun of them or are going to dosomething that is harmful to them. They are flattered by being photographed.We are living in an age now where people are a little more suspicious because the world haschanged so much, but at that time, I would just go out and photograph; people were veryhappy to have their picture taken.” Steve SchapiroFor him the stand-out element is the hand gestures between the subjects.The image hasn’t gained that much attention, but to Schapiro it captures afeeling of that period and of that lifestyle. It expresses what those people wereabout and has very little to do with his presence as a photographer. “With Henri Cartier-Bresson there’s as strong an identification of him in theimage as there is of the subject. You can say that’s a Cartier-Bresson pictureAbove: Sammy Davis Jr and Judy Garland, New York, 1961; above top: Andy Warhol,Edie Sedgwick and entourage, New York, 1965; right: Ray Charles, New Jersey, 1966.Opposite page: Robert De Niro in Taxi Driver.
  • 73. Above: Martin Luther King’s motel room in Memphis, Tennessee, hours after he was assassinated, 1968. Left: Homage, The Godfather (Marlon Brando). before you start to look at the elements of the people in it. You may not be seeing as much of the people as of what he was doing in terms of creating a decisive moment to make it a memorable image. You feel he was responsible for that. My pictures don’t necessarily have that quality; you have a strong sense of the people and the emotion, but not of me. I think something my STEVE SCHAPIRO pictures have is a sense of the people without the obvious intrusion of the photographer or the sense of the photographer being there. You are participating in the subjects’ lives rather than being the photographer shooting their lives.”94
  • 74. ICONS OF PHOTOGRAPHY “Even when he arrived at Martin something that is harmful to them. They are flattered by being photographed. Luther King’s motel room in We are living in an age now where people are a little more suspicious because the world has changed so much, but at that time, I would just go out and Memphis, Tennessee, he was photograph; people were very happy to have their picture taken.” Often Schapiro worked with a reporter, which enabled him to develop further granted access without difficulty. his unobtrusive approach. He was set free to search for moments that revealed what he saw in terms of situations or people’s lives, moments that could One of King’s aides simply produce images where emotion, design and information came together. “You became a fly on the wall because the reporter was doing all the talking. announced who he was and let I have found it’s best not to talk to your subject, because if you do you’re going to get someone that’s not into themselves, they are into the conversation with him in. In situations where an open mouth most of the time looking directly at you, which is not what you want. So the quieter you can be, the better you are. You want to capture gaining access proved more someone in the moment they react to a situation or how they really are, exemplifying something you find to be uniquely them, the thing that makes complicated, Schapiro’s quiet you suddenly interested in them. It’s the something that draws you back to the demeanour helped enormously.” photograph. Everyone has a sense of charisma and sometimes the better picture shows you don’t really understand them.” Sean Samuels Whether covering a hot, sunny day on Coney Island in New York in 1959 or documenting the mental decline of Robert De Niro’s character on the film set of Taxi Driver in 1975, Schapiro’s use of light is as subtle as the man himself. To minimise intrusion and maintain the atmosphere of the occasions he covered, Schapiro often used bounce flash. He found this technique gave good lighting, whether shooting black and white or colour, even when the latter required a change in the way he saw subjects. “A black-and-white picture to me conveys emotion in a very strong way because you are dealing with black against white or white against black and you concentrate on the expression. There’s no distraction from colours. A colour picture can convey emotion, but it will do it in a very different way and the viewer will see different things. The focal point can change. You have to work in a way that colour adds to the experience rather than takes away from it. I learnt how to shoot in colour by doing a cover shot for Look magazine of the actress Candice Bergen. I started playing with filters and used one by accident to produce an image that blew all the other covers off the newsstand. Now we have digital, everything has changed again because it is so easy for someone to shoot with a digital camera and then change the image to black and white afterwards. This endangers black-and-white photography, without the technical skill required, it may disappear.” There is also no room for this type of work anymore. It is almost impossible for a young photographer to show black-and-white documentary work today, the opportunities don’t exist. When Schapiro started, if he had a good idea, he could find a magazine that would feature it and pay enough to cover expenses. LIFE magazine was held in high regard in its time and working for it meant “That’s more difficult today. We’ve lost our two major picture magazines inSchapiro was readily granted access to events and always treated well wherever the United States, and while Time and Newsweek will do longer stories, theyhe went. A lot of the pictures in American Edge evolved from assignments or focus on poverty, politics or war and will use a well-known photographer,were shots from the streets. Even when he arrived at Martin Luther King’s somebody they work closely with. On LIFE and Look magazines a lot of themotel room in Memphis, Tennessee, he was granted access without difficulty. photo-essays were about people from that time period. If you look back at thoseOne of King’s aides simply announced who he was and let him in. In situations magazines you get a sense of life from then, but in the future when you lookwhere gaining access proved more complicated, Schapiro’s quiet demeanour back at today’s magazines, all you’re going to get a sense of is poverty, politicshelped enormously. or war. Where previously magazines wanted several images to tell the story, “I always say you’re the boss, not the camera, and that it’s important you try today they are looking for the one picture that conveys information and if it hasnot to intrude on a situation. I find it is important to be relaxed and not to focus design and emotion that’s a plus.”on equipment, because this forces people to focus on you. People like to be Schapiro sees a number of reasons for LIFE’s closure as a weekly in 1972.photographed unless they feel you are making fun of them or are going to do First and foremost was the expansion of television, a much more immediate 95
  • 75. ICONSOF PHOTOGRAPHY“If you look back at those magazines you get asense of life from then, but in the future whenyou look back at today’s magazines, all you’regoing to get a sense of is poverty, politics or war.Where previously magazines wanted severalimages to tell the story, today they are looking forthe one picture that conveys information and if ithas design and emotion that’s a plus.”Steve Schapiroform of communication favoured by the public. Towards the end Schapirofound that the hard work of photographers which had made the magazine asuccess contributed, ironically, to its downfall. The team might spend sixmonths preparing an essay, but in the week of publication, newspapers wouldget wind of the story and then the radio was talking about it. Next it was ontelevision and by the time the magazine came out, it was old news. “I remember working on Bobby Kennedy’s campaign. Initially the magazine Schapiro got LIFE to agree a story with the writer James Baldwin, who hadreporters and photographers were in the car right behind the lead vehicle, but published an essay in the New Yorker magazine about the black experience ingradually we were pushed back to make way for the television cameras and America, which later formed the basis of a book, The Fire Next Time.crews. You had this gradual change in the way to communicate and the “We travelled together for six weeks from Harlem to North Carolina toadvertisers favoured television much more than the magazines.” Mississippi to New Orleans and I photographed a lot in that time period. He believes LIFE magazine also became successful covering events such as The pictures turned out terrific and were laid out for 12 pages, but this waswar when it was still something new visually for the public. W Eugene Smith’s unrealistic. The magazine wasn’t getting the same amount of advertising andpictures of combat in the South Pacific during the Second World War became so the pictures were edited down and the impact was reduced.”an emotional experience for readers around the globe who were not used to The world was changing. It was falling in love with celebrity and sensing aphotographers getting so close to the action. The wars that followed rising demand for Hollywood portraits. Schapiro left LIFE magazine shortlyincreasingly became televised and photographers were not encouraged to before its end and moved to Los Angeles where he began shooting for Peopleproduce ever-improving work. magazine and for the major film studios as a special photographer. He shot the “I also don’t think the magazines handled themselves well. I felt the picture first cover for People and about 50 followed, but it was an entirely differenteditor at LIFE was almost always telling you that what you did was really good. kind of journalism. For LIFE he had been able to spend three or four days toIf I had been the editor I would have said to the photographers, ‘you’ve done months covering a story, enabling him to find the important moments anda good job, but I think you can do better.’ Certainly there were stories I did that situations that were going to make good pictures. With People he had perhapsI thought were okay, but I was told they were terrific. So if you have someone two hours, and every 15 minutes the subjects were changing their clothes tolike that – not inspiring photographers to really go out and do better than make it seem as if the story had run over a much longer period. On films hethey’ve done before, to find the pluses that make a picture better – that’s not a was brought in to take advertising and publicity shots. Occasionally he wasgood situation.” able to work 10 or 12 weeks on a film, and during one period it felt as if this In the rush to try to cover everything more quickly and comprehensively, work was very similar to the documentary stories he had been doing before.the flow that was present in photo-essays made by W Eugene Smith or “The studios wanted six or eight pages of coverage in magazines. The ideaCartier-Bresson was lost. In 1963, Schapiro was one of 13 photographers sent was people would not be seeing an advert per se, but news. This was better forto cover the March on Washington for Jobs and Freedom at which Martin the success of the film than putting a poster in front of their eyes. I was askedLuther King gave his legendary speech, “I Have a Dream”. The images were to work because I could get six pages in Time, Newsweek, or the Saturdaylooked at by six picture editors, which led to a selection that didn’t necessarily Evening Post as well as all different kinds of things in Europe. As a specialwork together to convey the mood he felt. If one photographer had been photographer I was publicising the film and handling my own work.allowed to concentrate on the story they would have worked hard to figure out On The Godfather, Taxi Driver, Midnight Cowboy, Chinatown, I shot thethe ups and downs of the event and been better placed to create a single pictures, then placed them in magazines.” STEVE SCHAPIROcoherent essay packed with emotion. The decline in advertising also meant the As a respected photojournalist Schapiro stood a better chance of gettingmagazine could no longer sustain lengthy photo-essays. It couldn’t pay for the coverage because magazines didn’t trust the studios to give them exclusiveeditorial pages. pictures or even the best ones. They had more faith in their photographers to96
  • 76. Above: Under the boardwalk, Coney Island, New York, 1959. Marshall insisted gallery owner David Fahey look at Schapiro’s pictures.Opposite page: Coney Island beach, 1959. Fahey was less than enthusiastic at first and it took three phone calls before he finally invited Schapiro to his gallery with a portfolio, but at the end of the hour and a half they had spent together, Schapiro had a private show and aprovide this service. However, as even Schapiro found out, not even this book deal for American Edge.reputation guaranteed immunity from studio duplicity. “Now I am working on books, primarily because that seems like a way to still “I remember I had a problem on The Godfather. I was excited to work with have a flow of pictures that work together. Doing a book becomes exactly theMarlon Brando; through my connections with the magazines and the exposure same experience I had working for LIFE, which is putting together somethingthis would give the studios, I was made welcome on the set and covered most that has continuity so you can follow the story just from the pictures.”of the important moments. It was one of the few films where I was able to get Over the years Schapiro’s work has featured in and on the covers of manyLIFE magazine to guarantee a cover, but then at the last minute Paramount magazines, including LIFE, Look, Time, Newsweek, Rolling Stone, Vanity Fair,Studios gave images, some of them my own pictures, to Newsweek magazine Sports Illustrated, People and Paris Match. He has worked on more than 200to come out at the same time. So I was double-crossed by the studio. motion pictures. Two major books of his documentary work have been madeA photographer is always in the middle.” and his stills from countless film sets continue to be published, most recently During this period the pace of life was much more akin to that of today’s from that of Taxi Driver.professional photographers. Schapiro was extremely busy and would frequently If I were to choose a scene to start the film of Schapiro’s life, it would be thefly across the States to work. Gone were the days of studying a subject at length moments he spent photographing teenagers enjoying life on the beach at Coneyand getting to know every nuance. He was often shooting several films at the Island. It is a gentle and happy time, and looking at these images offers asame time, completing stories for magazines and taking advertising shots. wonderful insight into the era. I am caught up so much in the spirit of the work,Indeed he still produces so much work, it is hard to know how he ever sleeps. the colours, the tones and the players within the scenes, that my picture of the In the past few years alone he has worked on a new portraits book, and young, quiet, perhaps shy photographer making these images quickly fadescollaborated twice with director Michael Mann, on the film Public Enemies away. Perhaps this is not the best way to introduce your lead character in aand on a pilot show for the HBO cable TV network called Luck, starring Dustin story, but then I remember this is what the images are supposed to do. This isHoffman and Nick Nolte. He has also worked with the singers Barbra Streisand the intention of the photographer and I think to myself, for a man who wasand David Bowie on album cover art. never there, Steve Schapiro has witnessed a hell of a lot. PP Schapiro still finds time to do his personal work (claiming still to bedeveloping his photographic style) and to organise exhibitions in galleries www.steveschapiro.comacross the world. His introduction to galleries was through his friend JimMarshall, the recently deceased music photographer. They had known eachother since 1967 and became friends during the flower power era in the GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY,Haight-Ashbury area of San Francisco. Marshall worked through Fahey/KleinGallery in Los Angeles, and at a party after one of his openings in 1998, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 97
  • 77. /BackinthegameFor those of us old enough On receiving this new contender in the medium format digital market, my first had the camera for a short time I wasn’t going to explore all the possibilities beyond shooting in impression was how good the camera felt into remember the Pentax 67 the hand. The grip is very deep and moulds manual or maybe shutter priority, as I would normally. The camera has two SD card slotsthe return of the brand to to the hand perfectly. My only criticism here would be that I found the Pentax 645D fairly which can be set in various ways, either to back up by shooting to both cards or shootingthe medium format difficult to handhold in portrait mode, because I am used to a shutter release on RAW to one and Jpeg to the other – lots of possibilities. I used only one of the slots and shotmarketplace with the landscape and portrait modes on my in RAW using the DNG file format which was existing camera. When it is mounted on a very pleasing to see. Pentax does have its own645D is an exciting and tripod this problem is eliminated by having RAW file format (PEF), but as I would be using mounts on both sides of the camera,welcome event. enabling landscape and portrait mountings. Lightroom, DNG was my way forward. The lens profile for the Pentax 55mm lens is The camera is also sealed from the weather,It looks good, is which is important in my work. also available in Lightroom 3. All the settings on the camera are laid out wellcompetitively priced and, Turning on the camera, I found all the functions were very similar to most SLRs. Pressing the and the LCD is large enough to provide a good image display. There is also a built-in spirit levelas garden and lifestyle shutter for the first time you are exposed to what must be the best-sounding shutter on the market; that appears on the LCD, which is very handy. A mirror lock-up function is proudly displayedphotographer Jason this really is a beautiful noise. It felt on the top of the camera, which will please very solid and vibration free, which meant landscape photographers. When using the camera,Ingram found, makes a I had the confidence to handhold this camera at I mainly shot on a tripod using manual focus;convincing option in the 1/30sec, which is a considerable achievement for me. The camera comes with a 55mm f/2.8 I did venture off the tripod and use the autofocus, but found this very limiting, as with most mediumsearch for image quality. standard lens (43mm in 35mm format) which I believe is the only new lens available for this format digital cameras. The focus points are biased to the centre of the frame and manual camera, but all SMC 645 lenses will fit. The size focusing handheld was tricky on the portrait of the CCD image sensor is 44mm x 33mm, format. I would like to have seen a few more which is about 1.7 times larger than options for setting the autofocus, but for the full frame 35mm SLRs, with a market this camera seems to be aimed at, this 40 effective megapixel resolution. probably isn’t a major concern. This is my first camera review and There doesn’t seem to be any way of shooting I really wanted to try to use this tethered, so the 645D definitely looks to be aimed camera in a working situation rather at the outdoor photographer. Writing data to the than follow the example of some SD cards took a good few seconds to display but reviews I read where the you could carry on shooting more frames. shots look as if they Having the fastest SD cards you can get will be have been taken out essential. Shooting a single RAW file to card of the studio door. took about five seconds to display. For this I shoot on review, I mainly used the camera at ISO 100-400 location, mainly but did take a couple of frames at ISO 1600. in gardens and The noise at the higher ISO settings was JASON INGRAM the landscape, reminiscent of film – sharp and clean. I would so this was where I have enjoyed exploring this in more detail if I would head. As I only had had the camera for longer.98
  • 78. Review“After having only a few moments previouslywith a Hasselblad medium format digitalcamera, I was very impressed by the overallbuild of the Pentax, which would definitely standup to the rigours of location photography. My kitis well looked after but does need to be able totake the odd shower, knock and dusting ofcompost. I would feel confident in taking thiscamera out of the studio, which I think it hasbeen designed for.” Jason Ingram 99
  • 79. / range itself, so that when you expand the THEFACTS I The 645D incorporates a large, dynamic range toward the highlight, for example, the image’s shadow areas are unaffected. When the dynamic range is expanded for highlights, the lowest-available sensitivity is ISO 400 (or ISO 200 in combination high-performance CCD image sensor with the sensitivity expansion function). (approximately 1.7 times larger than that of accurate 35mm-format models). I Ten preset modes for white-balance control: alignment of Auto, daylight, shade, cloudy, fluorescent light the horizon and I Forty effective megapixels. (with four variations), incandescent light, flash, skyline. CTE, manual (with a white-balance reading I An LPF-free CCD unit can optimise the measured from the image) and colour I Low-shock, low-noise mirror mechanism. resolving power of the lens and image sensor temperature (with direct input). The CTE mode without compromising overall image resolution. is programmed to work in precisely the opposite I A newly-designed, trapezoid-shaped glass way to the auto mode and to emphasise a prism is the key to the 645D’s compact I A 14-bit A/D converter converts the analogue primary colour of a specific light source. dimensions. By coupling this prism with a signals output by the CCD image sensor to This mode is effective in highlighting the sun’s Keplerian telescope-type eyepiece unit, the data-rich, multi-gradation digital signals (with a glow at dawn and dusk, or preventing the fading 645D offers a viewfinder with approximately a maximum of 16,384 gradations), which are then of light colours. However, it is not programmed 98% field of view, and a downsized camera body. forwarded to the PRIME II imaging engine. to compensate artificial light sources. It also features the DF-80 Natural-Bright-Matte focusing screen. I The 645AF2 lens mount is designed to accept I Dual-slot design for SD/SDHC memory the Pentax 645-series interchangeable lenses cards. You can pick RAW or Jpeg data recording I The status screen and control panel from wide angle to telephoto. With an FA formats, or you can choose to record an image provide time-efficient, fingertip control of 645-series lens mounted, the 645D retains simultaneously in both formats, or assign shooting settings. autofocus operation. When a conventional a different recording format or function to 645-series lens is mounted on the 645D, its each slot. I The LCD monitor gives at-a-glance angle of view becomes approximately 1.3 times confirmation of photo-shooting settings. wider than when mounted on a 645 film-format I The lens characteristic compensation camera body, while its focal length becomes functions compensate for the barrel- and I 3in wide-view monitor. approximately 0.8 times shorter in terms of the spool-type distortions common to wide-angle 35mm format. and zoom lenses, as well as for the lateral I Magnesium-alloy casing and chromatic aberration that causes slight colour aluminium-diecast chassis. I Custom image function features eight shifts along the subject’s outline. finishing touches, each of which automatically A high-precision, 11-point autofocus system I Both the 645D camera and new D FA 645 adjusts saturation, hue, key, contrast, features a new SAFOX IX+ focus sensor. lenses feature dustproof, weatherproof sharpness and other parameters to The number of sensor points can be changed designs. The camera body is also resistant preprogrammed levels. All parameters can be to three or five, while the AF frame mode can be to cold, assuring strong performance adjusted manually. selected from auto, select and centre. at temperatures as low as -10°C. I Saturation and hue can be I An intelligent I The DR (Dust Removal) II mechanism with manually adjusted in all metering system offers Dust Alert system removes unwanted dust finishing touch modes, a choice of 77-segment efficiently using supersonic vibrations. except for monotone. multi-pattern, The DR II mechanism shakes dust off the centre-weighted and image sensor by shifting UV/IR cut filters in I Stores RAW-data files and spot metering modes. front of it at supersonic speed. The Dust Alert Jpeg files. system detects dust particles clinging to I The 645D inherits the image sensor and indicates their positions I The dynamic range can be the Pentax Hyper on the LCD monitor. expanded in camera toward Program and Hyper either the highlight or shadow Manual modes. The Pentax 645D has an RRP of £8,999 area. Unlike exposure compensation, this A digital level functions as (body only) and £9,999 (including 55mm SDM function expands the reproducible gradation a visual guideline for 645 lens).100
  • 80. Review WHAT I EXPECT FROM A CAMERA 1. Ease of use. 2. Comfortable to handle. 3. Good build and weather sealing. 4. Good focusing in low light. 5. A wide selection of lenses. 6. Large enough files for DPS. The Pentax 645D ticked most of these boxes apart from focusing and lens selection. The RAW files were superb and exceeded my expectations. “The Pentax 645D is an excellent entry into the medium format The files seem significantly better than those of any 35mm DSLR which I digital market and I think that if you were looking for a camera could have hoped to use. to shoot landscapes and gardens at a very competitive price it could well be the camera for you.” Jason Ingram BIOGRAPHY Based in Bristol, I tried the lens at various settings but because Pentax, which would definitely stand up to the Jason Ingram the sensor was larger than I am used to I really rigours of location photography. My kit is well travels the world needed to stop down the lens more to get looked after but does need to be able to take the photographing front-to-back sharpness. Using the lens at f/2.8 odd shower, knock and dusting of compost. gardens, plants, gave some very pleasing results, with beautiful I would feel confident in taking this camera out of food and people. areas of focus fall-off (bokeh). Overall the the studio, which I think it has been designed for. He also works in experience of using this camera straight out of the In the days of shooting film I would always travel collaboration with TV presenters box fitted naturally into the way I already work. with a 35mm kit and a medium format, using the Toby Buckland, Carol Klein and Joe Once opened in Lightroom, the actual files were 35mm for people and action shots and the Swift as well as providing the stills for impressive, with very little processing needed and medium format for more controlled tripod work. the BBC’s Gardeners’ World series. the 8-bit Tiffs are a huge 113MB after processing. I only work with 35mm now and would love to Jason graduated in photography from The Pentax 645D is an excellent entry into think I could have that flexibility with medium Salisbury College of Art in 1992. the medium format digital market and I think format, but that still seems a way off. The Pentax He turned freelance after three years that if you were looking for a camera to shoot feels more at home on a tripod, which is mainly assisting and two years working landscapes and gardens at a very competitive down to the limitations on focusing. If it had the as a photographic hand printer. price it could well be the one for you. same control over focusing as my 35mm it could After having only a few moments previously possibly replace it; as it is, it would happily sit as with a Hasselblad medium format digital camera, an addition to my existing system. PP I was very impressed by the overall build of the INGRAM GO ONLINE FOR MORE KIT REVIEWS AND PHOTOGRAPHIC NEWS AT 101
  • 81. advertorial2011 Convention unmissablefor any serious photographer Marilyn Sholin, a New York-basedIt’s big, educational, Master Craftsman Portrait Artist;informative and a social digital imaging experts Markgathering – in fact it’s the Cleghorn and Damien Lovegrove, garden shoot specialist Clivebiggest photographic Nichols; and famous artisticconvention in Europe. nudes and fashion duo Trevor and Faye Yerbury. he Societies’ (SWPP) Convention runs for Award-winning California-basedT eight days from January 10 2011 at The Novotel, west Hammersmith, in Londonand it’s your photographic ‘me time’. wedding photographer Joe Photo will head a sensational ‘Monumental Images’ location The Convention now features eight days of wedding shoot (Jan 13). Delegatesintensive training and a terrific three-day Trade on this seminar will be able to useShow, so there is something for everyone who some of Londons most historicis passionate about their photography. sites as fashionable backgrounds while they photograph a model ‘bride’ on location at LondonCONVENTION HIGHLIGHTS Bridge, Tower Bridge and TheMonday 10th Doug Gordon – My Bride Tower of London. Would Never Do That! The Convention will host moreTuesday 11th Business School than 40 hours of FREE seminars Doug Gordon – Fashion TRADE SHOW: Meet 150-plus exhibitors – and demos; 350 hours of Masterclasses; Meets Wedding all the important players within the industry are high-powered Superclasses – where theWednesday 12th Business School exhibiting at this event, so meet the key audience is restricted to a maximum of 15 – David Beckstead – Beckstead personnel who are there to help you. and a comprehensive Business School format. is on the Bus! BE INSPIRED: Start off the year with The Societies’ CEO, Phil Jones, says: John Denton – A Yorkshire inspiration and get yourself prepared for what “The Societies’ Convention goes from strength Weirdo in London could be your best year ever in business. to strength and the quality of our speakers is Doug Gordon – Change the John Swannell, Honorary Fellow of The unsurpassed anywhere on the planet. We have Way You Think and You Will Societies, is a keynote speaker and simply one ballooned from a one-day event, held at Change Your World Forever of the biggest names in British photography. a small hotel in Liverpool, with a smattering Qualifications An assistant to David Bailey in the 1960s, John of visitors and a handful of exhibitors 20 x 16 Judging has done it all – and he joins a groundbreaking almost a decade ago, to the pioneeringThursday 13th Joe Photo – Monumental platform of imaging talent at The Novotel. eight-day showcase it will be in 2011.” Images The 150-strong seminar/workshop speaker The previous Convention attracted 13,500 Members’ Day line-up includes photo icons such as Gary visitors, 3,000 of whom attended the Qualifications Fong (Lightsphere flash diffusor creator), Masterclass and Superclass programmes. 20 x 16 Judging award-winning wedding photographers Doug With 550 already set for the Awards Dinner onFriday 14th Superclass Programme Gordon, David Beckstead and John Denton; the Sunday night, the Societies expect to top Masterclass Programme world-renowned imaging guru John Henshall; this figure in 2011. Trade ShowSaturday 15th Superclass Programme Masterclass Programme What just three of our previous for a year, I was inspired & educated by the Trade Show visitors have to say: masterclass speakers, helped & greatly Trade Awards “Information overload by end of 1st day of encouraged by a mentor-me assessment,Sunday 16th Superclass Programme business school. Wonderfully organised by a and I enjoyed catching up with colleagues & Masterclass Programme great team, plaudits to all” – Roy suppliers” – Laurence Trade Show “Thanks for all the effort you & your team put “I had a fantastic few days, met some Awards Dinner into the convention – it was tremendous! amazing people and am looking forward toMonday 17th Gary Fong – Gary Fong, the For someone who’s only been in business next year. Thanks for your efforts guys” – Joe Accidental Millionaire102
  • 83. WINNERPORTRAITS WINNER: Award sponsored by Andrey Shapran, Latvia. Commended: Above: Andrew Compton, UK. Left: Maria Spann, UK. 105
  • 84. PORTRAITS Commended: This page, top left, clockwise: Tolya Berdnikovich, Belarus; Asis Kumar Sanyal, India; Alfio Alessandro Finocchiaro, Italy; Natalia Ciobanu, Moldova. Opposite page, top left, clockwise: Myra Olislaegers, Belgium; Steven Taylor, UK; Mark Harrison, UK.
  • 85. 107
  • 86. FASHIONAward sponsored byWINNER & PROFESSIONALPHOTOGRAPHER OF THE YEAR:Arseniy Semyonov, Russia.Commended: Below, anti-clockwise:Aleksandr Tikhanskiy, UK;Sarah Louise Johnson, UK; Craig Fleming, UK;Stephen Gallagher, UK. WINNER 109
  • 87. WINNER WINNER: STILL LIFE Kevin Staddon, UK. Commended: Award sponsored by Left, anti-clockwise: Ruta Mackelaite, UK; Irene Frowley, Netherlands; Susie Hamilton, UK; Kate Murrell, UK; Laura Jane Vest, UK.110
  • 88. TRAVELAward sponsored byWINNER:Paul Thurlow, UK.Commended:Right, clockwise: Mohammad Hasan,Bangladesh;Alan Bennett, UK;Iason Athanasiadis, Turkey;Rachel Vogeleisen, UK;Pier Paolo Campo, Italy;Ruta Mackelaite, UK.
  • 89. WINNER
  • 90. TRAVELCommended:Above, clockwise: Asis Kumar Sanyal, India; Nina Borowsky, UK;Alex Abbott, UK; Maciej Duczynski, Poland.114
  • 91. MOVING IMAGEAward sponsored byWINNER:Julien Mokrani, France.Commended:1st row: James Edwin Myers, US;2nd row: Andrew Walker, US;3rd row: Albrecht Gerlach, Brazil;4th row: Chris Floyd, UK. 117
  • 92. STUDENTAward sponsored byWINNER:Ekaterina Vasilyeva, Russia.Commended:Right: Colin Aherne, Ireland;Below, left to right:Nathan Spencer, UK;Laurent Shinar, UK;Thomas Kelsey, UK.118
  • 93. 119
  • 94. STUDENT Commended: Marko Mestrovic, Austria; below, Ernesta Aleknaite, Lithuania.
  • 95. WEDDINGS/SOCIALREPORTAGEAward sponsored byWINNER:Sacha Miller, UK.Commended: WINNERBelow, top to bottom: Adrian Travis, UK;Huw Davies, UK; Richard Hanley, UK.Middle, top to bottom:Ekaterina Vasilyeva, Russia;David Barry, UK; Colin Hutton, UK;Lee Searle, UK.Right, top to bottom: Myra Olislaegers, Belgium;Gavin Macqueen, UK; Kjetil Hanssen, Norway;Paul Thurlow, UK. 123
  • 96. WINNERCONTEMPORARYARTAward sponsored byWINNER:Sergey Lekomtsev, UK.Commended:Top left, anti-clockwise: Edgar Martins, UK; Myra Olislaegers,Belgium; Rosalyn Song, USA; Dominika Zarzycka, Poland;David Otokpa, UK; Robin Frowley, UK; Bogdan Ivan, Romania.124
  • 97. WINNERINTERIORS/ARCHITECTUREAward sponsored byWINNER:Edgar Martins, UK.Commended:Top left, anti-clockwise:Pier Paolo Campo; Italy;Phil Mann, UK;Aleksandr Tikhanskiy, UK;James Hughes, UK;Laura Jane Vest, UK;Olga Chertova, Russia. 127
  • 98. EDITORIALAward sponsored byWINNER:Rebecca Litchfield, UK.Commended:Below, anti-clockwise:Huw Davies, UK;Morten Rygaard, Denmark;Steve Ray McDonald, UK;Sarah Louise Johnson, UK;Emilie Layla Lovaine, UK;Chris Dodd, UK. WINNER 129
  • 99. WINNERADVERTISINGAward sponsored byWINNER:Tim Wallace, UK.Commended:Arseniy Semyonov, Russia.130
  • 100. The great indoorsThe UK offers such wonderful photographicopportunities in any season, but during thedark, wet, winter months being outside in thewind, rain, sleet and snow can sometimes geta little too much! So why not check out whatyour local photography studio has to offer…PIXEL 8 STUDIOPhotographic Studio with models for hire in 1 9Wiltshire, central heating & model list.Friendly atmosphere help with lights alwaysavailable. Easy parking. 1 2 1 training plusworkshops, group shoots, and courses.Open 7 days a week. Easy access from M4 4jnc 17 and by train only an hour ten minutesfrom Paddington and 20 minutes from 5Bristol. Tel: 07958 596125 17 E: 11 16 www.pixel-8.bizPAUL’S STUDIOOffers one to one photography and lighting 2 14courses in Glamour photography, using Pauls 15fully equipped and dedicated studio. Coursesare tailored to each photographer and range 12from beginner to advanced in Glamour, ArtNude, Adult, Portraiture, Studio Lighting and 10 20more, including Studio Hire. Pauls Studio 8 2 6 1 7 3 19organises Model Days and Location GroupShoots and Workshops. 13 18 Reading, Berkshire Tel: 07930 462906 DAVIES STUDIOAt 1800 sqft with drive in access, Equipped 3 RIVERSIDE STUDIOS Riverside Studios is a clean, comfortable and 4with 10 Profoto heads 1000W and 500W its professionally equipped studio, offeringideal for Commercial, Editorial & Portraiture. multiple shooting areas and separate loungeFull range of Lighting courses available. with Wi-Fi and free tea and coffee facilities.Car Parking, Wi-Fi, Full Blackout, PC & MAC, Our rates are £30.00 for the first hour and thenGreen Room, Dedicated dressing room £25.00 per hour thereafter with huge discountsand Make-up Stations. available on block bookings (fully inclusive ofProfessionals and amateurs welcome. all studio equipment). Unit 22, AngloPark, Fishponds Road, Unit 3F Brighouse, Business Village, Wokingham, RG41 2JT Brighouse Road, Riverside Park Tel: 0118 9797666 (West), Middlesbrough,TS2 1RT E: Tel: 01642 220942 / 07760757955 E: Studio-enquiries@
  • 101. classified studio guide THE GREAT INDOORS IS SPONSORED BY ASPIRE PHOTOGRAPHY TRAINING Aspire, the ultimate photography training school. Tel: 01524 782200 Email: PHOTOGRAPHY TRAININGPhotography courses with Aspire 5 STUDIO 101 A fully equipped photo and film studio located 6Photography Training do far more than in the “Creative Hub” that is Deptford. Studioteach you how to take stunning pictures. 101 aims to provide a friendly and professional service, excellent rates andTheyll equip you with an understanding of outstanding quality. We welcome students,how to hone your photographic skills, amateurs, professional and commercialdevelop your own style, and turn your clients. Our prices are ultra-competitive andcreative drive into a successful business. you can even book online 24 hours a day! Units One & Two, The Stable Yard, Unit B101 Faircharm Studios, 8-12 Dalton Hall, Burton-in-Kendal, Creekside, London, SE8 3DX Cumbria, LA6 1NJ Tel: +44 (0) 7725 464 442 Tel: 01524 782200 E: E: Studio Director: Kirsty Cole 8 STUDIOPixel 8 studio provides glamour photography 7 ZEPH NIXON PHOTOGRAPHY Studio 7 in Penarth by Cardiff Bay – 5 miles 8training from the very basics up to professional from Junction 33 M4, 3 miles from A48.techniques. Both in the studio and out of doors Ideal for fashion, people and product work.the workshops and week end courses are Studio size is 30 x10 ft with Elinchrom lightingsecond to none helping participants to grow on Highglide system. Optional hire of Nikontheir expertise in a fun environment. Now very D3s and Mac Book Pro laptop.popular early booking is advised. Studio Day rate £265.00 /Half- day £150.00 Hourly rate available. 10% Discount for readers during January and February. Contact: Jo Tel: 07958 596125 Tel: 07973 217315 E: E: QBased in the heart of Central Scotland, we 9 PREMIER PARK STUDIOS At Premier Park Studios we pride ourselves on 10offer an intimate and friendly environment for our friendly service and competitive rates,photographers, families and models alike. brought together in our stylish and spaciousWith Elinchrom lighting, changing area with studios. Our high spec, on-site equipment hire,Hollywood mirror and comfortable seating provides you with everything you need to getarea, we can guarantee your clients will feel the job done. Please contact us to find outrelaxed for your photo shoot. Rates from £15 about our half day and full day rates.per hour. Laurieston Industrial Estate, Unit 10, 7 Premier Park Road, Old Redding Road, Laurieston, Park Royal, London, NW10 7NZ Falkirk, FK2 9JU Tel: 0844 815 6624 Tel: 0845 528 0308 E: E: PHOTOGRAPHIC STUDIOHire from £20 per hour, all inclusive. Large 11 SARACEN HOUSE STUDIO Large studio for hire to all photographers, all 12commercial 2,500sq. ft studio. Dedicated skill levels welcome. Rates from £20 per hour,roomset and changing area. Professional lights bookings available 24/7. Fully equipped forall with remote triggers. Permanent white and portrait, fashion, glamour & commercialblack vinyl sets. Different coloured paper rolls. shoots, central heating, private dressing room,Various reflectors and softboxes. Dedicated free wifi, refreshments, advice. Countrysidesmall product set with continuous lights. location, minutes from Central Milton Keynes,Kitchen facilities. Near Junction 9 M60. 45 mins to London & Birmingham. Saracen House Studio, HT3, Westbrook Road, 21 London Road, Old Stratford, Manchester, M17 1AY Milton Keynes, MK19 6AE Tel: 0161 877 0435 Tel 01908 410092
  • 102. classified studio guide THE GREAT INDOORS IS SPONSORED BY ASPIRE PHOTOGRAPHY TRAINING Aspire, the ultimate photography training school. Tel: 01524 782200 Email: INFINITY STUDIOSIN EAST SUSSEX OFFER 13 ARIANE PHOTOGRAPHIC STUDIO Heated studio approximately 1800sqft. Corner 14• 12m by 10m Infinity Cove, flush 4.4m infinity cover (6m x 6.5m) black area, variousautomatic turntable – ideal for all vehicles room sets. Elinchrom lighting, track system on• Adjustable floating ceiling mezzanine. Large changing room, vehicle• 265 sq m main studio, client mezzanine area, access, parking. Wi-Fi, lighting assistance,dressing room and free Wi-Fi tuition, props. For commercial, car, product• Latest Nikon, Pentax and Profoto equipment advertising, fashion and glamour shoots.• Drive-in access Central London 90 minutes by train.• Superb private location with parking Please contact us to discuss your• Resident photographer, if required requirements and rates. Chiddingly, East Sussex, BN8 6HJ Contact: Geoff Sutton Tel: 01825 873589 Tel: 01827 62022 / 07831 538001 E: E: STUDIO23ft x 23ft with infinity curve and colourama 15 ROWE PHOTOGRAPHIC STUDIOS Rowe Photographic Studios offer a first class 16rolls. 6 Bowens flashheads, softboxes, service to our clients, 600 square foot ofumbrellas, etc. Constant and natural light space, professional studio lights. Studio hire atoptions. Make-up and changing rooms. very competitive rates of only £15 per hourLighting assistant for support/advice. First discounts for half/full day. Please contact ushour £30 and £25 per hour thereafter with full for more information or to bookings discount.Studio experience days for fashion, glamourand art nude. Rowe Photographic Studios,CRE8-IMAGE STUDIO Rotherham, South Yorkshire Cambridge, CB24 8QU Tel: 07881 676700 Tel: 01954 202303 / 07860 796498 STUDIOSVR Studios is a fully equipped photography 17 THE_STUDIO Located in a beautiful 19th century warehouse 18studio in the heart of Elland, West Yorkshire. with 1000 sq ft of space the_studio is wellWe provide Photographers, Editors, Marketing equipped with latest camera and lighting gear,Agencies and Product Advertisers with a model changing and kitchen facilities.unique facility and no hidden costs. Our We also run a range of practical workshopsstandard rate allows full use of the 2,000 sqft including 1-2-1, including the fully fitted 6m x 5m Reader Offer - 20% off all Jan/Feb bookings!Infinity Cove. the_studio, 4 Maclaines Warehouse, Tel: 01422 250 073 Haven Road, Exeter, Devon, EX2 8GR E: Tel: 01392 897239 / 07813 654075 www.maclaines.comPHOENIX GREEN STUDIOA drive-in studio with infinity cove conveniently 19 THE DRAGON MEDIA STUDIOS 2 x Fully equipped beauty/hair prep rooms, on 20located for photographers in Berkshire, site spray tanning room, air conditioned,Hampshire, Surrey, and south-west London. internet access, adjoining kitchen/diner withThe 800 sq.ft. drive-in studio gives easy access facilities. Studio 1: L25.4xW19.6ft, Studio 2:for loading and unloading larger items and is L24.5xW18.5 ft.available for hire at very competitive rates. Studio 1 - £200 full day / £100 half day - all inclusive. Studio 2 - £120 full day / £60 half day - all inclusive. Mayfair, London 43 North Audley Street, London Tel: 01252 844112 W1K6WH E: Tel: 020 7529 7500
  • 103. stop press...We’re always keeping our eyes open and our ears LATELY WE’VE BEENto the ground to make sure we bring you the latest news, HEARING...industry rumours and kit from around the world... G The web is awash with rumours that British photographer David Sims was spotted in New York shooting an ad for THE DROBO S the second generation iPad. Given that Storage company Data Robotics has released the iPad 2 isn’t yet out, presumably a new storage system, the Drobo S, which it there’s a job in post-production up for claims is the easiest-to-use remote backup. grabs, comping in the new version… Aimed at creatives and small business, it G Japanese bad supports multiple storage volumes with a boy Nobuyoshi capacity of up to 32TB and beyond. Rather than Araki, known for adding a USB connector to update the storage his erotic images when USB 3.0 and for breaking was released, the Japanese Drobo S is obscenity laws over the years, hasTAMRON’S 18-270MM specifically been doing what comes naturally, shooting food fetish photographs forF/3.5-6.3 Di II VC PZD LENS designed to incorporate the luxury New York department storeHolder of the record for focal length range in upgrade and the Barneys. The commission, forSLR lenses, Tamron has released what it claims resulting speed the store’s ‘Have a foodie holiday’is the world’s lightest and smallest 15x travel is up to 10 times campaign, is perfect for Araki, whozoom lens. The 18-270mm f/3.5-6.3 Di II VC faster than has said that food reminds him of thePZD lens, which weighs 450g (for Nikon existing USB 2 male and female genitalia…mounts), features a Piezo ultrasonic motor systems. Enhanced backwards compatibility G Lens, the photography blog from thepromising silent, fast and precise autofocus. with USB 2.0 systems such as your laptops, New York Times has released aNikon and Canon mounts are now available PCs and servers gives it greater longevity. slideshow of images from the memoryfor the lens with a Sony mount on its way. The ‘self-healing’ ensures your data should stay card of João Silva, who was injured inThe RRP is £649.99. safe, even if the worst happens and a drive fails. an explosion while on assignment The starting price is £509, excluding VAT, with the newspaper in Afghanistan in multiple configurations up to £1,149, excluding October 2010. The South African-based VAT, for a 10TB bundle. photographer lost the lower part ofWANDERLUST’S For more information and details of UK sellers visit both his legs in the explosion, which isn’t caught on camera. Silva, who wasPINWIDE PINHOLE CAP contracted to the paper, has since beenPinwide is a pinhole cap compatible with taken on as a permanent employee.micro 4/3 cameras that allows you to match www.professionalphotographer.the look and feel of traditional pinhole thanks to a wide focal length G Fashion photographerof 11mm (22mm equivalent) and a perfectly Mikael Jansson has shotround pinhole aperture made with the same the 2011 calendar forprecision etching technology used to French Vogue.manufacture semi-conductors. The Pinwide Canadian-Ukrainianis the latest product from US company model Daria WerbowyWanderlust which produces unusual and (who also posed for thehigh-quality photography products. 2011 Pirelli calendarAvailable to pre-order now, the release shot by Karl Lagerfeld), bares allprice is $39.99 (£25.30). Wanderlust will for the camera, save for a sparkling ofship anywhere so contact the company for Louis Vuitton jewels…prices. 135
  • 106. CLASSIFIEDREPAIRS WORKSHOP & TOURS EVENT PHOTOS WWW.EVENT-PHOTOS.CO.UK TO ADVERTISE CALL BIANCA ON 01242 211099SOFTWARE STUDIO HIRE To advertise call The Studio FULLY EQUIPPED STUDIO Bianca on WITH EDITING ROOM, KITCHEN AND SHOWER 01242 211099 Near Stevenage - Call for more details - Low hire rates 01438 - 821090
  • 107. legend Robert Doisneau 1912-1994 “I have managed to build my own personal theatre.” rather than the studio. He wasn’t the first street photographed. He never sneered and was always photographer but he brought a new democracy honest in his sentimentality – hence his wide to the genre. When he photographed people, they popularity. He was no naïf, though. His most weren’t specimens or symbols – of hope or famous picture of a couple embracing, lusciously, stoicism or the great socialist future. They were on a Paris street – taken for LIFE magazine, in fellow humans, people – like him, like us. 1950 – was posed by a couple of aspiring actors “The ordinary gestures of ordinary people in whom he paid 500 francs each. ordinary situations.” He bought his first camera, a Rolleiflex, in His beat was Paris. Suburban Paris, that is – 1932. The same year, he took his first great a landscape only lightly illuminated by the picture, of two young children, hand-in-hand, on grandeurs of Haussmann’s City of Light. A corner their way to buy milk, crossing a wintry midday café in the rain. A street accordionist – that big street in, well, Gentilly, of course. As ever, if favourite of mid-20th century photographers you want to make truly global work, start with (Walker Evans, André Kertész etc). A cabaret the profoundly local. dancer – Shimmying Wanda (who was also “In these ordinary surroundings which were my photographed by her neighbour, Brassaï). In his own I happened to glimpse some fragments of words, “that gratuitous, never-ending show for time in which the everyday world appeared freed which no ticket is needed.” from its heaviness,” he wrote, 60 years later. Taking and adapting insights and approaches On holiday, he met Pierrette Chaumaison – she that were there in Impressionist and was on a bike at the time. They settled down in post-Impressionist painting – Degas’ backstage Montrouge – the next suburb along from GentillyHis image of an embracing couple dancers, Cézanne’s card-players, the bored (or – and pretty much stayed there until his death.has become a Paris cliché but calculating) barmaid (or part-time prostitute) in After national service, in 1934, he took a job as Manet’s Bar at the Folies-Bergère – he used them a photographer in the publicity department ofas Peter Silverton found out there to create his own modern world, a Paris of his Renault. He was sacked in 1939 for persistentis much more to this great dreams. If that dreamworld came – as it did – to lateness. From there on, he was a self-employedFrench street photographer than embody our own Parisian dreams, is that because photographer. During the war, he shot pictures ofone over-used and commercially it reflected our own desires? Or because Paris getting by – and helped out the Resistance Doisneau’s passion – and its close companion, with a little forgery. He photographed theabused photograph. fear of emptiness – had the power to shape our liberation – there are no corpses in his pictures, dreams and desires? though, or shaven-headed women, unlike, say,Robert Doisneau was born on April 14, 1912, He started work young, training first as a Capa. “One should only take a photo when onein Gentilly, an inner suburb of Paris – now lithographer and a letter designer at an ad agency. feels full of love for one’s fellow man,” he said.the first RER stop beyond the Périphérique, While there, he discovered photography. His first book of photographs, La Banlieue dethen just to the south of the old city walls. He then worked as an assistant to the artist André Paris (The Suburbs of Paris), appeared in 1949.Orphaned by seven, he was brought up by an Vigneau who introduced him to the world of By 1951, his work was on show in New York, atunloving aunt. avant-garde art and artists – Paris was then the MoMA, with Cartier-Bresson, Brassaï and Willy Many of his best pictures were images of centre of that world. Ronis. He worked for Le Point magazine.children being, well, children – delightfully, The legacy of that early grounding in modernist He photographed Picasso and Braque.joyously, thoughtfully, thoughtlessly, absorbedly, aesthetics is central to his work. Not in his He lived longer and photographed longer thanself-consciously. It’s hard, isn’t it, not to see pictures’ formal qualities – which are traditional, seems possible, long enough to pass out ofa photographer creating for himself, in his conservative even. Rather, it is there in what he fashion and return as a totem not just of streetpictures, a happier childhood. “I have managed chose to photograph. More precisely, it is there in photography but of the modern city. He died, onto build my own personal theatre,” he said. his stance towards his déclassé subject matter. April 1, 1994 – in Montrouge, of course. PP It was a theatre of the everyday, of the moments He didn’t judge his subjects. Prefiguring, say,when private and public collide, of the world Warhol, he actually liked and appreciated what he GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK146