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  • 2. welcome february When we came to putting this issue together and deciding who we wanted to feature and why, a few names from my past came to me that I felt had perhaps been forgotten but that deserved to be revisited. Our industry has an unpleasant, insatiable thirst for the new, the young and the latest fashion, often at the expense of the great and the established. Bert Stern and Gilles Bensimon certainly fall into that category for me. If you’ve never heard of them, nor seen their work, I hope you find them interesting and inspiring. If you are aware of them but not heard from them for a while, I hope you enjoy reading about some old friends. On a similar theme, this month’s Being There on Page 23 allowed me the opportunity to talk about another great photographer and a friend, Terence Donovan. I hope that you enjoy these snapshots from my photographic past and that they give you an insight not only into my career but also into the business as a whole. If you have ever wanted to know what makes a good agent, how to get one and what they can do for you, then you could do no better than hear what one of the most established and best has to say. Find out all this and more on Page 45 in Frontline. Someone working without an agent but getting by (just!) is awardwinning photojournalist Peter Dench, our regular columnist and bon viveur. This month he not only brings us his monthly Dench Diary on Page 38 but he also goes back to college at our request to find out why he hasn’t been succeeding in the Taylor Wessing Awards recently. You can read what he discovered in Educating Peter on Page 72. While we were sending Peter to college, students were protesting on the streets and news photographers were trying to capture the action. We spoke to Eddie Mulholland, senior photographer with the Telegraph newspaper group, to find out how he manages to work among the civil unrest in I Predict a Riot on Page 62. One of the most unpleasant aspects of being a freelancer is the financial responsibility which you have to bear for your business. This is the time of year when we should all have submitted our tax returns and be ensuring that our paperwork is in order. To help you with this we have taken some of the most useful articles from our sister title Turning Pro to create anTHIS IMAGE / COVER IMAGE: GILLES BENSIMON all-in-one Business Special on Page 91. I hope you find it interesting and useful.EDITOR’S IMAGE: MATT HALSTEAD Someone who has made a success out of his work as a still-life photographer for many years now is David Parfitt. Find out how he has remained inspired and creative in Motion Pictures on Page 84. It’s a tough business we’re involved in and the more help and advice you get can only help. We just make sure it’s the best. Grant Scott, Editor
  • 3. NEW PHOTOGRAPHY 8 Portfolio The best of our readers’ work. 53 Exposure We take a glimpse at an online archive of great contents february magazine covers that inspire us. 72 Educating Peter Peter Dench finds out how today’s photography students are being prepared for the real world. NEED TO KNOW 23 Being There PP Editor Grant Scott recalls a shoot with iconic 1960s photographer Terence Donovan. 30 Dispatches Clive Booth talks about a Scottish island that has inspired his photography for many years. 38 The Dench Diary This month photojournalist Peter Dench takes to the skies on assignment in Africa. 42 The World of Convergence Film maker John Campbell’s regular news-packed look at the world of convergence. 45 Frontline We talk to photography agent Mark George. 51 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 66 Bangers & Crash PP Editor Grant Scott recalls an early personal project centred around the world of banger racing. 114 Legend We look at a living legend, Bert Stern, whose commercial images changed the advertising world. Vision and determination have shaped Chris Craymer’s career. Read more in our interview on page 78. INTERVIEWS WITH... 84 Motion Pictures Photographer David Parfitt talks about the 21 Diary Our pick of this month’s photographic exhibitions 34 Watching the Wheels inspiration behind his unique still-life images. around the UK. We revisit the winner of our 2010 competition, who got a £5,000 budget to shoot the Land Rover Discovery 4. 103 Stop Press... BUSINESS SPECIAL The latest essential news, gossip and kit from the EXCLUSIVE... 92 Go Compare The world of photography insurance explained. pro world. 54 Gilles Bensimon on the Phone Editor Grant Scott has a conversation with the 96 ...And Nothing but the Truth KEEP IN TOUCH legendary French fashion photographer who Protecting your good name and business. 26 Subscribe has created timeless images of some of the most Check out our latest subscription offer so you’ll beautiful women in the world. 98 Copy Cat never miss an issue of your favourite photography How to protect the ownership of your images. magazine again. 62 I Predict a Riot Telegraph press photographer Eddie Mulholland 28 Podcast discusses shooting the recent student riots. NEWS & REVIEWS Every month we go online to discuss the world of photography and you can hear our debate for free.CHRIS CRAYMER 78 Make it Big 14 Click Julia Molony talks to Chris Craymer, whose vision This month’s line-up of the best news, dreams, 49 Feedback and determination have carved a successful career. themes and photographic schemes. Your thoughts, your opinions, your page. . www.professionalphotographer.co.uk 5
  • 4. friends februaryWWW.CHRISTOPHERPETERSON.COM Gilles Bensimon Jod Mitchell David Anthony Hall Guy Martin Photographer Journalist Artist/photographer Lawyer As the former international creative Possibly unique among our writers A former still-life photographer, Guy is a partner in leading media director and head photographer of for having an alternative career as David now revisits locations over law firm Carter-Ruck and belongs to ELLE magazine, Gilles Bensimon a lavender farmer, Jod has also been months and even years to capture the British Literary and Artistic has a portfolio packed with images a BBC script editor, playwright and them for his large-format images. Copyright Association (BLACA). of supermodels and stars, and he is advertising executive. He now writes As the winner of our competition to With more than 20 years’ experience celebrated for his sensual way of for the Telegraph, the Sun and get a £5,000 budget to shoot the in media law, he is well-placed to capturing women. Formerly married House & Garden magazine. PP sent Land Rover Discovery 4, David co-author the article on defamation to Elle Macpherson, he has appeared him to interview still-life master journeyed around the British Isles for for this month’s Business Special. on the TV show America’s Next Top David Parfitt, who creates stylish and his Four Corners assignment. You can His clients include high-ranking Model. In an interview on page 54, arresting images using innovative read about the shoot – which was a dignitaries, leading business people, editor Grant Scott talks to Gilles techniques. You can read the feature huge contrast to the way he normally universities, celebrities, religious about his enviable career and hears on David and find out how works – in Eleanor O’Kane’s leaders, authors and publishers. his thoughts on the industry today. he achieves his style on page 84. interview with him on page 34. To read the article, turn to page 96. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES grant.scott@archant.co.uk eleanor.godwin@archant.co.uk, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane DEPUTY ADVERTISING MANAGER Nicola Crosta ORDER HOTLINE 01858 438840 Professional Photographer is published eleanor.okane@archant.co.uk nicola.crosta@archant.co.uk, 01242 264785 VISIT www.subscriptionsave.co.uk monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE Leigh Barr EMAIL professionalphotographer@subscription.co.uk Archant House, Oriel Road, Cheltenham, rebecca.shaw@archant.co.uk leigh.barr@archant.co.uk, 01242 265895 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds SALES EXECUTIVE Amy Pope Fiona Penton-Voak www.professionalphotographer.co.uk simon.reynolds@archant.co.uk amy.pope@archant.co.uk, 01242 216054 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech CLASSIFIED SALES EXECUTIVE Bianca Dufty Lisa Flint-Elkins lisa.flint-elkins@archant.co.uk, kelly.weech@archant.co.uk bianca.dufty@archant.co.uk, 01242 211099 01242 264751 EDITORIAL ASSISTANT Jessica Lamb GROUP COMMUNICATIONS MANAGER MD SPECIALIST MAGAZINES Miller Hogg jessica.lamb@archant.co.uk Lucy Warren-Meeks, 01242 264783 CONTRIBUTING EDITORS lucy.warren-meeks@archant.co.uk 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 With special thanks to Mandy Pellatt TELEPHONE 020 7396 8000 www.professionalphotographer.co.uk feedback@professionalphotographer.co.uk 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. www.professionalphotographer.co.uk 7
  • 5. 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 www.professionalphotographer.co.uk. If you want to see more of anyphotographer’s work, go to their online profile to access their website details. TIFFANY IRVING, UK STAN PEACH, UK PIOTR STRYJEWSKI, UK8 www.professionalphotographer.co.uk
  • 7. PORTFOLI RAYMENT KIRBY, UK BOURNE, UK10 www.professionalphotographer.co.uk
  • 10. click Coastline No.2. the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane Third time lucky One of the 20 Bad Girls of Photography from our November 2010 issue, Bettina Rheims shocked religious groups by portraying Jesus as a woman and shot portraits of a Russian oligarch’s wife that border on the pornographic. Following limited and art editions, which were priced at £1,250 and £650 respectively, publisher Taschen has released its tribute to Rheims, Rose, c’est Paris, as an unlimited edition at a more modest £44.99. Available from February, the monograph is accompanied by a feature-length film on DVD and tells a story that weaves fashion, erotica and film noir in Rheims’s signature sexy and stylish tableau that features, among others, Naomi Campbell, Charlotte Rampling and Monica Bellucci. Rose, c’est Paris, by Bettina Rheims and Serge Bramly, published by Taschen, £44.99, ISBN: 978-8365-2785-9. ZHANG XIAODerby days In the beginningFORMAT, the Derby-based international festival of contemporary photography and related media, In photography it often seems that the discovery ofis back for its fifth year. With a theme for 2011 of Right Here Right Now: Exposures from the a box of long-forgotten plates or prints casts a newPublic Realm, the festival celebrates the resurgence of street photography with a host of events light on the work of an artist. Renowned as adedicated to candid photography. One of the highlights is the FORMAT11 Commission, from pioneer of colour photography, William EgglestonMagnum photographer Bruce Gilden, which will be exhibited in Derby Museum and Art Gallery. originally worked in black and white, photographingFor the commission, the American master turned his lens on Derby. Brooklyn-born Gilden suburban scenes in Memphis in high-speed 35mmonce said: “I’m known for taking pictures very close, and the older I get, the closer I get.” As part film; compositions that would go on to informof the exhibition, a video of Gilden getting up close and personal while shooting in the town will his later work. The discovery of some of his earlybe aired. prints at the Eggleston Artistic Trust in Memphis The festival is not just limited to galleries. Large-scale works by seven leading Magnum has led to Before Color, a new book from Steidlphotographers, including Chris Steele-Perkins, Bruno Barbey and Trent Parke, will be on show that features work datingalfresco in Derby Market Place. This outdoor show of from 50 years ago,street photography will be touring the UK once the scanned from vintagefestival is over and you can also catch it at London plates developed by theSt Pancras railway station later this year. photographer in his ownFORMAT International Photography Festival 2011, darkroom.Right Here Right Now: Exposures from the Public Before Color, by DOUGIE WALLACERealm, will take place from 4 March to 3 April in William Eggleston,various venues across Derby and beyond. published by Steidl, £40,For more information visit www.formatfestival.com. Blake 7. ISBN: 978-3-86930-122-8.14 www.professionalphotographer.co.uk
  • 11. BETTINA RHEIMS , COURTESY GALERIE JÉRÔME DE NOIRMONT, PARIS Monica Bellucci, Tenue de Gala, Hotel Le Meurice, Rue de Rivoli, Paris, February 2009 .
  • 12. All about Eve In a largely male-dominated world, Eve Arnold stands out as one of the finest photojournalists of the 20th century and has been a Magnum member for more than 50 years. She has travelled the globe for her work and is © EVE ARNOLD famed for her images of Marilyn Monroe, pictured right, with whom she had a special rapport. The first exhibition at the new Chris Beetles Fine Photographs Gallery in London celebrates Arnold’s outstanding contribution to photography with more than 70 images from the Magnum master. More than a quarter of the exhibition dwells on Arnold’s images of Monroe, who frequently requested that the photographer shoot her portrait. Eve Arnold, Chris Beetles Fine Photographs, 3-5 Swallow Street,DEAN WEST London, 9 February-5 March. The Cockpit. www.chrisbeetlesfinephotographs.com Bewitched On your toes The winners of the 2010 International Aperture Opened in 1850, Bassano was once a fashionable Awards have been announced, with more than London photographic studio whose surviving $80,000 in cash and prizes shared between winners archives are held by the National Portrait Gallery. in several categories, including photojournalism, Now an exhibition at the gallery brings to public landscape and sport. The winner in the commercial, view portraits of leading ballet dancers from the advertising & fashion category was Australian-born, beginning of the 20th century, including Anna Canadian-based photographer Dean West, whose Pavlova and Ninette de Valois. The son of a image The Cockpit was shot in a former cockfighting fishmonger, Alexander Bassano opened his first arena. Inspired by the 1985 film Return to Oz, studio at the age of 21 and went on to become 27-year-old West had been waiting for the a Victorian society photographer. His portrait of opportunity to pay tribute to a character in the Lord Kitchener was the foundation of the film, a witch named Mombi, and knew that famous First World War recruitment poster, the time had come when he chanced upon the perfect Your Country Needs You. BASSANO location in Ontario. Ninette de Ballet in Focus, at the National Portrait Gallery, Valois, 1920. www.internationalapertureawards.com until 24 July, admission free. www.npg.org.uk www.professionalphotographer.co.uk 17
  • 13. Leaning to the left INEZ VAN LAMSWEERDE AND VINOODH MATADIN / NOWNESS First published in 1956, Love on the Left Bank provided a snapshot of the creative scene among Paris’s Left Bank artistic community during the early 1950s and was considered a classic of its time. Now back in print, this facsimile edition features the work of Dutch photographer and film maker Ed van der Elsken,Candid cameras who inhabited this offbeatA new short film by fashion photography duo Inez van Lamsweerde and Parisian quartier when heVinoodh Matadin caught our eye. Featured on the lifestyle site NOWNESS, moved there in 1950 to further his photography. He took a job inthe film crosses the line from reality to a surreal world using illustrations by Magnum’s darkroom where he developed the prints of Robert Capa andartist Jo Ratcliffe. Shot in secret by the pair using four hidden cameras on a is said to have impressed Henri Cartier-Bresson with his streetBalmain fashion house shoot featuring Kate Moss, the film also stars surreal photography. He went on to have a successful career in stills and film.serpent-like creatures that creep up on Moss while she’s in repose and Love on the Left Bank, by Ed van der Elsken, published by Dewi Lewis,a soothing soundtrack by Antony and the Johnsons. www.nowness.com £24, ISBN: 978-1-899235-22-3.18 www.professionalphotographer.co.uk
  • 14. click New views of New York For its first show of 2011, the Wapping Project Bankside is featuring striking images by CINDY SHERMAN German photographer Christopher Thomas. Shot using a custom-made large format camera andWho do you think you are? long exposures, the 30 large-scale pictures showWe chose New Yorker Cindy Sherman as one of our a more tranquil, less frenetic20 Bad Girls of Photography in the November 2010 side to New York. A vintageissue for her uncompromising method of working, which feel, coupled with famousexplores the idea of identity. An exhibition at London locations devoid of life, showgallery Sprüth Magers presents new work by Sherman. another aspect of the cityIt is the way we’re used to seeing her – as the subject of that, it seems, does sleepher own images – but this time these are displayed as after all.large photographic murals rather than framed prints. New York Sleeps: Photographs CHRISTOPHER THOMASThe theme this time is ageing American socialites and is by Christopher Thomas,as challenging as ever. 2001-2009, until 26 February, Radio City.Cindy Sherman at Sprüth Magers London, until www.thewappingproject19 February. http://spruethmagers.com bankside.com www.professionalphotographer.co.uk 19
  • 15. 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 www.professionalphotographer.co.uk Masters of Photography Falmouth Art Gallery, Municipal Buildings, The Moor, Falmouth, Cornwall, TR11 2RT 01326 313863; www.falmouthartgallery.com 12 February to 2 April Falmouth Art Gallery presents an international photography exhibition, showing iconic images by photographers from many different eras, including Lee Miller, Eve Arnold, Linda McCartney, Fay Godwin, Jane Bown, Man Ray and Julia Margaret Cameron. Compositions by contemporary masters of photography will also be shown, including work by Ian Stern (1947-1978). Falmouth Art Gallery was recommended to his family by Dr Robin Lenman, editor of The Oxford Companion to the Photograph, and they donated 32 fascinating and haunting black-and-white photographs. The exhibition also includes work from a host ofOXANA MAZUR Cornwall-based photographers including Mark Webster, Vince Bevan, Oxana Mazur and Anthony Fagin. Emotion. Bran Symondson: The Best View of Heaven is From Hell Idea Generation Gallery, 11 Chance Street, Shoreditch, E2 7JB 020 7749 6850; www.ideageneration.co.uk 28 January to 20 February An insightful collection of images by Bran Symondson is going on display at Idea Generation. His images show the daily existence and ethos of the Afghan National Police (ANP) in the war against the Taliban. When Symondson, a serving British soldier, returned to © BRAN SYMONDSON Afghanistan in 2010, he was able to capture a unique perspective on this current conflict. The ANP has been given the role of helping to bring Afghanistan together as a nation. Symondson’s images capture their remarkable and, until now, untold story. Sixty intimate portraits of the ANP will be on show while a programme of special events will run alongside the exhibition, including a tour of the gallery. Hoppé Portraits: Society, Studio and Street National Portrait Gallery, St Martin’s Place, London, WC2H 0HE 020 7306 0055; www.npg.org.co.uk© 2010 CURATORIAL ASSISTANCE INC. / E.O. HOPPÉ ESTATE COLLECTION 17 February to 30 May A major exhibition dedicated to photographer E O Hoppé will be held at the National Portrait Gallery this spring. The collection will, for the first time, bring together some of his Modernist portraits, as well as later documentary studies. Hoppé (1878-1972) was among the most important photographers of the early 20th century. One of the first celebrity photographers, he captured striking portraits of some of the most important people of his time. More than 80 of Hoppé’s celebrity portraits, taken mainly in the 1910s and 1920s, will feature in the exhibition, including those of George Bernard Shaw, King George V and early Modernist poet Ezra Pound. Going into the 1930s Hoppé turned increasingly away from celebrity and studio portraits to concentrate on the other end of the social spectrum with studies of British street life. Ezra Pound, 1918. A collection of 50 images from this time will also be on show.
  • 16. THINGSHAVE CHANGEDWhen PP editor Grant Scottwas asked to commission aphotographer to shoot theactress Kristin Scott Thomas as dusty faded sense to the whole place. There was and that it was his portfolio images that provedJackie Kennedy he recognised no natural light and a claustrophobic feeling him as a serious photographer. about the small upstairs office where his faithful Funnily enough I was talking recently to theit as a chance to work with studio manager was based. photography agent, Mark George, who becamean icon of the 1960s and a The ground floor was the studio, narrow, the Terry’s agent at this time, about the holiday snaps width of a carriage in fact, but long enough for and how great they were. He had had exactly thefamily friend. him to be able to shoot full length against a same reaction to them and as Terry’s agent had Colorama. However, the lighting equipment was forced him to show them as his portfolio. The world of as old as the cameras he was still shooting with. I believed in Terry and his work, despite the professional His large, cumbersome power packs and unwieldy impasse over his portfolio and constant references photography has lights filled the space. Remnants from the 1960s, to how his Robert Palmer video Addicted to Love, always been made up they still worked well but added to the feeling of changed the world of cinema and wanted to give of a small and being in a particularly sad time warp. In a small him a chance to bring his great photographic eye interconnected series alcove to the left of the studio, piled high in back into a commissioned project. So when I was of relationships, both brown archive boxes stacked to the ceiling, were asked to find a photographer to shoot the actress personal and work Terry’s holiday snaps, as he called them. Kristin Scott Thomas as Jackie Kennedy, the based. I cannot tell you Beautiful images all in black and white and sepia, 1960s fashion icon, I instantly thought of Terry.how many coincidences and mutual friendships many of 6 x 7 prints taken on his holidays. It seemed worth the risk. I thought he could bringhave occurred and been revealed over the years on They showed him as the great photographer his understanding of the era and photographicshoots around the world. But I suppose that one he was, but he wasn’t showing anybody these reputation to the shoot. He was always asking,of the strangest connections I ever had with the pictures at the time. “What are they bringing to the party?” whenphotographic world came via my first wife, Instead he was showing a box of laminated discussing new young photographers, so I thoughtwhose father was Terence Donovan’s images of girls in lingerie getting out of cars this would be the perfect opportunity for him tophotographic assistant throughout the 1960s. (some of these are on the Donovan Archive show what he could bring. Because of this relationship and the close website today in a nudes portfolio and with I talked him through the idea for the shoot andproximity of Donovan’s mews studio to Vogue hindsight feel a little too reminiscent of the work he was up for it. We would shoot in the mewsHouse in Hanover Square, where I was working, of Helmut Newton), alongside overly controlled studio. Terry played it down, just another shoot,we became friends. To some extent I also became celebrity portraits. They were of a different time but I felt that it could be more than that.someone he could connect with who was in a and had no relevance to the work being created at The fashion editor compiled a wardrobe ofposition to commission photographers during a the time during the mid to late 1990s. He couldn’t Jackie-Kennedy-inspired clothes and accessoriesperiod when he was finding it hard to get work understand why and despite my constant attempts and we brought in hair and make-up people withand relate to the changing landscape of to explain that the images he should be showing the right gravitas to work with Terry. He couldphotography at which he had both excelled and to get commissioned were his holiday snaps, be abrupt and intimidating, and the shoot wouldachieved wealth and fame. (The scene in the 1966 he continued to believe they were just for fun be no place for beginners.film Blow-Up when David Hemmings is drivingaround London in an open-topped Bentley withwads of cash was based directly on Donovan’s “The ground floor was the studio, narrow, the width of a carriage inbehaviour at the time.) From the outside the mews was unidentifiable fact, but long enough for him to be able to shoot full length againstas a photographic studio. It still retained the a Colorama. However, the lighting equipment was as old as theoriginal double garage doors, and the internaldecoration was exactly as it was when he had first cameras he was still shooting with. His large, cumbersome powermoved in during the early 1970s. There was a packs and unwieldy lights filled the space.” Grant Scott www.professionalphotographer.co.uk 23
  • 17. Kristin Scott Thomas flew in from Paris, whereshe lived with her surgeon husband, for the shoot. “The day and the shoot had been a disaster. My gamble had notShe’s a serious actress and it was obvious from paid off. The day had been filled with sadness for me, seeing athe start that she would want a say in how she wasgoing to be photographed. Her first decision was photographer and a friend I admired fail to understand how muchthat she was not going to be dressed up as JackieKennedy. She knew nothing of the theme for the the industry had changed since his heyday.” Grant Scottshoot and she was not happy. Communicationbetween the fashion editor, Kristin and her agent editor could be in the studio space, but only if she put up too much of an argument. I never workedhad obviously broken down somewhere and it was stood hidden behind one of his monstrous light with him again.not a great start to the shoot. She did, however, stands and remained quiet. The atmosphere on the As I mentioned earlier Terry was taken on byagree to be photographed in some of the outfits shoot was now at rock bottom and nobody was Mark George (previously agent to Richardthat had been supplied for her. enjoying themselves. Avedon and still carrying out that role for Don Meanwhile, Terry had turned up at the shoot in With Kristin in place in front of the Colorama McCullin) and returned for a brief spell to classicone of his trademark grey suits. He was a big and everyone placated, Terry began to shoot and portraiture shooting a Best of British Iconsman, a judo champion and smart dresser, but the his assistant took the first Polaroid from him as he portfolio for GQ magazine. Sadly, his careersuit he had chosen that day was as faded as the passed Terry his special glasses for looking at never recovered the energy and vibrancy that hisstudio – baggy at the pockets and torn on the Polaroids. These were large metal-sided jeweller’s old mate Bailey had managed to sustain.seam of his trousers. His assistant was the same glasses that were held on his head by a wide Terry took his own life in 1996, aged 60. He leftone he had used in the 1970s but had not worked elastic band and which were usually used to see behind millions of prints in tidy little boxeswith for some while. Everything felt as if the the fine detail in precious gemstones. It was all over his studio and his two houses. They werecobwebs had just been dusted off. There was no all part of the theatre of working with Terry but his holiday snaps.energy and my heart sank as Kristin came down it just felt out of step with the times. I attended the memorial service held inthe stairs for the first shot. We raced through the shoot with little St George’s Church just around the corner from Immediately Terry demanded the studio space enthusiasm and said our farewells swiftly at the both Vogue House and his old studio. It wasto be cleared of everyone except Kristin, himself end of a very short day. The day and the shoot had packed with photographers, fashion editors, artand me. He didn’t want people hanging around or been a disaster. My gamble had not paid off. directors, family and friends, including Princessgetting in the way. This did not go down well with The day had been filled with sadness for me, Diana and Margaret Thatcher. His daughter Daisy,the team, who were used to pampering and seeing a photographer and a friend I admired fail who went on to become a famous televisionprimping the subject throughout the shoot and to understand how much the industry had presenter, gave a speech that moved everyone tohaving an input into how it was going. Terry was changed since his heyday. tears. What a shame that he had not been able tofrom a different time and he wasn’t going to A few days later the prints from the shoot were see that he wasn’t as forgotten by the industry aschange the way he worked for anybody. delivered but they were unusable. It would not he thought he had been. PPTo prevent the shoot falling apart completely I have been fair to anybody involved to allow themmanaged to get him to agree that the fashion to appear. I explained this to Terry and he didn’t www.terencedonovan.co.uk GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK24 www.professionalphotographer.co.uk
  • 18. SUBSCRIBE GILLES BENSIMON ONTHEPHONE Gilles Bensimon has spent the past 40 years photographing some of the most beautiful women in the world in some of the world’s most beautiful locations, helped to define the visual identity of ELLE magazine, married and divorced Elle Macpherson and appeared on America’s Next Top Model TV show. PP Editor Grant Scott managed to catch him on the phone in Paris to find out more about his life, times and photography. Grant: Gilles, when I was art directing business. Then I worked with a photographer for ELLE magazine, I always loved your work, a very few months and then after that, very and your style of photography was strangely, I started to work for ELLE magazine. synonymous with the original French But from the beginning they didn’t really want me weekly version. How did you get involved to do what I wanted to do. with them in the 1980s and start taking Grant: Your photography at the time seemed those kinds of images? to be very ‘non-photographic’, very natural. Gilles: I must admit that when I was young I Gilles: I’m happy you recognise that but at that never wanted to work. It’s every kid’s dream to time people didn’t think what I was doing was become somebody, and I went to art school, then trendy, you know. I was never obsessed with the army and when I got out I realised that I was trends. I think that photography should be obliged to do something. I thought that a drug timeless. It’s like cooking, you do not want too dealer was a good job but it had disadvantages. many ingredients. People talk more about my I never did become a drug dealer, but when work now than they did then. Grant: You were shooting a lot of images on GILLES BENSIMON a friend was trying it out as a business, I said to him that it seemed like a good job for me. He said he didn’t think so. So I tried to become some sort of artist, because my family were in the art Singer and actress Jennifer Lopez. 56 www.professionalphotographer.co.ukSubscribe today to 12 issues of Professional Photographer byDirect Debit for just £29.99, saving you 37% on the cover price,alternatively subscribe for £34 by credit or debit card, saving you 27% Receive a FREE copy of The Photographer’sPLUS: Guide to Turning ProIT’S EASY TO SUBSCRIBEVISIT: www.subscriptionsave.co.uk/pp/02PACALL: 01858 438840 and quote 02PATerms & Conditions: Professional Photographer is published 12 times per year. Savings based on the cover price of £3.99 per issue. For overseas ordersplease call +44 (0) 1858 438840. Please allow 28 days for delivery of your first issue. Offer closes 23 February 2011.
  • 19. &SAVE37% GREAT REASONS TO SUBSCRIBE Save up to £17.89 on the cover price – that’s 37% Be the first to get the new issues and have Professional Photographer delivered direct to your door NEW! You will be able to access digital editions and back issues of each month’s magazine for free Plus, receive a free issue of The Photographer’s Guide to Turning ProTurning Pro, published six times a year, isperfect for enthusiast photographers whoare keen to make money from their hobby,those starting out in the business andphotography students looking to take theirfirst steps on the road to professionalphotography. Every issue is packed withadvice and inspiration from the experts.
  • 20. 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 Photographic Portrait Prize and whether there is the PP’s support group, the United States ofFebruary Issue such a thing as a formula for winning. Photography, which was launched in theTHE BUSINESS SPECIAL September issue. They talk about the origins ofThe regular podcast team talk tax, finance and November Issue the USP, which was a response to an article onmarketing to coincide with the business special SEXY OR SEXIST? the loneliness of being a freelance photographer,in the February issue. They look at whether Grant Scott, Eleanor O’Kane and Peter Dench report on its reception among pro photographers,possessing business and photography skills go discuss why some images are seen as sexy while and examine its aims. The team also asks ifhand in hand, discuss potential areas where others are labelled sexist. photographers are becoming increasinglyseeking professional advice could reap rewards isolated in a digital age and why support groupsand ask if current photography students are October Issue are more important than ever.aware of the importance of business skills when THE SECRETS OF BEING A PROchoosing a career as a professional photographer. This month Grant Scott, Eleanor O’Kane and August Issue Peter Dench discuss the secrets of professional THE BAD BOYS OF PHOTOGRAPHYAND THOSE YOU MAY HAVE MISSED… photography. Veteran pros Grant and Peter relate The 25 Bad Boys of Photography list in theJanuary Issue their experiences of working alongside other August issue is discussed by Grant Scott,ICONS OF PHOTOGRAPHY photographers and how these have influenced Eleanor O’Kane and Peter Dench. The debatePP Editor Grant Scott and deputy editor Eleanor their working practices. With the days of the centres on the diverse lives of the photographersO’Kane are joined by regular columnist communal darkroom and lab long gone, the in the final list, including Guy Bourdin, Davidand photojournalist Peter Dench to discuss the opportunity to share news and advice in person Bailey, Helmut Newton, David Hockney andimportance of learning from the masters, has disappeared. The team also discusses how Wolfgang Tillmans. All 25 have broken the rulesthe point at which a photographer becomes an photographers are sharing information in the in one way or another. The podcast team looksicon and their own personal favourites. digital age and looks at new ways of networking, at whether being a ‘bad boy’ is merely a facade including the PP’s United States of Photography. for some photographers.December IssuePHOTOGRAPHIC COMPETITIONS September Issue You can subscribe for free and download theGrant Scott is joined by Eleanor O’Kane and THE UNITED STATES OF PHOTOGRAPHY podcasts from iTunes by typing professionalphotographer Peter Dench to discuss the world of The regular podcast team of Grant Scott, Eleanor photographer into the search tab or listen viacompetitions, the contentious Taylor Wessing O’Kane and Peter Dench discuss the creation of www.professionalphotographer.co.uk. PP Get the latest issue of Professional Photographer delivered direct to your door! Every month you can buy Professional Photographer online with free delivery to the UK. There’s now no need to leave the comfort of your own home to find a copy, because your latest issue is only a click away. To order the latest issue go to www.professionalphotographer.co.uk/current Free delivery to UK, £1 to the rest of Europe and £2.50 to the rest of the world. Please allow up to 10 working days for delivery.28 www.professionalphotographer.co.uk
  • 21. dispatches Clive Booth tales from the frontline of professional photography It’s the first official working day of 2011 and favourite, and inspired me to take a closer look I’m in the midst of organising new shoots; at my home county and get out and shoot stills and video, professional and personal. landscapes, which I do with a passion to this day. This year I really want to do more with both still And yet it was hearing Paul discussing his imagery and DSLR video. Professionally, there’s new work, Corridor of Uncertainty, that really half a dozen projects in the pipeline, but it’s the gripped me. personal ones that have been occupying my mind ‘Bereavement, for me, is being between two for the majority of a flu-filled Christmas and New states: what has been and what may take place in Year. Personal projects are often what define us – the future. The work that I have made mirrors our interests, style, opinion – and it is so often the this interstice. I was greatly affected by the deaths case that clients are drawn to us having seen our of my parents and close friends, but the deathThis month: personal work. Sometimes we are lucky enough to be so busy that there is very little room for such projects. of a spouse is overwhelmingly different. I had no map, as I had obviously never been here before. To pick up a camera is not the normal thingClive looks at the impact Yet if we choose correctly, they should burn to do when confronted by a family tragedy, even if like a fire within us; sometimes an ember, you are a photographer like me. But it wasand effect of a personal sometimes a blaze and sometimes a raging surprisingly the most natural thing for me to do. ’ inferno. I was struck by a comment made at I sat there transfixed listening to Paul talkproject and explains Canon Pro Photo Solutions 2010 in an interview about how he had felt at the time of shooting thishow one particular place by this magazine with Zed Nelson, when he made a point about how much more interesting it is to set of pictures. This touched me in a way that I will never forget, and reopened my eyes to theand its inhabitants never see a photographer’s personal work. I had recently been to a lecture by Paul Hill. power of the still image. It seems to me that in times of deep despair and pain, as creatives wecease to inspire him. He has given a great deal to photography and taught many big-name photographers in his long are often drawn to somehow search for an explanation, understanding or acceptance through career. His book, White Peak, Dark Peak – a the medium in which we feel most comfortable; series of black-and-white landscapes taken in the whether it be paint, the written word or, in Peak District National Park – is a personal Paul’s case, photography. For the majority of the time I am shooting fashion, beauty and portrait – both stills and now increasingly DSLR video. I love what I do and wouldn’t change a thing. Yet there is a yearning deep down to extend myself, to use the skills that I have worked so hard to perfect and refine and channel them into meaningful, personal project work. I have a number of ideas that I want to explore this year, and yet this must be balanced with making a living. Of course, motivation is at the heart of all we do, so whatever project I choose it must be interesting, involving and come from the heart. Committing oneself to an idea is just as important, and once chosen we are then able to focus. As I said, there are several possibilities on the table. But one stands out above all, and whatever I choose to do this year, Left: Creel fisherman Alec ‘Nazza’ Campbell. CLIVE BOOTH Opposite page: Photographed as he opened the door in November, Callum Anderson, the first commercial ships captain to sail into communist China.30 www.professionalphotographer.co.uk
  • 22. “Nearly 20 years ago I made a filming trip that quite literally changed my life, and it was the place and the people that have become a major part of my life ever since.” Clive Booththis place and its people will somehow be a part shoots on Hoy, in the Orkney Islands, and on the isles, shooting from the top of yachts’ masts,of it. Eiger in the Bernese Alps in Switzerland for BBC off the sides of lifeboats and from the water Nearly 20 years ago I made a filming trip that Television. This budding film career may have around the nets of local fishing boats. All thequite literally changed my life, and it was the even blossomed into a profession had there been shoots back then left a huge impression on me,place and the people that have become a major the technology we have today. But alas, compact and yet it was this one shoot on a little Scottishpart of my life ever since. Back then I was video was used only when a Betacam (the island that sowed the seed for a lifelong loveshooting film stills and compact professional professional standard of the time) could not affair with both the place and its people. If life isvideo (Hi8 and S-VHS). My shooting was be carried into hostile or inaccessible areas. about experience then this one trip opened mysemi-professional, as was I. For more than a As exciting as climbing on to icebergs, filming eyes to the possibilities that travelling, places anddecade I remained a graphic designer, even polar bears or scaling mountains was for me, people can offer to all of us, at any age. I knew asthough I had already spent two months in it was a surprise trip to Scotland that was to we waved goodbye to this magical place and itsSpitsbergen – a group of small islands in the change everything. friendly, solid, kind and mischievous people, thatNorwegian Sea, north of Norway – where I In September 1994 I first set foot on the Inner I had found another home. In fact, to this day Iwas shooting a documentary of a scientific, Hebridean island of Islay. I was there to know more people on Islay than in the townenvironmental, research expedition. I also had support a film crew sailing around the Hebridean where I live, and Islay feels very much like a www.professionalphotographer.co.uk 31
  • 23. dispatchessecond home. Islay (pronounced ‘eye-la’) isknown as the Queen of the Hebrides. It is thesouthernmost island of the Inner Hebrides. It liesin Argyll just west of Jura and around 25 milesnorth of the Irish coast and Rathlin Island. It hasjust over 3,000 inhabitants, a third of whom stillspeak Gaelic. With a total area of almost 239square miles, its main industries are malt whiskydistilling and tourism based largely on whiskyand birdwatching. Needless to say, the place andits people have had a profound effect upon me.The best way to explain this is simple – go there! “Quite simply, Harold and move down the list of possible personal projects, Islay and its people appears, and will remain,In the meantime, to get a feel for the island witand atmosphere, there are few better examples his wife Margaret are the near the top. But it’s what I do with this association and unique connection that isthan the 1954 British comedy film The Maggie;the story of a clash of cultures between a reason I have this bond the biggest challenge. Will it be master distiller Jim McEwen,hard-driving American businessman and a wilyIslay steamboat captain. with the place and its creating vatted malts and talking with tears in his eyes of Islay and its people, both past and present, Islay is a community unlike any other I have people. An unlikely with an unrivalled passion and emotion earnedever encountered. People rely upon each other in from nearly half a century of experience withina way that we have, for the most part, lost or friendship, fisherman and the whisky industry? Or the gentle and kind creelforgotten in mainland Britain. Over the past 16years I have forged great friendships and shared photographer, separated fisherman, Alec Campbell, known affectionately as ‘Nazza’, hauling off the south side of Islay andin some of the happiest and saddest of times.Indeed, it was Islay that played a significant part by 400 miles, and yet we catching bait off the back of the boat, only to give it all to the rather large and ever-hungry grey sealin me turning professional; shooting three charitysailing expeditions in 2003, 2005 and 2007. speak nearly every week; named by the locals as Rupert? (Nazza once fed him 40 large mackerel, just to see exactly howMany of the islanders turned out to support us aswe rowed and sailed Irish skiffs alongside a usually me from the car many fish he could eat at a single sitting.) Will it be retired policeman Ian Smith, walking his dogflotilla of fishing boats from island to island, and and Harold from the boat.” Ben and then teaching me how to sing traditionaleven across the channel to Portrush, picking up Scottish anthems back at his flat? Or Jimwhisky from some of the world’s finest distilleries Clive Booth McFarlane, fisherman and historian, regaling meand then blending and bottling it for auction. with the local fishing history and attempting to If I could pin down my long association with many Ileachs. On first impression he is laid back, teach me Gaelic over several drams in his frontIslay, and the key that has unlocked the door to disarming, charming and yet, underneath, there is living room, overlooking Port Ellen harbour?this second home, it would be in the form of one a strength of character, depth and a fierce pride Or Kevin ‘Cloudy’ Campbell, Lagavulin distilleryof my closest friends, scallop fisherman, of place that I can only assume comes from a man and charity fundraiser, playing Englandcoastguard station officer and submarine liaison, lifetime at sea and living on an island. Wit and versus Scotland pool tournaments in his shed,Harold Hastie. Quite simply, Harold and his wife humour are at the very centre of the people, and it or peat cutting at father-in-law AlanMargaret are the reason I have this bond with the comes quick and often. It’s a humour that is hard MacDougall’s croft. Or Duncan McGillivray,place and its people. An unlikely friendship, to explain in words, but must be experienced distillery manager, indulging his passion forfisherman and photographer, separated by through the soft Islay lilt and in the twinkle of400 miles, and yet we speak nearly every week; the eyes. I suppose it’s obvious, but neverthelessusually me from the car and Harold from the worth mentioning, that as photographers and Above left to right: Rupert the grey seal; 4.30 on a July CLIVE BOOTHboat. Many of the residents of Islay have film makers we cover subjects that are close to morning; Retired policeman Ian Smith admires the viewnicknames. Harold’s is ‘Kamikaze’. Need I say us and generate opportunities from our personal over Port Ellen harbour while enjoying a glass ofmore? Well yes actually, because Harold is like connections with people and places. And as I Lagavulin; John Martin, charity sailor and oarsman.32 www.professionalphotographer.co.uk
  • 24. rebuilding an old steam puffer? Or CallumAnderson, retired commercial ships captain andfirst to sail into communist China, reminiscing ashe looks out to sea from the cottage he was bornin at Port Wemyss? Or Duncan ‘Budgie’MacFadyen, distillery man, just being himself inthe wonderfully atmospheric stillhouse atBruichladdich Distillery? Or RB and his wifeMarat (Harold’s father and mother-in-law)who spoil me with Scottish pancakes on everyvisit? Or will it be Harold Hastie himself, at thewheel of his clam fishing boat, The Clansman,cooking me bacon, egg and sausage sandwichesas we steam out of Port Ellen at 5am with abottlenose dolphin called Henry on the bow?To the locals this is just another day on Islay, yetto me it’s like unlocking the gates of heaven itself. Making the right choice of subject and thenseeing where that will take me is where this workwill either stand or fall. Most importantly, it hasto be personal, distinctive, individual, particular,peculiar and one’s own. And so, while I wouldlike others to enjoy and appreciate my work, inthis case I am the ultimate client and it is myselfthat I want to please and my own expectations thatI aim to meet. PPTo see more of Clive’s pictures go towww.clivebooth.co.uk/islayGO ONLINE FOR MORE DISPATCHESFROM CLIVE BOOTHwww.professionalphotographer.co.uk www.professionalphotographer.co.uk 33
  • 26. WATCHING THE David Anthony Hall came up with the concept that won our June 2010 competition to get a £5,000 budgetWHEELS to shoot the Land Rover Discovery 4. He is used to working without deadlines, so a three-week window for the shoot was always going to be a challenge. Here David talks to Eleanor O’Kane about how he coped with changing schedules, budgeting for car washes and a brief to capture the best of the British Isles. www.professionalphotographer.co.uk 35
  • 27. ADVERTORIALWith three weeks and a budget of £5,000 to fulfil the brief of hiswinning Four Corners entry, David’s experience on the Land Rovershoot was a world away from his usual method of working.Shooting in natural environments to create beautiful archival printsface-mounted on to acrylic up to three metres long and whichsell for as much as £12,000, David can spend days, months or evenyears revisiting a location to capture it at just the right moment. Irish-born and London-based, the former commercial photographerturned artist is frequently out on the road and the Discovery 4 fitted perfectlyinto his way of working. “When I submitted my competition entry, I made itclear that I’m an artist who travels round the British Isles taking pictures andthat the Land Rover is the ideal vehicle for me to use while I travel.” He is used to working alone and without time constraints, but in manyways the shoot harked back to his early years as a commercial photographer.“In my work I don’t set myself any time restraints, there is no budget and nodeadline. I keep going until I get it right so I’ll find myself somewhere inAugust and think, ‘This is really nice but it’ll work better in spring.I’ll wait until next spring and if I return and it’s not quite right I could waitfor three weeks for a shot and return and return and return until I get it.For me, the Land Rover shoot was a throwback to my years in advertisingphotography, when I was a still-life photographer, which was about budgets,time restraints and restrictions.” David confesses he found the first few days quite stressful due to the stricttimeframe. His blog (http://blog.senezio.com) testifies to some sleeplessnights and last-minute changes to the schedule due to torrential rain andgales in the Lake District. “That stressed me because I knew I only had threeweeks to do the shoot and it wasn’t going well because the weather wasn’tplaying ball,” he remembers. After a few days David began to shrug off themindset of a commercial photographer and started to enjoy the shoot, eventhough the inclement weather didn’t ease off over the entire three weeks.“It’s a huge contrast to the way that I normally work.I find it a massive stress after all these yearsbut I made the decision to do what I have been “It’s a huge contrast that it was right that’s what I did. The way I normally work I would have stayed there for threedoing these past 10 years and just enjoy the shoot,enjoy the British Isles and make the best of to the way that I normally weeks and not moved on, waited for the sun to come and get the dawn shot, the dusk shot.the weather rather than try to get things that just work. I find it a massive The trip was dynamic because it was changing allcouldn’t be got.” Staying flexible was key to working with the stress after all these the time. By the time I finished I had completed about 3,500 miles and I’d budgeted for 4,500 miles.”uncertain conditions. “I was booking hotels a day in years but I made the A former Land Rover Defender 110 owner, whichadvance so I had the flexibility to change.By the end of it I had reduced the trip by about decision to do what I have he relied on for rugged shoots, David talks with genuine passion about the car that accompanied him1,500 miles because I was having to stay longer than been doing these past on the shoot. “Last summer I sold my trusty Landy,planned in locations to get the shots that I wanted.I’d arrive somewhere and think, ‘Oh this is 10 years and just enjoy I was very aware at the time I was limiting myself to fair-weather photography and it wasn’t an easyreally nice’ and stay.” This unexpected approach led the shoot, enjoy the decision. It isn’t a permanent solution but it wasto David capturing some of the shots he’s most a choice I made to put my family first. We arepleased with. British Isles and make the expecting our second child any minute and the “From my point of view the best shots are theones with the reflections of the autumn leaves which best of the weather rather Landy – even though it was a 110 – was too small for passengers, too slow on motorways and toowere taken just outside Carlisle. I arrived at the than try to get things high for a pregnant [wife] Val to lift ourlocation and thought it was superb so I knew I hadto come back again to make sure that I got the that just couldn’t be got.” two-year-old in and out of his car seat. Where it did work was as a work vehicle for me; I could goshot right. At any one of the locations if I thought David Anthony Hall anywhere at any time and in any weather, plus with36 www.professionalphotographer.co.uk
  • 28. the microwave and kettle I fitted I could have breakfast, lunch or dinner that again. On the day of the shoot the weather was awful, there was horrible when I got there.” rain coming in so we couldn’t really set up or keep the gear dry. With no possibility of returning the following year – for this shoot at least To get a really good shot, a production number like in the old days, you’re – David decided to invest personally in some new kit. “For my own work I talking about having an art director and a whole team. What I tried to get shoot multiple exposures on a Canon EOS-1Ds MkIII which are made from across was the concept.” around 30 files stitched together but because I had this small With the shoot now a memory of rain-soaked landscapes, 4am starts and window I bought a Canon EOS 5D MkII, which was great because I could a clutch of receipts for car washes (check the blog for a rundown also shoot HD video. I shot quite a lot of video of the car in the early of the cost of a car wash throughout the British Isles), next on the cards is a days when I had people helping me. I’ve got some short films on YouTube solo show at Thompson’s Gallery in London which opens on 23 May. and I’m hoping to put it all together in a five minute piece.” Despite the pressures and change of plans, is David happy with the results? He also bought an extra lens for shooting video: “One of these “Ideally I’d need that car for five years!” he laughs, tongue firmly in cheek, walkaround lenses – 24-105mm for the 5D” and hired a Sigma 300-800mm. “But I did the best I could given the timeframe. The project, like the car, was “I’d never used one before. It was very difficult to use from a video point of superb. I travel constantly, visiting old and seeking out new locations. view but I had some ideas for a shot in west Cork where I could be on It has become a way of life for me. My work is all about these kind of one mountain and have my brother shoot the car driving up another journeys. Locations are sought, not just by beauty, but by the way I connect mountain road, I thought it would make for a great shot.” As it turned out the to the emotional state which they provoke and the strong emotional weather meant David had to abandon the idea. On other locations he attachment I have to our landscape here in the British Isles. Although the managed to do the shoot as conceived but hankers to return at precisely the way in which I do this has changed dramatically over the past few years, it isDAVID ANTHONY HALL right time of the year. “On the Honister pass in the Lake District I still the most important aspect of my work.” PP was trying a dawn-to-daylight shot with the car snaking down this beautiful pass. I worked out that the ideal time to do that was 24 June because the sun rises just at the top of the road, so I would want to go back and shoot http://senezio.com www.professionalphotographer.co.uk 37
  • 29. thedench 5th I’m dozing clothed, wrapped in a blanket. Empty beer cans nibble at my feet. A skirt bustles. An unfamiliar perfume strokes the nostrils. The morning is a success and provides a wealth of strong material in the digital bank. We pause for lunch. I pass on the fish heads and opt for thediary A beautiful woman whispers in my ear. “Seat up and fasten your belt please, Mr Dench.” I remember this. I’m only on a bloody foreign assignment. Touchdown Namibia. Hello Africa, fried chicken and reflect on how good it is to be shooting again in Africa. You don’t have to be polite about noise levels in the cubicles here (if you can find one). Apart from an eye infection in the land where Daily Mail readers fear to tread. Senegal and a plane bursting a tyre on landing in Welcome to the Dench Diary Overseas Africa Liberia, I’ve been lucky enough to avoid being ill Special starring TV producer and ‘Mr Incredible’ or injured abroad. My health generally improves lookalike Ollie, soundman Stevie and cameraman This month Kess ‘Wolverbean’ (the hair of Wolverine, chin photojournalist of Mr Bean). Let’s hope no one gets drunk enough to discover a best boy grip. I’m on stills Peter Dench duty. We are here to shoot reportage on a sports programme being implemented in the Osire embarks on an refugee settlement 250km north east of the capital, Windhoek, where we land. The objectiveAfrican adventure is to promote the benefit of participating in sport without distinction of tribe, nationality, during which he politics, religion or other opinions. The previous few days had brought a welcome doses up on buzz of anticipation. Googling the destination and researching the story, logging on to the trusted anti-malarial fitfortravel.nhs.uk website and getting an arm pumped full of inoculations. Days before medicine, tries departure every sense is heightened. Life is more poignant. I frequently laughed out loud for no real his hand at reason. I waved jovially from the bus to the children in the local school. They didn’t wave in Africa; more a reflection on my home habits than cautions applied. My big dilemma is havingshooting HD video back. Food is tastier, beer crisper, loved ones lovelier, even Sandra Bullock films are to wait four hours after popping anti-malarial Malarone before I can take an antacid. I have and passes on entertaining. From -3ºC to +33ºC. It’s good to be back on the road, the road to Osire. to think very carefully which one takes priority. The Continent can be as dangerous as it is the fish (head) exciting. Checking the Foreign Office website for 6th Buoyantly out of bed for a 4am start. supper. Welcome Days dealing with poverty are ahead. For once it’s travel advice to the region flagged familiar concerns: Carjacking, drunk drivers, armed to the life of a not my own. As the sun breaches we reach the Osire camp, guests of the United Nations High gangs, disease and snakebites. I can add another, the unwashed tomato. During lunch Stevie sometime Commissioner for Refugees (UNHCR). Most of the camp’s population of 8,500 originate from comments that he’s feeling a little peculiar. Two hours later he’s in hospital being impregnated working pro Angola (around 69%) and the Democratic Republic of the Congo (22%). The rest arrived with antibiotics and stacked with rehydration packs. His decline is as rapid as it is brutal. photographer... from 21 other African countries. Today we are mainly shooting colour for the reportage and The team, from experience, understand it could happen to any one of us. Stevie is simply looking for a few suitable protagonists to build unfortunate. We are temporarily a man down. the story around. The camp residents rise with In the afternoon we rally. Kess deals with the the sun. Driving into a clearing we hit a sound and I’m drafted in to shoot cutaways on photojournalist’s jackpot. Women exercise on a the Canon EOS 5D MkII, my in-at-the-deep-end concrete clearing. A jujitsu lesson tucked in the video debut. Set ISO (less than 3200), aperture corner. Statuesque men balance on chests. (f5.6+), auto white balance, manual focus, shutter Children box. Everything is brushed with the up, press button and roll. Job done. The real skill quality of light only an African morning can seems to be able to shoot, move and frame with provide. I shoot for three hours without hesitation. speed. We take a break from the sun. The nearest Moving on to photograph at the medical centre beer is more than 100km away, so I ask Kess for proves more unsettling. Stevie tries to defuse the a video tutorial. It takes him 10 minutes to impart PETER DENCH tension by handing out sweets. Unfortunately, the what many workshops stretch into a morning girl he hands them to has a bandaged jaw. I peel and he doesn’t charge £200. After a productive off and silently steal some frames. afternoon, exhausted but content, the team38 www.professionalphotographer.co.uk
  • 30. piles into the Out of Africa guesthouse for a Thirty minutes pass. Someone from the crowd follow Andrey anywhere. I open the door to ourDEET-infused dinner. I pass on the seafood platter wryly observes, “too many chiefs”. Four more Namibian car, nestle among the litter, wait for ourand opt for the fried chicken. The waitress must jump before the event is abandoned in favour of driver to finish a personal call and settle down forthink all Westerners smell of insect repellent, the the running track. Each race has a false start. a nap. Ollie’s curt inquisition cuts through tosame way the Queen thinks everywhere smells of There will be only three 100m races before the consciousness. For some inexplicable reason, ourwet paint. event dissolves and half the programme dismissed. driver has forgotten his overnight bag and is7th A 7am start and I’m ready at six. I can’t getout of bed this easily at home. Today is the main “Days before departure every sense is heightened. Life isevent. Namibian hero and Olympic silvermedallist Frankie Fredericks will be hosting the more poignant. I frequently laughed out loud for no realOsire Athletics event. En route we pull over for reason. I waved jovially from the bus to the children in thesnacks. I grab the local paper. The reason there’sno Daily Mail equivalent in Africa is the fear is local school. They didn’t wave back. Food is tastier,real and not merely implied. It makes grimreading. Namibian Cluedo must be fearsome: beer crisper, loved ones lovelier, even Sandra Bullock‘Native in the post office with the broken bottle’. films are entertaining.” Peter Dench‘Vengeful husband in the street with the petrolbomb’. Kess bumped into guesthouse security Two-thirds of the track goes unused. TIA. returning home to get it. Even more inexplicable,this morning. They casually mentioned armed Another satisfying shoot day and as the sun he thinks we wouldn’t notice heading two hoursrobbers being shot at the previous week. To be dips its chin we head for Windhoek for a long out of our way. We pull over for a confrontation.honest, I love it. TIA my friends, This Is Africa. anticipated night out in the capital. A good driver The scenario is the rest of the journey can be On arrival in Osire we are handed a programme and guide is a crucial part of the team. Stay near spent with four people hating one or one hatingof events. A 400m running track has been the vehicle, keep it clean with a full tank and be four. The maths is clear. We make the decision.painstakingly carved into the parched red earth. ready to leave. Simples. On a previous trip, The driver arrives home to collect his bag.First up is the long jump where a pit has been Ukrainian driver Andrey Valdman, a formermeticulously destoned. Fifteen participants are policeman in the organised crime prevention unit, 8th We ended up spending the night back at thescheduled to leap. Thierry Beya is the first to set the standard. A unit so dangerous you retired Out of Africa guesthouse rather than suffer a surlymake his mark. It can’t be measured as there is no on full pension after only 18 years. Retired at four-hour drive. Today is a 7am departure (UKtape. Voices are raised. There’s a bit of push and 36 but keeping busy, he showed the AK-47 bullet time) for a 9am arrival tomorrow. When askedshove. In the melee Thierry’s mark is scuffed over. wounds in his legs. He was a good driver. I would where and when I am happiest, I, of course, reply www.professionalphotographer.co.uk 39
  • 31. the dench diary at home with my family. More accurately it would wine, kill me. My daughter’s Dancing Queen is, be at times like this. A good job done and nothing of course, brilliant but I’m distracted. I didn’t to do except booze our way home. Stevie’s back shed a tear in Osire. Rarely do. Then it happens. and on the beer. We crack a six-pack and toast his An androgynous angel pirouettes on stage and health. It’s been gruelling, exciting, troubling, performs a ballet solo of such purity and rewarding and enjoyable. On one African innocence a salty drop cracks my sunburnt cheek. adventure with a more uncertain outcome I was I exit stage left. Next scene, the interior of the advised to put my affairs in order, just in case. Villiers Terrace pub. My wife joins me after a I wrote a letter to my then three-year-old daughter works lunch. The dulcet tones of Andy Williams explaining why I thought it necessary to continue nudge the air. I begin to relay tales of my African on risky foreign assignments. I hope she doesn’t adventure. She slowly slips from her chair and ever get to open it and we can read it together one plops on to the floor. I’ve been home a day. day as adults. This is where a photojournalist belongs, on the road, limbs aching, embedded 11th I’ve earned enough from the Namibia trip to with dirt, witnessing something new, striding the meet my monthly minimum with beer money to world to provide for one’s family. Briefly I am a spare, invoice and wait. Life can be that easy and “I’ve earned enough from the Namibia trip to meet my monthly student protests in London. On paper the event minimum with beer money to spare, invoice and wait. Life can looks good. A flash mob is to occupy Topshop. At exactly four minutes past one a PE lesson will be that easy and it used to be. However, last month was a wage break out with three-legged, egg-and-spoon and vacuum and I’m playing catch-up. From Premium Economy to sack races. On the ground at exactly four minutes past one a man strips to his football kit and Peter Economy.” Peter Dench bounces a ball. He is prevented from entering Topshop. There’s more press than protesters and hunter and a man. Feels good. It’s regrettable that it used to be. However, last month was a wage progress is slow. Events like this are good for many closest to me will never observe what I vacuum and I’m playing catch-up. From Premium street photography. You can shoot around the can be. The journey to the airport is good banter, Economy to Peter Economy. Tom Stoddart once periphery. I stick it out and gather enough images camaraderie at its finest and we bond, stopping described photography as a champagne and chips to justify an invoice. Swing by friends on my way frequently for Windhoek Draught. Our driver is lifestyle. Chips at the moment seem a luxury. home to collect my wife from prolonged teatime slowly forgiven. I start clearing a backlog of emails hoping for drinks. I begin to relay tales of my capital good news, mostly Pizza Express vouchers and adventure. She drops from my side and plops into 10th I have 1,000+ frames to edit, process, tweak notification of no stock sales. I try the post, a snowdrift. TIE my friends, This is England. PP and caption. The deadline is soon. First priority, mostly pizza menus, an amendment of my my daughter’s school play. Photographer and Photolease agreement increasing the payments www.peterdench.com model father Richard Baker (@bakerpictures) and the result of my Criminal Records Bureau tweets some advice: “Take Kleenex in case it gets check. I’m allowed to be around children. You can hear Peter in person each monthPETER DENCH too much. Watch out for divorcees on the pull on the Professional Photographer podcast, #nativitycougars”. Antsy mums, soppy dads, 18th Snow blizzards, long johns on and off on available on iTunes or on our website at recorders, camcorders, babies, snot, ABBA, no assignment for a men’s magazine to cover the www.professionalphotographer.co.uk www.professionalphotographer.co.uk 41
  • 32. [ THE WORLD OF CONVERGENCE To make sure you don’t get left behind in the rapidly changing genre that is DSLR film making, John Campbell brings you the latest news, the most exciting ] films and the best kit from this brave new world.ONES TO WATCH Photographer and film maker Scott Audette took once made up 60% of the country’s export images of a space shuttle launch at the Kennedy revenues. Shot entirely on the Canon EOS 5DSHORT FILM Space Center in Florida with his DSLR while MkII, this beautiful piece illustrates the initial Shooting in the world’s second-largest eating lunch with friends a few miles away, intention of DSLRs’ video capabilities – foraquarium tank, at Okinawa Churaumi Aquarium controlling his camera wirelessly with an iPad. journalists and photographers to shoot videosin Japan, film maker Jon Rawlinson created this This is a fantastic example of film makers and without having to carry loads of extra gear.breathtaking short film. The colour and control photographers extending the boundaries of image http://vimeo.com/17089832over depth of field are incredible. capture. Who will be the first to do this withhttp://blog.planet5d.com/2009/07/ video? Imagine the implications for areas such ashypnotic-ocean-aquarium-filmed-with-5d2/ wildlife film making. MUSIC VIDEO http://blog.planet5d.com/2010/12/ Producer/director Paul D shot the music canon-eos-5d-mark-ii-wirelessly-shooting- video for British musician Thomas Dolby’s songTV COMMERCIAL the-space-shuttle-with-an-apple-ipad/ Toad Lickers, again on the 5D MkII. “ThomasFilm director and director of photography Harvey Dolby invited me to direct his first music video ofGlen has made a commercial for Gulf Air, the 21st century,” says Paul. “Since Thomas hasproduced by Nick Hamilton, in conjunction with DOCUMENTARY always had a penchant for pushing the envelope,Alchemy Films Dubai. Although a fairly standard Al-Jazeera’s Matthew Allard and Steve Chao it seemed only fitting to shoot the video withcorporate advertisement, it was shot entirely on a were assigned to Sri Lanka to cover the the latest cutting-edge technology, which is whyCanon EOS 5D MkII because the DSLR is easier Presidential inauguration and decided to take the I chose the Canon EOS 5D MkII.”to manoeuvre around a location such as an opportunity to look more closely at the economy www.youtube.com/watch?v=5SuZMwairport, and because it fitted their budget. of Sri Lanka, in particular the tea industry, which e-Rc&feature=player_embeddedwww.youtube.com/watch?v=7AugyyAhU2M&feature=player_embeddedLIFT-OFF If you want to see an amazing developmentwith the Canon EOS 5D, look no further. SOFTWARE UPDATE An important update for Adobe Premiere Pro CS5, version 5.0.3 is now PLUGIN available, adding support for two new NVIDIA cards: The Quadro 4000 Interested in time remapping, but not happy enough with the results (Mac) and the Quadro 5000M (Windows). Adding these cards extends from your out-of-the-box software? RE:Vision Effects’ Twixtor plugin the power of the Mercury Playback Engine’s GPU acceleration to users could be for you. It is compatible with Adobe After Effects, Apple’s Final working on laptops as well as workstations. Cut Pro and many other high-end post-production software http://blogs.adobe.com/premiereprotraining/2010/12/ applications. The results are amazing. www.revisionfx.com premiere-pro-cs5-5-0-3-update.html42 www.professionalphotographer.co.uk
  • 33. ON THE GRAPEVINE/////// WHAT’S HAPPENING MASTERCLASS UK Independent film makers and artists who want to get their work out there and makeFEATURE FILM a living from it will be interested in aThe Sundance Film Festival is regarded as Seize the Future workshop being held in Edinburgh on Wednesday 23 and Thursday‘the’ festival for independent and 24 March. Distribution consultant Petermainstream film makers to showcase their Broderick and film maker Sandi DuBowskiwork. The most exciting news I have heard will co-present this intensive course, having previously given presentations atin a while is that producer/director Mark festivals including Cannes, Toronto,Pellington (The Mothman Prophecies and Sundance, Berlin, Los Angeles and IDFA inArlington Road) has shot a full-length Amsterdam. The workshop fee, which includes lunch and drinks, is £100 iffeature film called I Melt With You, featuring CANON FILM MAKERS LIVE booked before January 31, or £150 fromRob Lowe and other well-known actors, If you are going to be in the US between then until 4 March. To apply for a place,that is going to be screened at the festival 8 March and 6 April, you might want to email a short proposal for a project that consider booking tickets for the Canon you would like to work on at the workshop,– the first DSLR-shot feature to get this Film Makers Live tour, with full-day along with a brief CV, to floury@sidf.co.ukhonour. It was shot on the Canon EOS 5D seminars by renowned DSLR film maker by the dates above. Film projects canMkII and will, it is hoped, strengthen the Philip Bloom. Topics will include camera be factual or fictional, in any genre, and setups, post-workflow and the latest gear be designed for any platform.argument that DSLR film making is more and cameras, including the new large chip Applicants must be able to attend on boththan just a gimmick. Pellington has already video cameras. The 12 stops include Miami, 23 and 24 March.made strides within this field by shooting Los Angeles, Dallas, Seattle and Chicago. http://www.creativetimes.co.uk/events/ http://canonfilmmakerslive.com seize-the-future-edinburgha complete music video for Americanmusician Moby on a Canon EOS 7D.http://provideocoalition.com/index.php/ KIT inexpensive system to eradicate dewcmilby/story/sundance_serves_up_ build-up – or DryEye Pro – a three-wayhdslr_feature_in_2011/ system with LCD display, humidity sensors and automatic temperature control. For me this is definitely worth a look.BRITISH FEATURE FILM http://ditogear.com/featured/ product-news-dec-2010/Here in the UK we too are grabbing theexciting opportunities provided by RIGconvergence. Director Dave Armstrong has New rigs for DSLRs are being released SLIDER almost every day, it seems, and this is nomade a feature film on DSLRs called Ghost The DriveCam Slider from Ditogear has bad thing, as competition generally meansGirl, an ultra-low-budget film shot in two been designed and engineered for advanced cheaper prices. One from iDC SYSTEMweeks. He chose DSLRs for their lower cost time-lapse photography applications. ONE has a modular design with gearless The slider is capable of working either in follow-focus. It is built around a UniRail,and because he believed the footage continuous or drive-shoot-drive modes. which uses iDC’s Double-Dovetail design.seemed close to 35mm film. For the price The exciting thing about this slider is that it This UniRail can mount directly on toof hiring a RED camera for a week, he has been designed for vertical as well as most of the smaller-scale fluid heads and horizontal use, giving you more creative monopods from Gitzo, Bogen andbought a complete kit with Zacuto rig, control over what and how you shoot. It has Manfrotto. A new sliding clamp systemsome “tasty lenses” and a Marshall been designed for low power consumption and has been developed which allows for amonitor. The shoot was scheduled to take the makers claim it will give 10 hours of wide variety of lenses, so you will not have continuous operation from a fully charged to buy rig gears for each of your lenses.a week, but ran over by another seven battery kit. (This, I presume, would be in a This is certainly an attractive prospect anddays, so it was just as well he opted for moderate climate). RRP: $1,786 (£1,158). makes the rig more portable as well asthe DSLR option - the cost of continuing http://ditogear.com/drivecam-slider/ allowing the mounting of accessories including monitors, mics andto hire the RED camera would have been TIME LAPSE sound-recording equipment. All in all,a massive burden. Also from Ditogear comes the prospect of it seems you are getting a lot of bang forwww.eoshd.com/entries/66-Ghost-Girl- shooting time lapse without dew condensing your buck. RRP: $1.669 (£1,082). on your lens. It is based on the new DryEye www.idcphotography.com/A-British-feature-length-movie- system, which will be available as either kart/index.php?p=product&id=161shot-on-HDSLRs DryEye Lite – a three-way, simple and &parent=39 www.professionalphotographer.co.uk 43
  • 34. frontline from the Need to put a face to a name, get the background story, the right advice and the inside track on how to get commissioned? This month we talk to Mark George, one of the most important and influential agents in the business of professional photography, whose career spans more than 30 years. Why do photographers need agents? Photographers are creatives and don’t always understand how to do business. They have spent much of their career focussed on their art and often miss some of the practical sides of life. The skill of an agent includes knowing when to include combinations of diplomacy, firmness, confrontation and resolution whenever they may be Mark George required. That is my job, not the photographer’s. Describe what you do as an agent. Photographyagent In general my role is to oversee all aspects of the Do you find new photographers? career of any photographer that I represent... No, photographers come to me. I found my first more like a manager than an agent, really. photographer by coincidence and then went and This means raising their profile by being in found my next guy, but since then they’ve come constant contact with potential clients, obtaining to me. There are a lot more photographers than commissions, generating quotes, ensuring the there are agents, and there are a lot more bad best fees – which includes policing the use of photographers than there are bad agents, so it’s the pictures (in essence making sure relevant not a balanced situation. compensation is paid out to the photographer for whatever usage is made of the images)... Do you see many photographers in person? in short, doing whatever is required for the Given the increased number of photographers smooth running of their career. seeking representation, the only way I can do it now is to look at their work when I get an email “What appeals is a uniqueness Has the role changed much since you started and then if I like it I’ll contact them and ask them in 1978? and a recognisable style that Not really, it’s just tougher because there are a lot to come in. There are just too many; I’m getting four or five emails every day of the year and from goes through the work, so you more people in the [advertising] industry who all over the world. I have to check them all to see don’t know what they are doing. Advertising is a if there are any really good ones, but I just don’t can definitely say that this is one creative industry and as such should be creatively have enough time in the day to have them all photographer’s pictures. I don’t led. Without art directors and copywriters producing inspirational work, it will not exist. come and see me. However, when and if they do, I do try to give them positive feedback. want to see three pictures from That level of inspiration is being severely when he’s been assisting one dampened by the power now given over to the What appeals to you and also frustrates you in the work you see?CLIVE BOOTH / JIM FISCUS © 2010 men and women who liaise between the guy, then a few more that agency and the client – account handlers. What appeals is a uniqueness and a recognisable he’s picked up by working with Almost all are not creatively enhanced and the knock-on effect reaches right through to style that goes through the work, so you can definitely say that this is one photographer’s someone else.” Mark George the freedom a photographer is given to create pictures. I don’t want to see three pictures from effective and ‘best option’ images. when he’s been assisting one guy, then a few more ‘Compromise’ is the order of the day. that he’s picked up by working with someone else. www.professionalphotographer.co.uk 45
  • 35. frontline It’s got to have a continuity and a feel that shows actors live in bedsits with a Baby Belling stove his thumbprint on every image. What I don’t like in the corner trying to make it, and most is a repetition of other people’s ideas, lack of photographers will end up in a similar situation! creativity, lack of inspiration and never going in It’s the ones who really stick at it, who focus and any new direction. have certain ability that make it. That ability comes from hard work, experience and practice, Are you casting a commercial eye over work but also how you’ve been brought up and how as well as looking for something unique and you deal with life in and around photography. interesting? They go hand in hand. If it’s unique and How do you approach an agent? interesting, it’s commercial. There are enough You can get a list from the Association of good creative people in this country, art directors Photographers (AOP) and there’s also the Agents and creative directors who would recognise Association (GB) in London. Go and look at their talent and rather than say, “We want to do this sites and consider if you’d be a fit for this guy or type of campaign”, they look at a photographer does he already have three photographers who do and say, “He’s the guy, he will do this campaign, what you do you. Once you’ve got a short list, and it will be different.” call them or email them and try to get to see them. Probably most of them will do what I do – Do photographers put their books together look at the work online and then, if interested, with an awareness of the commercial world? contact you. Don’t expect too much reaction. I think most do, actually. I don’t think your book An agent can only represent so many people. should be totally commercial but it shouldn’t So, are personal projects important? An alternative would be to start somebody off come totally from the art world either. If you want Yes, absolutely. That’s where uniqueness will yourself. So if you’ve got a mate who’s quite good to get commercial work you need to study the come from. Plus, if you’re a budding at organising things and can afford to give it form, look at magazines and posters, look and photographer and you see a project through from a go for six months, then the two of you work it feel of what’s happening now and create beginning to end (hardships and all) you’re going out together and go for it. something that relates to that. If you design sofas to create something and you’re going to learn you don’t take your work to a company that from doing so. The end result might not be worth What are the effects of declining budgets? makes tables. But that’s exactly what some its weight but it’s a learning process. Everything Well, it makes my job harder because I’m having photographers do. You have to understand the you do to reach an end goal will be a worthwhile to negotiate vigorously. The problem is there are business and what’s wanted nowadays. experience, ie if a photographer decides to shoot so many photographers out there and if you say a project within the Houses of Parliament, they no they’ll use someone else and then your guy Do you take on photographers in the early have first to deal with the logistics of how to get will have no revenue. So the juggling act I have to stages of their careers? into the place and then how to gain permission perform as an agent is to give my client the Actually I prefer to because they are more from MPs to allow themselves to be photographer they want, for the money the enthusiastic and as an agent you get more photographed. The experience of doing that can photographer will accept, both as a fee and as a satisfaction from helping them get to a level of be as valuable for their commercial career as the sensible production budget, so as not to have any success. As an agent what you give them is the taking of the portraits themselves. detrimental effect on the outcome of the shot. space to be a bit naive and to gain experience and learn about the business and learn how to work If you’ve got an agent does a photographer Does the fact that photographers are now on commissions. Giving my experienced advice still need to think about how to persuade shooting HD video make your life more to younger photographers, and watching them people, how to get on with people etc? complicated as an agent? improve because of it, is very satisfying, Yes, because you’re no different to a film director. Of course it does, but it’s an absolute necessity for as is praising them and helping them to gain You need to draw the best out of people (to direct photographers to have the ability to do it if they confidence in their ability. them) and your agent is never going to help you want to get on. It’s going to become more and improve on those skills. If you’re a location more the norm. I do believe that at some point How can inexperienced photographers show photographer you still need to figure out how to soon a lot of the currently ‘still’ media will be a breadth of work in their books? get into places. I mean, I can organise how to based upon the moving image; you’ll open a I think that anyone who is any good will be physically get into the Houses of Parliament but magazine or newspaper and there will be a enthusiastic, so it will come through in the type of when the photographer is on the shoot I’m not moving ad in there. It’s already been done, in fact. work they produce, primarily because they’ll be going to be there to help him get into a particular It’s something photographers have to get on top shooting all the time. One thing I won’t be room he spots in which he suddenly decides he of; some will be able to do it and some won’t, involved with is lazy photographers. It’s no might want to shoot. but if you don’t try you’re never going to know. different to being a musician, you have to practise In fact, I believe it will become the most all the time but a lot of people just don’t. Is photography still as respected as it was important aspect that photographers will have toJASON HINDLEY © 2010 They think they can do a still life once in a while, when you started out? embrace in recent times. PP when they should be doing one a week at least. Oh yes. The mistaken idea about photography is It doesn’t even cost a lot anymore. You can that it’s flash, cool and glamorous. Actually, it’s recognise that level of enthusiasm in portfolios. really hard work. It’s like acting, where most www.markgeorge.com www.professionalphotographer.co.uk 47
  • 36. Your favourite magazines are now available on your iPad! Foto Mags Now is free to download via iTunes or the App Store and gives you the chance to buy single editions and subscribe to Professional Photographer, Photography Monthly, Turning Pro, Which Digital Camera and World of Photography. Foto Mags Now lets you expand features, scroll around the page, read text only,access a photo gallery exclusive to each issue, listen to podcasts and view video content exclusive to the iPad edition. If you don’t have an iPad don’t worry as Foto Mags Now can also be downloaded on to your iPhone. Foto Mags Now – your digital gateway to your photography magazines. WORLD OF PHOTOGRAPHY THE PHOTOGRAPHER’S GUIDE TO TURNINGPRO
  • 37. feedback.tell us what you think at feedback@professionalphotographer.co.ukDear Professional Photographer, Dear Professional Photographer,Thank you... I don’t usually write to It is interesting how people ‘read’magazines but I felt so uplifted photographic work by just ‘looking’and enthused by your interview with at it rather than appreciating orSteve Pyke [in the December issue] trying to appreciate what goesthat I feel the urge to break that rule. on behind the photographer’s eyes. I didn’t know of Steve or his I must say, having been to manywork by name, though it feels exhibitions, been inspired by manyfamiliar now I see it, but it means photographers and asked somore to me than I can articulate many questions, the same answer isto hear his thoughts and see the always, “I don’t know how andwork, now you have brought it to my why I took it, it felt right to do so...”attention. The world of photography Like [Steve] McCurry’s Afghanis a better place with Steve in it, of girl, what he said was, “It justthat I am convinced. Nuff said. happened.” Helmut Newton’sCambridge Jones, via email fashion works; he didn’t considerwww.cambridgejones.com generous. A portrait (this has been any of his photos art. entered in a popular ‘portrait’ j133yc, via the ProfessionalDear Professional Photographer, competition) should tell us Photographer websiteIt [Portrait of My British Wife] looks something about the subject andlike gratuitous nudity is being used have at least some token skills Dear Professional Photographer,to grab attention for an otherwise applied. This doesn’t and hasn’t, and Is this image pornographic bymundane portrait which shows little it’s clearly here to shock and satisfy definition? No. Is it a portrait byhumour or aesthetic appeal and the current craving for controversy. definition? Yes. Are we becomingwhich makes no particular point Is it ‘porn’? Well, if someone sidetracked by genitalia rather thanother than the shock factor. If the could define porn then maybe it is, photography? Yes. So fellowphotographer was possessed of but portrait it isn’t. photographers, please build a bridgebetter talent he wouldn’t need to OK... I’m now ignoring the and get over it. Do I like the photo?grab attention in this way! genitalia... it’s still rubbish. Mmm... not really. PS: After 33 years as a GP I’ve Spuds, via the Professional Joepush, via the Professionalseen and examined thousands of Photographer website Photographer website PPwomen, so I’m no prude! consider if it were suitable –Dick Morgan, via email considering it is for a competitionDear Professional Photographer, that is seen by the general public. I do not believe the photographer PROFESSIONAL PHOTOGRAPHERDo I think it should have won[the Taylor Wessing Photographic can claim to be pushing the envelope or doing anything new ON TWITTER account @prophotomag.Portrait Prize]? No. Do I think because, let’s face it, we’ve all seen Don’t forget you can send us a message via our Twitterit should have been short-listed? this kind of stuff before. Call meNo, I honestly do not think it’s that cynical but was this submitted as a Finally got around to taking advantage of the subscription offer for From @jamiewillmottgood and I wonder if the judges publicity stunt? @ProPhotoMag. Saves some cash and a trip to the shops.looked at the whole photo. I suspect Colin Freeman, via emailthey were focused too much at the Good podcast: Iconic Photography – if with rather a stereotypical view Dear Professional Photographer, From @HarpreetKharabottom third of the picture! of photo students by @prophotomag editor Grant Scott. Do I think it should have been Sorry to be brutal but this fails onentered? No, not really. every level for me. The only [Editor’s reply] Glad you enjoyed the podcast. As for my view of I’m not offended by the subject; concession I’d make is that the students I can only say that it is based on my interaction with themhowever I think common sense colours seem to have some over many talks, meetings and portfolio reveiws. I’m sorry if youshould have made the photographer symmetry. And that’s being found it to be too general. www.professionalphotographer.co.uk 49
  • 38. GUESSLIGHTING THEProfessional photographer Ted Sabarese publishes a blog in which he tries to work out howother photographers’ images were lit and offers his own theory on how the shoot went. In ournew column he reveals what you always wanted to know, but didn’t know who or how to ask.MERT & MARCUS/DSQUARED2 FW 2010 AD CAMPAIGNThis image from [online store] Dsquared2’s Aseptic Chic autumn/winter 2010ad campaign is actually relatively tame compared to the others. The dark andhaunting sexiness juxtaposes quite nicely with the sterile, glassed and coolly-litenvironment. It’s hot, in a this-may-give-you-nightmares kind of way. And Iwouldn’t expect any less from M&M (or D&D, for that matter), who shot thiswith seven lights.Camera: Hasselblad 553 ELX with Phase One P45+ digital back and 80mmlens, handheld 11ft back. Shot at 1/125sec, f/11, ISO 100. MERT & MARCUS / DSQUARED2 Lighting: Our foreground model on display is lit with a 7in grid reflector and 30º grid at f/11 ½ (+ ½ stop), boomed directly overhead and aimed down at her face. A white beauty dish with diffusion and a full CT blue gel at f/8 (-1 stop) is also boomed high overhead and slightly behind the model, which creates the cool highlights on her hair and on the display box. The background model is lit similarly. A 7in grid reflector and 30º grid at f/11 is boomed overhead (the ½ stop less light focuses our attention to the foreground). Another white beauty dish with diffusion and a full CT blue gel at f/8 (-1 stop) iswww.tedsabarese.com/blog/ boomed high and slightly behind her. A medium, gridded soft box with full CT blue gel at f/5.6 ½ (-1½ stops) is positioned 8ft to camera right, 8ft high and almost parallel to our male model.Remember, this is called ‘Guess’ the Lighting. Therefore, all lighting, A medium, white umbrella with a full CT orange gel at f/5.6camera, lens, grip, f-stop, shutter speed etc information may not hold (-2 stops) is set 10ft to camera left and slightly behind him,up in a court of law. There is a lot of guesswork in guessing. which adds just a hint of warmth to his back. An Octabank at f/2.8 ½ (-3.5 stops) is behind camera and serves as fill to keep things from going completely black. PP www.professionalphotographer.co.uk 51
  • 39. exposureThis blog, devoted toinspiring and memorable Images that have us thinking, talking and debating...magazine covers, caughtour eye recently. Founded coverjunkieby an art director with a Coverjunkie is the blog for cover lovers, its about creative magazine covers that inspire and amaze.passion for magazines, Its those covers that present us our visual culture.the blog has specialsections on the mostcontroversial andsexiest as well as classiccovers from such diversetitles as TIME, Vogue andNational Geographic.Covers devoted to KateMoss have their ownspecial section, including,of course, Corinne Day’siconic 1990 cover for TheFace. To reflect the timeswe live in, a section oniPad covers has recently 16-12-2010 15-12-2010 16-12-2010been added. Not only is Person Of The Year Cover Italian Depp & Paradis Mysterious Pig read more read more read morethe blog fun to browse, it’sa great way to see whatworks editorially andmight just inspire yournext shoot. A recent andstriking addition is MartinSchoeller’s portrait ofFacebook founder MarkZuckerberg, shot for TIMEmagazine’s 2010 Personof the Year cover anddestined to become aclassic. Sometimes it’sthe simplest images thatsay the most. PP 17-12-2010 17-12-2010 21-07-1990www.coverjunkie.com Exhibition Front type The Face read more read more read more www.professionalphotographer.co.uk 53
  • 40. GILLESBENSIMONONTHEPHONEGilles Bensimon has spent the past 40 years photographing some of the most beautifulwomen in the world in some of the world’s most beautiful locations, helped to definethe visual identity of ELLE magazine, married and divorced Elle Macpherson andappeared on America’s Next Top Model TV show. PP Editor Grant Scott managed tocatch him on the phone in Paris to find out more about his life, times and photography.Grant: Gilles, when I was art directing business. Then I worked with a photographer forELLE magazine, I always loved your work, a very few months and then after that, veryand your style of photography was strangely, I started to work for ELLE magazine.synonymous with the original French But from the beginning they didn’t really want meweekly version. How did you get involved to do what I wanted to do.with them in the 1980s and start taking Grant: Your photography at the time seemedthose kinds of images? to be very ‘non-photographic’, very natural.Gilles: I must admit that when I was young I Gilles: I’m happy you recognise that but at thatnever wanted to work. It’s every kid’s dream to time people didn’t think what I was doing wasbecome somebody, and I went to art school, then trendy, you know. I was never obsessed withthe army and when I got out I realised that I was trends. I think that photography should beobliged to do something. I thought that a drug timeless. It’s like cooking, you do not want toodealer was a good job but it had disadvantages. many ingredients. People talk more about myI never did become a drug dealer, but when work now than they did then. Grant: You were shooting a lot of images on GILLES BENSIMONa friend was trying it out as a business, I said tohim that it seemed like a good job for me. He saidhe didn’t think so. So I tried to become somesort of artist, because my family were in the art Singer and actress Jennifer Lopez.54 www.professionalphotographer.co.uk
  • 41. “...I think that everywoman is beautiful andevery woman hassomething to say in aphotograph. I have noaesthetic of what issupposed to be good orwhat is supposed to bebad...” Gilles Bensimon GILLES BENSIMON
  • 42. Gilles BensimonON THE PHONE
  • 44. Gilles Bensimon ON THE PHONEbeaches at the time which became your Gilles: That’s the best but it is very dangerous French aesthetic similar to your own.photographic signature. also. If you have any problems with them or if Were you aware of this at the time?Gilles: During the 1980s most of the work I did someone involved in commissioning you leaves, Gilles: I must say that the British photographerswas for US and French ELLE and people they can get rid of you very easily. were very good, they were fantastic.commented on my pictures; I got heavily Grant: But when you have had such a long Grant: But the British approach is verycriticised. People said that whenever you opened career as yours, don’t people start to different from the French.ELLE all you saw was Gilles Bensimon on respect you as a photographer as well as for Gilles: Because you have a very special creativevacation. This was partly true but it’s funny your photography? country, but the thing I always think about Britainbecause only the other day I saw a photograph Gilles: Yes, but although I do not compare myself is that you are very creative people but youin a magazine exactly the same as one I took in to Guy Bourdin, if you remember, French Vogue destroy yourselves at some point. The French dothe 1980s. fired him for no reason. That was really unfair. have a different attitude, but there are not manyGrant: A lot of people think that your style of Two new girls were working there and when I photographers coming out of France now. It is a“It’s not easy, I always think I take my best pictures without my camera, becausephotography is not about the camera, it’s about the way you look at things. Takingpictures is part of it but the important part is what you decide to shoot.” Gilles Bensimonwork is easy to emulate but you made it spoke to them at the time they said Guy Bourdin money problem and they give up.seem effortless and in fact it’s not easy to was not what they wanted. It was strange. Grant: Do you see your work asdo, is it? Grant: It’s very hard to have a long career a continuation of an approach youGilles: It’s not easy, I always think I take my best within the fashion industry, but your images established?pictures without my camera, because photography seem to have always been in demand. Gilles: I have been lucky/unlucky because I haveis not about the camera, it’s about the way you Gilles: It’s very kind you say that, it is important never made a lot of money from advertising, aslook at things. Taking pictures is part of it but the that my pictures are timeless; sometimes the some people have, so my career has been veryimportant part is what you decide to shoot. clothes date, but the people are still real, you get steady within editorial. But I think my work has I’ve just finished a trip to Tunisia where we something from that . evolved, my work has changed as I have changed.had to shoot 30 pictures for publication in two to Grant: Do you think that the type of people Fashions change, attitudes change and I change.three days and I had to make decisions quickly, who commission and respond to your We do without realising that we have changed.there was very little time. There is no recipe for a photography has changed over the years? Grant: Your career has been defined bygood picture. And if so, has it been for the better or photographing beautiful women. Are theyGrant: Your work for ELLE through the worse? intrinsic to your photography?1980s became the ‘ELLE Look’; do you feel Gilles: I don’t want to say for the worse, but I do Gilles: Yes and no, because I think that everythat clients started to buy that look by not like being given mood boards – where the woman is beautiful and every woman hascommissioning you? idea is not about looking at things and doing something to say in a photograph. I have noGilles: Yes and no. My relationship with ELLE is what the photographer thinks is right. This puts aesthetic of what is supposed to be good or whatover now because they have lost a lot of my the photographer in a tough situation. is supposed to be bad, you know. My pictures arearchive. They think they owned my film and There is so much you can do with photography. about trying to show women at their mostnegatives, and in America they have lost up to Each day I send to my friends two pictures; I take beautiful. I try to take good pictures. I don’t judge50% of my images shot for them. I now have to photographs all the time, which is the great thing my photographs, I don’t try to think about whatgo to court over this. about photography. It is a medium you can use in people are going to say. I am not obsessed about working for ELLE and so many different ways and I am still excited to Many photographers lose interest inin fact I can’t even remember why I stopped work. I now work for different magazines but I photography after a time. They go to the studioworking with them, I think they just wanted have not yet found the right one to work with on every day to produce something they think theysomething different. a long-term basis. I have done great portraits have to produce. That is not me.Grant: It’s very interesting when a but I do not think I have done the ultimate Grant: Your approach is to create imagesphotographer finds a client and forms portraits. I adore Irving Penn, who was a great that feel very natural, like a conversation,a relationship where they understand photographer and when you look at his work do you work very hard at creating this?your work and trust you. you realise that there are so many things you can Gilles: Yes, that’s funny because you’ve used the do with photography. word I use sometimes, conversation. I like theOpposite page: Actress Keira Knightley. Grant: There used to be a number of great people being photographed to forget the shoot,Previous pages: Model Elle Macpherson. photographers coming out of France, with a I say that we are not working, we are just taking www.professionalphotographer.co.uk 59
  • 45. some pictures. I try to get something, to get themto give me something that they have already.Grant: Rather than getting them to besomething or somebody they aren’t.Gilles: Exactly.Grant: How have you evolved that processinto your current work?Gilles: I am even more curious about takingpictures today than I have ever been. I have a needto take pictures, it’s like a craving for meto make sure that I do not miss the chance ofrecording something.Grant: How do you translate that passioninto taking commissioned photography,such as an advertising campaign?Gilles: I am not doing many campaigns now; Iwould like to do more, but I am not doing many.Grant: Why do you think that is?Gilles: Because there are a lot of photographersin the market and some, such as Mario Testino,do a lot of campaigns and people like him verymuch. But if I was a prince and needed anofficial portrait I would also choose him to takemy picture.Grant: I have always been very aware ofyour work but do you think it has beenrecognised as much as it should have been,bearing in mind the influence you have hadon photography?Gilles: Honestly, I never really think about this.I was so much involved with ELLE magazinethat it became irrelevant. It did not matter to me 24-hour video project I created three years ago Above and right: Singer and actress Jennifer Lopez.to become famous or be recognised. I was which has never been seen, and some of thetaking pictures almost every day and travelling, pictures I send to my friends every day. I mightthat was my life. At that time photographers were even show some of my drawings. There will cello, then ageing is not a big problem, but ifnot as recognised as they are today. Many people probably be a book to accompany this but the you are a fashion photographer it can be likenow want to be celebrity photographers like problem is that I have already made one book, but being a pop star and then ageing becomes anSteven Meisel. But he is very influenced I want to make a more complete one. If you are issue. Also the fashion photographer’s attitudeby other photographers’ work, and he has no going to do a book it needs to be complete. I need can be a problem if they become too arrogantshame about that. I have talked to him about this to find someone to help me with this, with the and difficult.and he says he has the right to do it. editing. A photographer is the worst editor of their Grant: I think the analogy with the music This brings me back to the problem with the own pictures. business is a good one.mood board. I understand that if you are shooting Grant: I hope you can resolve this problem Gilles: Yeah, yeah, the problem when you are aan advertising campaign the client needs to with the archive so more people can get to photographer is that you need to continue to takeshow you visually what they want, but it has see your work. Do you think that it’s pictures for money. You may make less moneybecome too important and encourages possible to become tired of the photography than you did at one time or work for lessphotographers to create photographs like ones business, but not of photography? prestigious magazines and get less recognition,they have been shown on the mood board. Gilles: I believe that not everything has been but you have to accept this. If you work forGrant: I’d love to see a book of your beach done in photography and if you have kids, a lover, recognition only, you may find this hard toimages from your career, although it may you photograph them, to capture a moment. accept, but if you work for money, then it is partend up on a lot of mood boards. But I think that it is possible to become tired of of the business.Gilles: I will do this, but only when I resolve the Grant: I agree and that seems to be a very GILLES BENSIMON the business. A lot of fashion photographersproblem with my archive. I am also working have ended their own lives. They find it difficult healthy attitude to have if you want to createon a show which will open in London in October when clients want new, young photographers. as successful a career as you have done2011 which will contain some of these images, a For example, if you play music, say piano or over such a long period of time. I remember60 www.professionalphotographer.co.uk
  • 46. Gilles Bensimon ON THE PHONE“It did not matter to me tobecome famous or berecognised. I wastaking pictures almostevery day and travelling,that was my life. At thattime photographers werenot as recognised as theyare today.” Gilles Bensimontalking to the photographer Jeanloup Sieffabout this.Gilles: The problem with Jeanloup was that hethought he was the best photographer in theworld. He never felt that people recognised histalent as much as he would have liked. You haveto accept jobs even if they are smaller than youonce did. But if you think you are at a certainlevel and do not accept jobs that you feel arebeneath you, that’s a mistake.Grant: I know that as we are talking you arein Paris, having just flown in from Tunisia,but are you still based in New York?Gilles: Yes, I will go back to New York in a fewdays, then I will be back in Paris for a few days,flying, you know; I will go everywhere to findsome work to do.Grant: Thanks for sparing the time totalk, it’s been a pleasureGilles: For me too. PPwww.wschupfer.com www.professionalphotographer.co.uk 61
  • 47. RIOTIPREDICTA Sean: Talk me through how you came to cover the student riots in London. How did you get in the middle of it all? Eddie: Another photographer from the Telegraph was actually covering the event from start to finish. I had been doing a portrait of somebody in Westminster, so I was hanging around in the general area and thought I would wander up and watch it as it went past Parliament. It was a very big march and I didn’t know where the other photographers would be. I thought I’d stick my oar in and have a little nose about. I was up by Parliament and a few of the kids had sat down in the middle of the road. I did a few frames of that; it was all very good-natured. I hung about there, wandering down to Parliament Square. There was not much going on, just lots and lots of peopleEddie Mulholland is a senior photographer with the walking by. Not a great deal of police at all. Then, once the majority of the march had got pastTelegraph newspaper group. On 10 November 2010, he me, I received a text from my wife saying it waswas one of a handful of photographers present at the live on the news that the students were attacking Millbank and just as that happened I had a callMillbank Tower in London when students began rioting from work saying could I go and check it out. I wandered up with another couple ofover a rise in university tuition fees. Sean Samuels photographers and before we knew it we were right next to the windows and main doorcaught up with this vice-chairman of the British Press where the police were trying to stop them fromPhotographers’ Association to find out what it is like getting in.to be on the frontline of press photography today. S: In situations like that, how do you get into the position you want? E: You push your way through, basically. When it comes to the contact point between the crowd and the police it can be difficult to get through there. Often, though, protesters quite like having a line of photographers between them and the police because they can use photographers to push the police back while keeping themselves out of hitting distance. In this case we tried to sneak around the side – we didn’t go through the middle – and got to a point that was overlooking what was going on. There was a TV crew from the BBC there already so there were four of us in total. We were in a good place to cover it because we were elevated and weren’t in a position to be used as a battering ram against the police. As more people filed in behind us we got crushed up against a waist-high barrier, but overall it wasn’t too bad. S: What were you seeing and do you know why the situation escalated? E: To this day I still don’t understand why the EDDIE MULHOLLAND police didn’t reinforce the officers there. The ones holding the line were literally outnumbered thousands to one. There were maybe 15 to 20 police and occasionally a few students would62 www.professionalphotographer.co.uk
  • 48. surge forward; people then got through and to the SOAPBOXfoyer. It was these people who started smashingthe window. Then more people got in and somefound the bottom of the fire exit and went upinside the building, which led to people getting upon the roof. There were lots of entrances to thatbuilding and vanloads of police all around theplace. They could have brought hundreds ofreinforcements in from the back. Once thestudents got into the foyer they didn’t really knowwhat to do, they were just making the point thatthey had got in. With the broken glass it wasdangerous and the police were trying to getpeople back. They were being very cooperativeand good with the photographers and protesters,staying calm and not lashing out, but I really don’tknow why they were left for so long to hold out.S: When you are in this sort of situation, whatare the factors you are considering and what areyou looking out for?E: The main thing is not to get hit when peopleare chucking things. You have to keep your eyesopen to make sure nothing lands on your head.You’re not looking through the camera all thetime; only when it starts to fizz up do you starttaking pictures, but that’s when it is dangerous.There are certain people, not so much with this “Someone said to one of the photographers I was with,incident, who are quite happy to have a go atphotographers. There are people breaking and ‘What are you doing? Stop taking pictures, you’ll getkicking things in who are not covered up and ifthey are not covered up someone will get pictures them arrested,’ and it was a case of no, them breakingand identify them, and they are soon arrested.When that happens they start blaming things will get them arrested...” Eddie Mulhollandphotographers for their arrest. Someone said toone of the photographers I was with, ‘What are place you have to stay there and watch the crowds and people try to steal laptops from them.you doing? Stop taking pictures, you’ll get them either through a long lens or with a wide one, It means I have to get out and file pictures fromarrested,’ and it was a case of no, them breaking so that if it all kicks off right in front of you or my car, which is nearly always parked nearby.things will get them arrested, but if they start to far away you can react quickly. There aresee us as part and parcel of the police then that’s waves of shooting and watching and when the S: Have you found that amateur photographerswhen it gets trickier. action dies down you watch elsewhere. present a problem in these situations? E: Often I have no idea who the vast majority ofS: Does the news desk ask you to take certain S: How long were you in that position and when people I see shooting on jobs are and for whomimages, capture certain moments? do you call it a day? they are shooting. I do news nearly all the time soE: No, they don’t ask for particular images, it E: I was there for an hour and a half, two hours I know pretty much all the news photographerscan’t work like that. For some reason when you maybe and called it a day when the riot police working at High Court jobs, royal jobs andget loads of people together like this phones stop turned up. They pushed their way through and got Downing Street, but for some reason at demos theworking, so people are trying to contact you and into position, I gave that 15 minutes then it looked number of people with cameras I have never seenthey can’t get through. So once you are in like they were getting things under control. This is before in my life has swelled to ridiculousposition, you have to hope that is a good position the point when you have to make a decision to proportions. I think a lot of students turn up withto be in. The image that was published stay or go. I don’t carry my laptop with me. I like a camera and want to get stuck in. You end upeverywhere, of someone kicking the door in with to have minimal kit, two Nikon D3 cameras with with a load of people in a bad position holdinga flare on the floor, was taken from the other side two lenses on – a 70-200mm and a 24-70mm. the camera above their heads because they’veto us, which technically was a bad position, it just This is the basic kit, but I’ve also got a 14mm, seen that done on television and all they are doinghappened to be good for that moment. We were 17-35mm, a 300mm and a 600mm, but I don’t is blocking people who are actually in a positionelevated and had room to manoeuvre. It should carry all this because I don’t like to wear a to get a picture. Obviously, it’s a lot harderhave been a good position, but once you are in a backpack. You can’t get through the crowds easily when there are 50 photographers trying to get www.professionalphotographer.co.uk 63
  • 49. SOAPBOX a picture over 20. That said, once upon a time I was a young photographer not being paid to “A Friday night demonstration/riot in Brixton. We used to do cover a demonstration, because you had to for these all the time and they were quite lively. I’ll probably end up the work experience. So I can’t complain, but it is annoying. regretting saying it, but I haven’t felt threatened for quite a long S: What about the need for official press time, but then we havent had any big demonstrations in this accreditation? country for a long time.” Eddie Mulholland E: The only difference that makes is the police will let us through their lines, which is something past 10 years trying to get them to understand we S: Have you attended an event where you have we have been trying to get them to do for years. are allowed access to these things and they are not felt concerned for your safety? We don’t expect any special treatment; we just allowed to delete our pictures. Guidelines are E: Not really. Covering football hooligans abroad expect not to be shoved in with everyone else. drafted, but then the people on the ground are not is a bit riskier than the average demo. I did a As official press photographers we are not going told about them and there are still police officers couple of poll tax demos working for the South to get through the lines and then start a riot. who think they can come up and tell you to delete London Press. A Friday night demonstration/riot So there’s no logic to the police stopping us from pictures from your camera. They need to be tuned in Brixton. We used to do these all the time and going back and forth through the lines. in to what they can and can’t do. It’s a lot better, they were quite lively. I’ll probably end up but it’s still not perfect, but I dont know if it ever regretting saying it, but I haven’t felt threatened S: How is the relationship between the press will be. That said the sergeant handling things at for quite a long time, but then we haven’t had any and the police at the moment? Millbank was absolutely brilliant. He was injured big demonstrations in this country for a long time.EDDIE MULHOLLAND E: It’s a lot better than it was in the past. I am and had a cut on his face, but he remained very Our riots are a little more reserved than the ones vice-chairman of the British Press Photographers’ restrained. Hopefully the wind has changed and that happen in France say, but there is always the Association. Other members of the organisation they realise they shouldnt have a problem with us next one. We aren’t being singled out for attack, have been going and talking to the police for the being there. but you never know, that might change. PP GOT SOMETHING TO SAY? TELL US YOUR VIEWS, GOOD OR BAD AT feedback@professionalphotographer.co.uk www.professionalphotographer.co.uk 65
  • 50. SPECIAL BANGERS &CRASH When PP Editor Grant Scott decided to leave the world of art directing and become a photographer he knew that he wanted to start with an exhibition. One year, many cold nights, cheap hamburgers and rolls of film later he had one... Whenever I am asked Ford Zodiac with white wall tyres) entered about how to begin a for a banger race and finally destroyed in a career as a demolition derby. photographer I always The excitement of that evening had stayed with give the same me ever since and prompted me to travel back suggestion. “Have you to Plough Lane to see if my response to this most thought of starting a basic and working class of motor sports was personal project?” the same in the year 2000. Having found out that Why? Because it worked the bangers still raced on Sunday nights most for me and because it is the best vehicle I know of weeks throughout the winter, I went back and in the world of photography not only to create experienced exactly the same excitement images that you are passionate about but also that I had done as a four year old. I knew that ones which show people who you are. To ensure this would be my personal project. that both of these elements become reality the I had already started shooting with Hasselblads more important word in the description ‘personal and felt that, although it was probably not the project’ is the word ‘personal’. It’s not best camera for the job, it would be the one which something that can be easily faked and sometimes I would use to define my approach to creating you have to dig deep to find the project which images; therefore, right or wrong, it would be my allows personal expression, both photographically camera of choice, with my Nikon F and FE as a and emotionally. backup. I bought a Sunpak flashgun with a For me the answer to this quandary lay in metallic dish, over-the-shoulder battery pack and deepest south-west London, at Plough Lane a bracket to attach it to the Hasselblad, and speedway stadium, an arena of motor sport which covered everything in gaffer tape to protect it all had seen better days, squashed among scrapyards from the inevitable bad weather I was going to and car dealers between affluent Wimbledon have to endure throughout the project. I knew thatGRANT SCOTT and not-so Tooting. I had grown up in these two for a lot of the time I would be reliant only on areas and the stadium was where in 1968 available light, which usually would be patchy I had been taken to see our family car (a black and weak at best, and rarely have a chance to www.professionalphotographer.co.uk 67
  • 51. “I knew that for a lot of the time I would be reliant only on available light, which usually wouldbe patchy and weak at best, and rarely have a chance to take an accurate light reading(remember those days?). Fast film and high grain were going to be my only choice...” Grant Scotttake an accurate light reading (remember those by the drivers, who are inevitably builders,days?). Fast film and high grain were going to bemy only choice so I stocked up on Ilford 3200 and scaffolders or mechanics, or anybody with a big enough trailer, an angle grinder and 50 quid to TOP TIPSKodak Tri-X. A big coat provided enough pocketsfor all my kit and film. This was not a place forlaying a kit bag down. enter each event. The standard schedule for an event consisted of one banger race, then a stock car race (specially prepared cars which try not to 1 Make sure that your personal project is personal to you. You need to The next step was to get permission to shoot in hit each other), then another banger race, then be committed to the subjectthe areas where the public were not allowed. another stock car race and so on, culminating in to spend the required timeRepeated phone calls to the owners of the stadium the demolition derby finale when the last car able photographing it over whatand the governing body sealed the deal on the to move won. could be a long period.basis that I didn’t try to sell any of my photos or It is non-stop, ferocious action from beginningcompete with the official photographers andthat I sent some images to them as a thank you.I would, however, have to pay to go to each race, to end for the crowd and the drivers – and particularly so for the banger drivers. After each race they have to get their cars – whatever 2 Choose a subject which will allow you to gain sufficient access to createalthough I would be given a press pass for any condition these are in – out of the stadium and the kinds of images you wantevent I wanted to attend. into the car park to be repaired or salvaged for and need. Banger racing is very much a working-class the next race. That is after they have just drivensport; cars are prepared, repaired and disposed of around the oval track, their feet jammed to the 3 Be aware how you will wish to show the work you create before you begin the project. Is it a book, an exhibition, a website? Will you write a blog during the project following its progress? Consider all of these factors and allow them to inform how much you are willing to commit to the project, both financially and with time. 4 Be aware that although the project may be important to you it may not be commercially attractive. Be realistic about what the project is going to bring you when it is completed. 5 Think about your story and how you are going to explain to prospective clients why you completed the project. A strong back story is always more compelling when it is combined with equally strong images. 6 Be honest with yourself if the project is not working and do not be afraid to stop a project. However, you should only give up for GRANT SCOTT the right reasons.68 www.professionalphotographer.co.uk
  • 52. SPECIAL
  • 53. “It was exhilarating and the best crashcourse in getting images indifficult situations I could have had.”Grant Scott
  • 54. SPECIALGRANT SCOTT floor, stuck in second gear hitting everything and The final images became an exhibition of everyone in sight. 20in x 16in prints entitled Crash Happy which The car park is where the sparks fly, health and were exhibited for six months in a gallery at safety has no place and the men are sorted Browns, one of London’s leading and most from the boys. Cars are attached to chains and exciting design studios. The opening night winched into the air, worked on, dumped allowed me to invite potential clients and tell back on to the tarmac and fired up for the next them my story, photographically and verbally. battle. The air is full of oil, smoke and sparks. Crash Happy helped me to put down a marker Back in the stadium the battle recommences. that I was serious about my photography, that I I spent a whole season photographing this was willing to take risks to create images and that motor madness. I became friendly with the drivers I could be trusted to complete a project. My very and shot from every angle I could find – from personal project had worked. The only problem the centre of the arena with no crash barriers to was that very few people want pictures of hanging on to the cars as they drove out. smashed-up cars. Suffice to say that my next It was exhilarating and the best crash course project was much more commercial. PP in getting images in difficult situations that I could have had. www.brownsdesign.com GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 71
  • 55. EDUCATING PETERWhen we heard that three Middlesex I am standing in the National Portrait Gallery looking at the Taylor Wessing Photographic Portrait Prize exhibits. Sixty images selected from 6,000 submitted by 2,400 photographers. Perhaps moreUniversity photography students had won startling than the tumescent Portrait of My British Wife is that threeplaces in the National Portrait Gallery as of the entries are from students – of Middlesex University. Last year MU had two exhibitors. In the awards’ previous incarnations I hadpart of the Taylor Wessing Photographic success in 1999, 2001 and 2003. The last seven years – a cold slap in the face. MU is clearly doing something right and I want to know what.Portrait Prize exhibition we wanted to I give BA photography programme leader David Simmonds a call and enrol for a day. It’s time for this snapper to go back to school.know more. More than a decade ago Like any student before their first day, I’m nervous. Will I fit in?photojournalist Peter Dench graduated What shall I wear? Jump on the Tube to leafy Cockfosters and ponder the day ahead, a day talking with students. I suppress my inner Paul Calfwith a first-class degree in photography and scan Metro for research; Gillian McKeith is not pregnant, Morrissey has been a naughty boy. I pause at the gates. It’s been 15 years sincebut no idea of how to make a living, so we I walked out of university and I doubt momentarily my ability to return. David strides forward, Royal College of Art graduate and respectedsent him back to school to see how photographer in his own right. Thankfully he’s not wearing an elbow-padded jacket and cravat. He introduces 26-year-old BA student Asef Alitoday’s photography students are being ROKAS DARULISprepared for the real world. Above left: Ernest and Ernest by Rokas Darulis. Above right and opposite page: Model Fanny Fournier shot by Rokas Darulis.72 www.professionalphotographer.co.uk
  • 57. Mohammad. Asef was given a brief to produce a series of photographs that use ‘America’ as a starting point to the creative process. While others in his year took off to the studio flinging cream pies at the Statue of Liberty, Asef took off to Kabul. MU didn’t discourage him and advised he text his daily progress. Foreign communications often being what they are, they weren’t always received. Although concerned, staff trusted Asef ’s ability to complete the assignment safely. His resulting photo-essay, Stories from Kabul, is a series of colour portraits featuring ordinary Afghan people: Caterers, TV executives, beauticians, the police. It premiered as a 4min 45sec multimedia piece on the prestigious FOTO8 website. US magazine Newsweek then published the reportage across four pages, paying around $1,600. I decide not to mention selling, as a student, a portrait of Sir Richard FitzHerbert, Ninth Baronet, Squire of Tissington, for £25 to Derbyshire Life & Countryside. “Latif has already impressed picture editors’ finest Cheryl Newman with commissions for the Telegraph Magazine. Among other achievements, an Ian Parry Awards Show finalist, work featured in the FOTO8 Summer Show and D&AD Awards.” Peter Dench Asef is exceptional and may be the exception. I navigate the 30-plus Macs in the digital suite looking for his antithesis. The Macs have only Photoshop installed. Social networking addicts must vacate. Over the shoulder of one student I spy images of a stunning model. I introduce myself to Rokas Darulis. The subject is his girlfriend, who is a model, ranked among the top 50 in the world. Lithuanian-born Darulis, who wouldn’t look out of place on the catwalk, graduated from MU in 2009 with a first. In a year working as a pro, commissions from magazines Pravda [in Lithuania], Monika and Tank are casually referred to. Elite Model Management Agency and Svyturys Beer tick the commercial client box. Accolades already on the shelf include the AOP Open Awards and Taylor Wessing. Aha! One of the year’s MU inclusions. I flick through the brochure and find the entry Ernest and Ernest from his project, It Doesn’t Matter Who You Sleep With, a series of portraits of people of the same sex in bed together. It’s a subtly-lit portrait showing two of Darulis’s friends. I note ‘same-sex relationships’ as a possible ingredient in the Taylor Wessing victory sauce. I reflect on some of the projects from my university ‘class of 95’. Roger photographed himself naked. Debra photographed herself nearly naked painted white. Sharon portrayed herself smoking a cigarette. Sarah chose a child’s plastic farmyard cow to document. Jane simply snapped the BBC soap EastEnders playing on the TV To be fair, . Sarah went on to graduate from the RCA; Aperture has published a monograph of her photographs. Debra is co-proprietor of a gallery in Brooklyn, New York. Perhaps the MU Statue of Liberty pie flingers will end up chairing a world photography organisation while aAbove top: Female Boxer No 3 by Inzajeano Latif, exhibition poster for the 2009 Taylor photojournalist like Asef will graft for recognition in a world of grantWessing Photographic Portrait Prize. Above: Alisa from the series The Pursuit of refusals and shrinking budgets. It’s a common tale. INZAJEANO LATIFHappiness by Inzajeano Latif. Opposite page, top: The Solitude of Pygmalion, a Back at MU, Squiz, already a brand (squizhamilton.com), shows strikingself-portrait by Steven Barritt. Opposite page, right: Philippos from the seriesAnachronisms from Steven Barritt’s MA show, included in the 2009 Taylor Wessing work in progress from a self-funded 10-day fashion shoot in Japan –Photographic Portrait Prize. estimated cost, a dedicated £2,500. Tottenham resident Inzajeano Latif,74 www.professionalphotographer.co.uk
  • 58. THE CHANGING FACE OF EDUCATION “The Taylor Wessing brochure introduces its protagonist as a product of the ‘I photograph myself naked’ approach. Steven’s portrait The Solitude of Pygmalion from the series Analogous Mythography is based on the Greek myth of a sculptor who fell in love with his sculpture... Essentially, a dirty Steven sits naked on an unmade bed surrounded by booze and with walls covered in posters and magazine articles on Britney Spears.” Peter Dench a 31-year-old mature student and graduate from the MA at MU, is also in attendance. Latif has already impressed picture editors’ finest CherylSTEVEN BARRITT Newman with commissions for the Telegraph Magazine. Among other achievements, an Ian Parry Awards Show finalist, work featured in the FOTO8 Summer Show and D&AD Awards. The 2009 Taylor Wessing
  • 59. SQUIZposter was Latif ’s entry, Female Boxer No 3. I scribble down, female boxers doors with a first-class (hons) degree in photographic studies and headedin bed together? for London. I would join Reuters (I’d seen a photograph I liked credited in After being ejected from the digital suite, a tour of further facilities a newspaper) and travel the world. The folio was lost in the Reuters system.follows. A historic smell permeates one room. Stepping in, through the Two years on the dole followed. I had no realistic concept of how toamber gloom, more than 30 traditional B&W enlargers morph to attention. approach the industry. On reflection, my impressions were that the lecturersDavid explains the importance of teaching the craft. He deplores the were self-serving, their own personal projects a priority. It is important forquick-fix digital prints produced by students seemingly as an afterthought. a tutor to have a profile outside of education, but not at their students’He encourages them to treat the process with the same develop, stop and fix expense. Their efforts are still as bemusing now: Portraits of fish, foundprecision you would an Ansel Adams landscape. David is constantly slowing objects outside photographed inside, views on top and under a table.people down. The frantic ‘shoot thousands of frames, something must be It was with a sense of the inevitable that our final year degree show wasgood, sort it out in Photoshop later, attitude’ must stop. It is not unrealistic to compare my experiences of 15 years ago as theprinciples of education remain the same: Equip a student with the necessary Above: A shot from the Back 2 Basics series by Squiz.skills for a career in their chosen industry. I sped through my university Opposite page: Peter Dench’s entry in the Photographic Portrait Prize 2003.76 www.professionalphotographer.co.uk
  • 60. THE CHANGING FACE OF EDUCATION called Introspection. Academically the work of Jo Spence, Cindy Sherman and Nan Goldin prevailed. It took me years just to remove the lens cap without feeling a misogynist. My dissertation on Dr Diamond and his use of photography in the treatment of female lunatics has not been useful. It is with these concerns that I head to lunch with David. Over wine and calamari he explains how the course reflects the industry. Deadlines are non-negotiable, lateness an immediate markdown. Students are introduced into the industry as much as possible and industry to the students. There is a healthy visiting lecture programme, from retouchers and photographers to magazine editors and gallery curators. The only visiting lecturer I remember was a philosopher who posed the question: “Does green exist?” For two hours. It does. I seriously questioned if I wanted to. Internships and competition submissions at MU are compulsory. Assisting is encouraged. Tim Walker’s assistant of five years, Alison Tanner, is on hand to advise. Rather than a ‘Jack of all trades’ approach to portfolios, the strategy is to produce one substantial coherent body of work that the creator is passionate about. There is an open-door policy from staff to students. The course is young and has already made a significant mark. David is realistic enough to suggest only 15% of graduates may go on to make a living taking photographs. Other employment opportunities within the industry are covered. Being a technician is not considered a failure. Eight years’ discipline as a former computer programmer has left an imprint. Back on campus, David is keen for me to meet Steven Barritt (35), Steven’s umbilical connection with MU has him lined up to be interviewed another MU MA graduate. I’m not so keen to meet Steven. The Taylor for a teaching position. All of the students I spoke to expect to hit the ground running as working pro photographers. They all have a print folio and eschew the case for iPads. “David explains the importance of teaching the Cited influences are the ones that have shaped previous generations of snappers – August Sander, Bruce Davidson, James Nachtwey, Walker Evans, craft. He deplores the quick-fix digital prints Cecil Beaton. They speak fondly of their tutors and hope to retain a relationship with the university. We talk amicably as equals; industry names produced by students seemingly as an are exchanged with familiarity and I even note down a few new ones. afterthought. He encourages them to treat the Social networking is embraced. I consider myself a bit of a player (365 Facebook friends!) and suggest they keep in touch. I leave them my card. process with the same develop, stop and fix There is nothing in the inbox when I get home, or the next day. I search them out. Squizhamilton has 4,956 Facebook friends, I ask to be his 4,957th. precision you would an Ansel Adams Rokas Darulis, 2,365, most of whom I assume are beautiful. Inzajeano Latif, landscape. David is constantly slowing people 1,333. Steven Barritt, well at least he’s clothed in his profile photo. Curious to find a few students not drafted in for my benefit, I peel off down. The frantic ‘shoot thousands of frames, unescorted to the studio. It’s industrious and populated. A jewellery student sparkles on her back. Photo student Holly, fragrant, clipped and sartorially something must be good, sort it out in crisp, is setting up for a shoot, a series of portraits on redheads. A young Photoshop later, attitude’ must stop.” Peter Dench man poses awkwardly on a stool. I make a note to remember his face, a potential Taylor Wessing 2011. Reminded of my pursuit of domination, I show students the portrait prize brochures from the previous decade, pen poised to jot down the winning formula. Discussions suggest not much Wessing brochure introduces its protagonist as a product of the has changed. There was a bit more B&W. The dominant digital 35mm ‘I photograph myself naked’ approach. Steven’s portrait The Solitude of format has conquered the square but the content is constant: the ginger, Pygmalion from the series Analogous Mythography is based on the Greek puberty, teenage girls, nakedness, muff and combinations of all represented. myth of a sculptor who fell in love with his sculpture. Steven said: Back at my studio, well the Villiers Terrace in Crouch End, I reassess my “I made a lot of effort putting on lots of weight and letting myself go, even own successful entries, verdict – guilty; naked old man, a ginger woman on a resorting to not washing for weeks.” Essentially, a dirty Steven sits urinating horse, two awkward-looking children. Seems I’ve been entering naked on an unmade bed surrounded by booze and with walls covered in content along the right lines all along. I have an idea for the next submission, posters and magazine articles on Britney Spears. I warm to him immediately. pick up the phone and dial. “Hello, is that Anne Robinson?” PP Steven wants to make enough money from photography to get out of London. He prefers the influence of Truro on his photography.PETER DENCH His Anachronisms portrait series for his MA show are beautifully considered, meticulously planned 5x4 film portraits. It took him www.peterdench.com around nine months to shoot the first frame. That’s academics for you. www.mdx.ac.uk www.professionalphotographer.co.uk 77
  • 61. BIGMakeitWearing a crisp shirt, hipster glasses and fiveo’clock shadow, Chris Craymer strolls downto the lobby of the super-stylish SandersonLondon hotel with the ease of a man in hisnatural habitat. Fresh from New York, where he moved withhis wife, son and daughter in 2008, there’s nomistaking the fact that he embodies a certain kindof urbane, transatlantic lifestyle. “I have an office in Manhattan and we live in atown called Westport in Connecticut,” he says,before listing the key selling points of his adoptedhome. “By the beach, very child friendly,beautiful, big difference between the seasons.” From shooting 1980s pop sensation Wham! to devising And though he’s a decidedly down-to-earthsort of fella (due, he later suggests, to the major ad campaigns, Chris Craymer has alwaysrough-edged northern roots he inherited from hisfather) high style is his currency. So too is created aspirational images that match his own personalthe vibrant, joyful, youthful energy which hasbecome something of a signature of his work. ambition and outlook. Julia Molony finds out more.It makes sense then that a photographer whocaptures fashion in a manner that makes his career. But the newly famous Wham! quickly option is a good one. We did some tests and wethe viewer ache with aspiration, would nod to took to heart the values of the fashion scene that found that if we got Agfa film that was a 400those lifestyle values in his bearing. Though his had embraced them. They promptly dropped ASA negative film, and we overexposed it by twohair is now a distinguished grey, there’s Craymer in favour of bigger industry names and stops, then pushed it by two stops – so we weresomething boyish about Craymer. “You can be an he found himself back at the drawing board. almost four stops overexposed – that the colourseternal teenager in a way,” he says of the “I was called in to their manager one rainy and the grain would be amazing. The colourphotographer’s lifestyle. “But it’s a very hard life. Thursday morning and was basically told that became very intense. I used that technique to doIt’s very taxing. You kind of have to live it.” they wanted to get some more arty pictures. my interiors with Lesley. It created a look Craymer first made his name in the 1980s by This was a big catalyst for me to sit back and for me that was a bit different. It was the start ofattaching himself, thanks to a bit of luck think, ‘Well, how have I lost that account?’ that intense colour that I’ve kept. It wasand a lot of perseverance, to a then little known And I thought, ‘Well, you know, it’s because a very important moment because that intensepop outfit called Wham! Savvy from the start I don’t know about fashion and that side of colour was mine then. Other people have done it,about the value of nurturing key professional the industry.’” did do it, had done it, but it felt like me.relationships, Craymer carefully fostered links Undaunted, Craymer decided to get himself to a It didn’t look good on people but it looked verywith media figures, celebrities and people in the global fashion centre forthwith. He packed up his good on products. So later on we had to findBBC – which is how he found himself taking life and went to live in Milan because, he says, something that looked good on people as well.pictures on Top of the Pops. it was “a great place for young photographers. But it was a very important period for me, “They had this new band on. They just sounded You could go there with some test shots and get a doing interiors.”amazing and they looked great. I thought, job.” In Milan, while working for enlightened In interiors and still lives, however, there was,‘They’re going to be huge’. I phoned the record editors and experimental, risk-taking for Craymer, one crucial dimension missing:company and said, ‘I’d like to do some test fashion publications, he began to really hone the human one. The potential of a picture to holdshots.’” He offered picture approval in exchange his craft. It was here that he discovered the emotional weight has always been key tofor free creative rein, got together with the band value of thinking conceptually about what he aims to express in his work.and something clicked. representations of fashion, and he returned home Ever restless, he soon began casting around for “One of the pictures became an album cover,” with a portfolio full of tear sheets, having the right kind of marriage of style, form andhe remembers. Wham! took him on as their seriously upped his game. subject that would reflect the essence of hisofficial photographer and he spent 18 months After working in fashion in London, the interests as a photographer. This, he says, finallycharting their meteoric rise “from nothing opportunity for his next change of direction fell in reaches its apotheosis in Romance, a book heto huge superstars.” his lap when he started shooting interiors with published in 2009. In a nod to his high-fashion CHRIS CRAYMER Though still pretty much a cup snapper, a Lesley Dilcock, a former fashion editor for Mariecombination of ‘right place, right time’ brilliance Claire. Working with a new subject, Craymerand hard graft won him the first big break of quickly discovered that “sometimes the brave Right: Image from Chris Craymer’s Fables collection.78 www.professionalphotographer.co.uk
  • 62. FASHIONChris Craymer
  • 63. 80 www.professionalphotographer.co.uk
  • 64. FASHION Chris Craymer “We did some tests and we found that if we got Agfa film that was a 400 ASA negative film, and we overexposed it by two stops, then pushed it by two stops – so we were almost four stops overexposed – that the colours and the grain would be amazing. The colour became very intense. I used that technique to do my interiors with Lesley. It created a look for me that was a bit different. It was the start of that intense colour that I’ve kept.” Chris Craymer connections the book was sponsored by Mulberry. But its aim was about more than just achieving an attractive aesthetic. It features a collection of tender pictures of real-life couples in staged scenarios. “Everybody in the book is a real couple,” Craymer says. “They’ve just been taken from where they live, often into a slight fantasy environment, and asked to play and be themselves. “It’s not meant to be total reality. It’s meant to be the fantasy of what new young love is, which is a very intense emotion, and one which everybody understands.”CHRIS CRAYMER Harry Potter stars Emma Watson, Daniel Radcliffe, Rupert Grint and Bonnie Wright. www.professionalphotographer.co.uk 81
  • 65. “My dad gave me a camera... A tiny little point and shoot thing. And when I looked through it I thought, ‘I can do this.’” Chris Craymer The result is a sort of hyper-reality, manipulated by means of the set’s costumes and props to convey a heightened, theatrical, but ultimately authentic representation of romantic love. “They’re not really portraits. They’re not really those couples; they are elements of those couples. But they are in some stately home, or some squat in Brixton. That mixture of environment, still life personal way, with someone in his own life. photography guides and taught himself; then, as and emotion in the people is mixed with quite Craymer was a 17-year-old radical headed for a soon as he finished his degree, started a sustained strong colour and grain. That book represents me, degree in politics at Newcastle University when assault on the industry, looking for a break. my work. That’s the pure me.” This printed he met his father properly for the first time. It didn’t come easily, exactly. At one stage, while version of the ‘Pure Chris’, has it turns out, “There had been some dealings with him when working as an assistant in a photo lab, he applied proved to a nice little earner. With Romance as his I was a child, but I couldn’t really remember for two jobs a day, every day, five days a week. calling card, he’s drawn in a slew of new clients, them,” he says. “He turned out to be a It took, he remembers, nine months before including Macy’s, Target and Dove’s ‘Campaign photographer. I was on a different course, I was he eventually got his first proper gig as a for Real Beauty’; all of whom have been attracted doing A-levels and going to university. But I got darkroom assistant and junior photographer at a by different elements of the style that Romance an inkling about photography from my father. picture agency. showcases. Emotional content, sentiment even, is I started taking pictures of everything. I did a lot He sees now that the spur for taking pictures at the core of what he does. It’s why, he believes, of pictures of streets, bridges, my girlfriend. came from a desire to establish some kind of a that his work often finds its most receptive I joined my local branch of The Camera Club. bond with his father. From the moment he first audience among women. Perhaps it’s significant, There was me at 19, and then the next youngest picked up a camera, he felt an instant affinity in light of this, that his interest in photography person was about 61. We’d have Rich Tea biscuits with the process of creating an image. “My dad was sparked by a desire to connect, in a very and slideshows about Trevor’s trip to Croatia. gave me a camera,” he remembers. “A tiny little And they’d ask all these questions about f-stops point and shoot thing. And when I looked through and things like that. it I thought, ‘I can do this’. Almost immediately, ICHRIS CRAYMER But The Camera Club ultimately left him cold. could see pictures.” PP Opposite page: Australian singer and TV presenter Dannii Minogue. This page: Images from Chris “It didn’t interest me. It was too technical.” Craymer’s Fables collection. Instead, he studied his father’s Time-Life www.chriscraymer.com www.professionalphotographer.co.uk 83
  • 66. Motion PICTURES The still-life work of David Parfitt has spectacular dynamism. Using light and surprising innovation he brings the objects he photographs to life right before your eyes. Here, the award-winning photographer talks to Jod Mitchell about his techniques, his career and what inspires him. Leafing through David Parfitt’s portfolio of “It’s all about patience, determination and sheer a 110mm shift lens, which he favours for its ability work is a masterclass in still-life bloody-mindedness,” says David. “Sometimes I to correct perspective. His other kit-bag essentials photography. In his hands, objects don’t just spend hours positioning the lights for a single shot; include clamps, Perspex sheets (to diffuse the light) sit; they act. Bottles and tubes are posed two or three centimetres can make all the and adhesive putty. “I don’t know what at crazy angles; mascara wands march difference. I’ll make endless adjustments to the photographers did before Blu-Tack!” he says. across the image; foundation powder brightness and diffusion, and I’ll add reflectors and Besides his kit, David has another, intangible explodes; lipsticks huddle in groups or melt bits of mirror to modify the effect.” talent – his knack for the visual metaphor. Take his together into gooey puddles. Bottles ooze David describes his kit as old-school. image of a Chanel anti-ageing cream (facing page): and logotypes glow; in one image, a perfume “I’m definitely not an equipment freak,” he says. a pretty pot is one thing; the same pot erupting bottle sparkles, literally, in a blaze of “I’m not one of these people who must go out with light and framed within a high-tech piece of pyrotechnics. It is amazing what a and replace my kit with the latest technology.” laboratory equipment – part microscope, part laser photographer can do with a Mamiya RZ, He doesn’t use soft boxes, feeling that the light gun – is something else entirely. the patience of a saint and a ball they produce is unsubtle. His strobe lights, some This cream, the image says, is science in a jar; of Blu-Tack. of which are 25 years old, are a favourite. “I use an it is the sum total of every control-group tested Jewellery receives the same treatment. Rings, average of five lights for a setup. The strobes give discovery since Galileo gazed skywards 400 years rocks the size of matchboxes, hang suspended in a soft, even light, which is perfect for what I do. ago. It really works. oversized ice cubes. Diamanté chokers coil around The company, which went bust a few years ago, Then there’s the shot of champagne (page 87). heaped vegetables. With the appearance produced stuff to such a high quality they never The yellow, fizzy liquid is transformed into a of each shot, David’s claim that he tries to add “a wore out, so you never needed to buy a new one – visual spectacle. Four glasses, of various heights, bit of dynamism” to his still-life shots, seems they over-engineered themselves out of business. overflow in a riotous downpour. Every bubble is increasingly modest. But these lights are definitely not portable; they’re brilliantly clear. The image is lively, sharp and The explosive energy and eye-catching wit that incredibly heavy.” exciting. Drink this with your mates, it screams, define his style are not, of course, spontaneous David prefers to work digitally. “I like to be able and you’ll have the greatest party of all time. at all. They are the result of more than two decades to look at the laptop and see what I’m getting in “For that shot, first I lit the glasses with of experience of still-life photography, an expert’s real time. It helps me to get the image a bit closer motionless champagne in them and I lit the scene eye for tone and composition, and a flawless to perfection. I don’t have to wait a couple of hours accordingly,” explains David. “But when I started attention to detail. for the films to come back from the lab.” pouring, I discovered the lighting wasn’t right, so IDAVID PARFITT He uses his Mamiya RZ camera with a Sinar had to make a load of adjustments to the setup.” 54M lens and a digital back. “It’s a small camera, David’s props can be outrageously imaginative. David’s biggest influence is photographer Irving Penn very handy – and there’s a built-in magnifier so I LEGO blocks, soapy suds (page 89), flying saucer for his ability to see the beauty in virtually any subject. can see the image clearly.” Among his lenses is sweets (the ones with sherbet inside), rare fruits www.professionalphotographer.co.uk 85
  • 67. David’s inventiveness andattention to detail have led tocommissions from a number ofthe world’s leading brands.
  • 68. DAVID PARFITT “The champagne looked beautiful backlit to highlight the edges of the glass and the bubbles. But when it was poured I realised that I liked the froth dripping down the side of the glass. But this appeared too grey and in shadow, so it was necessary to add some sidelight to lighten this and bring it alive.” www.professionalphotographer.co.uk 87
  • 69. Right: David felt shooting a choker wrapped around agourd reflected the foodie theme required by the client.Opposite page: David prefers to use strobe lights, someof which are 25 years old.and assorted foliage – all are chosen to engage theviewer with the product. But, says David, props must work on other levelstoo. “I select the props to fit not just the products,but also the magazine in which the pictures will beused. With the LEGO, for example (page 86),Marie Claire was running an ‘environment’ theme,so building blocks were a natural fit. In a watchand jewellery supplement for Square Meal, therestaurant guide, I shot a choker wrapped around agourd (right), reflecting the foodie theme.” The creative process, explains David, starts withthe product itself. “When I get a brief, the firstthing I do is take a really good look at the product.Then I look for the quirk that will make it live.I want my shots to be simple, but also to have alittle movement in them.” Referring to the melting lipsticks, he recalls:“I looked at their redness, and to me red impliesheat; the melting followed on from that.” His inventiveness and attention to detail have ledto commissions from a number of the world’sleading brands. His beauty and fragrance clientslist includes Dior, Dolce & Gabbana, Tom Ford,Yves Saint Laurent, Chanel, No7 and Gucci.His watch and jewellery clients have a similarpedigree: De Beers, Ritz Fine Jewellery and DavidMorris, among others. His work has appeared in Vogue (in Britain andoverseas), Harper’s Bazaar and Tatler. He is aregular contributor to Red magazine and tointernational editions of Marie Claire. David’ssuccess has been recognised by his peers: he hasbeen selected three times for Association of beauty in virtually any subject,” says David. “I like to put a bit of life into it,” says David.Photographers awards. “His photography was often simple but had a There it is again, that indecent modesty. But his career began unremarkably. At 16 he left ‘twist’ that usually made the photo special.” His style is well-adapted to the magazines forschool and drifted into a role as a junior assistant at His choice of Penn (1917–2009), the legendary which he works. “It makes sense to follow aPortland Studios, close to Bond Street, in London. American fashion and portrait photographer, says a similar style. Why treat watches or lip balms any“It was a studio and a design group rolled into one, lot: a high-fashion theme runs through David’s differently to clothing and bags? Whatever theso we were working on a variety of projects, career and is reflected in his style. “I think I bring product, you’re trying to do the same thing, toincluding fashion and food.” Here he worked his some of what I learnt working with models at project the same qualities.”way up to assistant photographer and then to Portland Studios into my still-life work,” he says. So why didn’t David follow a career in fashionphotographer. “It amounted to a comprehensive “Fashion shoots are all about encouraging the photography? “Quite simply I realised thatapprenticeship,” he says. “My time there taught me models to move, to look active. It’s important not there were other people doing it who were bettereverything I know.” to pose them too minutely – they need to than me. I’m a great believer in doing what Today, David has a 2,000sq ft studio space in appear alive and spontaneous. I use the same you’re best at.”east London, where he works with a part-time approach with my still-life shots.” A good job, says David, is one that “is decentlyassistant and a secretary who comes in weekly to And it’s true; his images exhibit the trademarks paid, which is not always the case these days”.handle bookings and other administration. of the best kind of fashion photography. Favourite clients include American beauty houses DAVID PARFITT When asked about his greatest influences, his They are packed with attitude, spontaneity and Estée Lauder and Prescriptives, which “takeresponse is immediate. “My all-time favourite style – and, as such, convey an unmistakable sense photography seriously”. Not so with some ofphotographer, and probably biggest influence, was of glamour and expensiveness. And then there’s his David’s clients in the UK. “It can be difficult evenIrving Penn. He had an amazing ability to see the trademark movement – it bursts from the shots. to get products out of them. Sometimes when88 www.professionalphotographer.co.uk
  • 70. I ask for products they suggest I go and buy some high. There’s no getting away from the fact that into every single job I do,” he says. “The work hasin my local high street. They’re big companies; you need to start at the bottom and take to be perfect every time, whoever the client andyou’d have thought they would have people who responsibility for your career. It’s pretty certain whatever the budget. The best possible result forcould send products out.” that the salary will be very low to start with. me is the satisfaction of knowing that I’ve got the And a bad job? “I don’t have any,” says David, People seem to leave courses with the sense they best out of the subject.“because I don’t accept commissions I’m not are somehow entitled to a good wage and instant “And if you do a good job for a client, wordcomfortable with. These days I only take on success, and that just isn’t the case.” soon gets around, so it’s worth taking the troublework I know I can do well. So I don’t do location He also acknowledges that the commercial to get it absolutely right.”shoots. If someone asked me to do a car shoot photography market as a whole is contracting. His future presents exciting possibilities.I’d have to politely decline.” “The rise of picture libraries has meant that it’s no “I’ve been working on art photography more and When asked whether he would advise young longer the norm for magazines to commission more over the last year. Like all photographersphotographers to begin a career in photography, their own shoots. And, in advertising, I’ve had a little bit more time on my handsDavid hesitates. “I wouldn’t advise them campaigns are often run internationally, so less recently, and I think the art photography market isnot to go into it.” photography is required. But, having said that, expanding,” says David. “I’m also going to work But he soon warms to the theme. “There are somebody has to shoot these big campaigns; abroad more, particularly in France. It’s so easyproblems; there are too many people coming if you are commissioned and your work is used in to get there and there are interesting possibilitiesinto the business; there are too many courses and lots of countries around the world, that’s very for work.” It seems that David, like his subjects,colleges. Actually, if I were to advise aspiring good news for you.” rarely sits still. PPphotographers, I’d tell them not to go to For David, success in the industry has a lot to docollege at all. You leave with your expectations too with attitude and professionalism. “I put 100% www.davidparfitt.com www.professionalphotographer.co.uk 89
  • 71. BUSINESS SPECIAL It’s that time of the year again when we’ve all had to file our tax returns and been forced to reassess what we have spent over the past 12 months, how we have run our businesses and, most importantly, how we need to improve as business people to make 2011 as successful for us and our photography as possible. It is never an easy time of the year, especially if 2010 was not as profitable as you had hoped, but as with all problems a little advice from the right people can often ease a lot of worries and concerns. To help you with this we have compiled the very best advice from our sistertitle Turning Pro, which features 20 pages of business advice every issue. Advice from the experts is what we all need and something that is often hardto find, so whether you’re just starting out or are a seasoned pro, we hope thatthese highlights from Turning Pro both help and inspire you. Of course, if theywhet your appetite for more advice on all aspects of the business of being aprofessional photographer, then Turning Pro is on sale bi-monthly and coversall of your business questions throughout the year. I know the business side of what we do is not something that first attractedus to photography, but getting it right can help us to concentrate ontaking pictures. I know business is not much fun but you know it makes sense.Grant Scott, EditorPS: Apologies to any of our readers who have read these articles before inTurning Pro but good advice is good advice and sometimes we need to makesure that everybody can access it. www.professionalphotographer.co.uk 91
  • 72. GOCOMPAREYou wouldn’t drive your carwithout insurance, so whyrun the risk with yourbusiness? Taking out When setting up any business, there are always a number of potentially unforeseen costs involved – and insurance is just one of them. A photographic business is no different. It’s inevitable that some form of cover will be needed, and policies come in ‘where there’s blame there’s a claim’ culture. Never underestimate the general public when it comes to compensation! A good policy will also cover you against claims made by third parties for injury or damage to their property. This option is often available many different shapes and forms. But one when you insure your kit, so don’t overlook it,insurance may seem like thing is for sure; it’s vital you get yourself covered from the outset. because many companies will cover you for claims made against you up to the value ofa mind-boggling process, In the first instance, you will need to insure £5 million. It could be an expensive mistake to your equipment. This is your lifeline, and if it ignore it.with a lot of hidden terms becomes lost, stolen or damaged, not only will You should also consider professionaland conditions, but without you lose the value of the equipment itself, but your business will no longer be able to function. indemnity insurance. In the event that you find yourself in a dispute with a dissatisfied client orit you could be putting your You have to be prepared to shop around, because prices are always competitive in the insurance third party, your professional indemnity cover will pay the cost of defending any allegations orlivelihood in jeopardy. world. There are a number of companies which claims made against you – for failing to produce specialise in photographic insurance. You will work to a professional standard, for instance.You may not appreciate find these are better equipped to tailor a quote Even if you are found not to be at fault,what cover is needed to suit your specific needs than a generic insurance company. legal assistance and court costs in defending your integrity can be exorbitant. Indemnity insuranceuntil it is too late, so Aside from insuring your equipment, you may also require more specialised business is ideal for wedding, portrait and commercial photographers and videographers. However, thisget yourself covered. cover. For example, both wedding and portrait type of policy usually comes with a number of photography are public-facing businesses, so significant exclusions. For example, you willKelly Weech breaks you will require public liability insurance. not be covered against the loss or corruptiondown everything you need This protects you from claims made by third parties, including customers, members of the of data, unless this has occurred as a result of your negligence.to know. public, sub-contractors and so on. This type of insurance is designed to provide These types of insurance cover are a basic requirement. The cost will depend on your cover for any negligence claims which are made circumstances and requirements for each specific against you. This could be as the result of a area of photography. For instance, if your area is simple accident, such as somebody tripping underwater photography, you may require over a tripod, or being ‘bumped’ with a long lens, specialist insurance within the photographic through to more serious incidents, which could market. You never know when you might leave a person, or people, scarred or disabled. need it, so ensure you have yourself and your Make sure you have it covered– we live in a equipment covered.92 www.professionalphotographer.co.uk
  • 73. BUSINESS SPECIAL“It’s inevitable that some form of cover will be needed, and policies come in manydifferent shapes and forms. But one thing is for sure; it’s vital to get yourselfcovered from the outset.” Kelly Weech TOP TIPS an indication of the premium and are insure you immediately, confirmation will > Always read the policy thoroughly. If you based on the information you have be sent in writing through the post to don’t understand a certain aspect or provided on the form – it is not set ensure the information you have provided context, ring an adviser to clarify. in stone. is correct. All reputable insurance companies will > Check the security requirements for the > Honesty is always the best policy. If you have a helpline. storage of your equipment; this is a grey give false information and this is later > Getting a quote online is always quicker, area where many photographers have lost discovered when you make a claim, your but you shouldn’t assume that it’s the out when processing a claim. policy will be invalidated. You may also be final price you will pay. Online quotes are > Although many insurance companies will prosecuted for making a fraudulent claim.Having checked out PHOTOGUARD your home or studio, you will be charged less. www.photoguard.co.uka selection of specialist Pro option: £269 per year This ensures that all of your equipment is insured, but you only pay extra for what you usephotographic insurance at shoots.companies, here’s whatI found out about three PHOTOGUARD PRO PROVIDES: – Cover against theft and accidental damageof them. Please remember up to £50,000.that each quote is tailored – Replacement on a ‘new for old’ basisspecifically to meet the (vintage and rare items are coveredneeds of the individual, so by valuation – laptops are subject to depreciation).prices may vary. These have – Hire cover until items are replaced orbeen calculated on insuring repaired (subject to an approved claim).£5,000 worth of equipment. – No excess as standard (a voluntary excessI have also highlighted the Photoguard offers different levels of will reduce your premium). – Choice of area covered: from UK only;various extras provided cover to suit the individual requirements of photographers. Photoguard Pro insurance is UK and EU with 30 days worldwide; orwithin the companies’ pro suitable for photographers who earn more than full worldwide.packages, such as public 50% of their income through photography or – Public liability up to £1 million – essentialliability and professional related activities. for social photographers. – Personal accident cover – up to £10,000.indemnity cover. This option covers all your equipment at any location (subject to the area of cover you choose) – Props cover. and includes hire cover, £1 million public liability – Accidental damage to portfolio cover. and personal accident cover as standard. I found the website simple to navigate and the PHOTOGUARD PRO OPTIONS: ‘Instant Quote’ system allowed me to compare – In-vehicle cover – to protect you while on different options and prices quickly and easily. the road. For example, if you don’t need ‘in-vehicle’ cover, – Associates cover – public liability cover for why pay for it? colleagues/assistants. The process is quick and can be completed – Public liability upgrade – increase through an easy online application. your liability cover to £2 million or I particularly liked the Flexicover, which £5 million. is unique to Photoguard. If you only take up – Flexicover – to help reduce to 50% of your equipment value away from your premium. www.professionalphotographer.co.uk 93
  • 74. Cover for tenants’ improvements, interior decorations, fixtures and fittings, as well as film processing and darkroom equipment. – Portable business property and equipment: Cover for photographic, video and lighting equipment, computer/electronic office equipment, hired-in equipment, photographic work (portfolio), stock and materials, mobile telephones, goods held in trust and other business property. – Business interruption: Cover for your gross profit and/or additional costTOWERGATE CAMERASURE – Transparencies/negatives and prints. of working expenses.www.towergatecamerasure.co.uk – Hired-in equipment/props and goods in – Loss of money: Cover for theft ofPro option from: £300 per year trust cover. monetary sums. – Theft from unattended vehicles.Towergate covers you for your legal liabilities – Processing equipment. AADUKI PRO OPTIONS:towards customers, employees and the public, – Business interruption. – Public liability: Cover for your liabilityas well as insuring your premises and contents. – Buildings. for injury caused to third parties or forThe website was easy to use, but no indicator of – Employer’s liability. damage caused to a third party’s property.cost was available for the cover I required. – Public and products liability. – Products liability: Cover for your liabilityI filled in the online enquiry form and received a – Professional indemnity. for injury caused to third parties resultingquick response. – Legal expenses. from products supplied. This approach felt to me as though the quote – Personal accident. – Employer’s liability insurance:was being tailored more to my requirements, Protects you against your legal liabilityand the customer service was excellent. AADUKI for injury, illness or disease to any employee,Computer breakdown and data loss can also www.aaduki.com including directors of limited companies,be included, along with business interruption Pro option: £292.45 per year labour-only sub-contractors and– to help prepare you for some of the most Aaduki offers tailored packages to cover your people involved in work experience orchallenging situations you can face as a requirements. Again, the instant indicator gives an training schemes.photographer. The website was presented well, insight into what you get for your money. In most – Professional indemnity:but had no instant quote facility. Instead, I had to cases you have the option to pay the premium in Camera malfunction, breach of copyright,fill in my details and wait for Towergate to instalments by three, 10 or 12 monthly payments. loss or damage to your work caused bycontact me. either you or your processing laboratory, AADUKI PRO PROVIDES: operator error, plagiarism, libelTOWERGATE PROVIDES: – Fixed business property and equipment: and slander. PP– All-risks cover (including accidental damage and open theft cover).– Cover for equipment while it’s in the hold of There are a number of insurers in the WEALD INSURANCE an aircraft. market who specialise in covering www.quoteour.co.uk– Reinstatement of data. professional photographers and other AUA INSURANCE– Damage resulting in re-shoots. freelancers. Here is a selection offering www.aua-insurance.com– Flexible theft from unattended policies tailored for professional PHOTOGUARD vehicle cover. photographers. You should check out any www.photoguard.co.uk insurer before parting with your money and MORGAN RICHARDSONTOWERGATE OPTIONS: we strongly recommend that you scrutinise www.morganrichardson.co.uk– All-risks equipment cover. the wording of the policy thoroughly (see IMAGING INSURANCE– Portfolio cover. our jargon buster on the opposite page) to www.imaginginsurance.co.uk ensure it is adequate for covering your kit. E & L INSURANCE SERVICES www.eandl.co.uk The Association of Photographers TOWERGATE CAMERASURE COULSON PRITCHARD offers advice on insurance in its www.towergatecamerasure.co.uk www.coulsonpritchard.com publication Beyond the Lens and also IN FOCUS INSURANCE IMAGING INSURANCE offers discounted rates for members at www.infocusinsurance.co.uk www.imaginginsurance.co.uk selected insurers. AADUKI WILLIAMSON CARSON http://home.the-aop.org/ www.aaduki.com www.williamsoncarson.co.uk94 www.professionalphotographer.co.uk
  • 75. BUSINESS SPECIALJARGON BUSTERANNUAL PAYMENT – A one-off payment for fraud, theft or dishonesty, prior PROPERTY – Property doesn’t necessarilyin advance to cover a year’s insurance. claims or events, or any special terms or mean just buildings. This term also refersThis is the cheapest way of paying for conditions that have been applied by to personal items such as laptops, tables,your cover. previous insurers. This obligation applies cars… basically anything! at the time you arrange insurance andANNUAL POLICY – A full 12 months’ cover, extends to any change in circumstances PUBLIC LIABILITY – Also referred tounless cancelled by either party while you are insured. If facts come to as ‘personal and third-party liability’.under the standard cancellation terms light once your policy has started, the This provides cover against damage toof the policy. insurance company has the right to refuse people or property caused by your proven payment for all or part of any claim you negligence. Most insurers will offerCERTIFICATE OF INSURANCE – The may make. £1 million cover as an extra option, butdocument that contains the terms this can usually be upgraded to £5 million.and conditions under which your MINIMUM CLAIM – This will vary from You may be able to extend this to coverequipment is insured. company to company, so always check the colleagues and assistants when required. minimum amount you can claim.EVIDENCE OF OWNERSHIP – To receive a REPLACEMENT VALUE – This is the pricepayout for an insurance claim, you will PERSONAL ACCIDENT – If you have an an item would normally cost new in aneed to prove that you were the owner of accident while using your equipment, this store, including VAT, rather than athe insured items. The original receipt or provides cover up to ‘X’ amount for specially discounted or sale price.alternative evidence can include death and permanent total disablement, For vintage and rare equipment youa bank or credit card statement, and ‘X’ amount for loss of limb or eye. should obtain a specific valuation from aphotographs, a copy receipt from the reputable source.retailer or original packaging. POLICY SUMMARY – This is a brief outline of the terms and conditions, including any SERIAL NUMBER – This is the unique codeEXCESS – This is a set amount of money significant exclusions or conditions of an that identifies an item of equipment.that you contribute towards the cost of insurance policy. You may not need to have the number ina claim. order to apply for cover, but the POLICY WORDING – This sets out in full the serial number (and proof that it relates toIN VEHICLE – This covers your equipment terms and conditions of your insurance the item insured) will be required inwhile transported in a vehicle. It does cover. It is essential that you read the the event of a claim.not cover your equipment while in transit, wording and comply with any terms andunless it is kept in a purpose-built conditions stipulated. SPECIFIED ITEMS – “We need you toequipment case. identify any individual items over £100 in PREMIUM – The amount you pay (either value.” These are your specified items;INSURED LOCATION – This is a single, a single amount in advance or by credit all other items are added as an overallspecified place where you store your agreement) to provide annual insurance value under unspecified items.equipment – typically your home or studio. cover for your photographic equipment. SUM INSURED – This is the total value ofLOCKED LUGGAGE COMPARTMENT – PROFESSIONAL INDEMNITY – This your equipment.For example, if your equipment is in a car provides cover in the event that you findit must be in a locked section, such as the yourself in dispute with a client. UNATTENDED – While the equipmentcar boot (remember items must be kept Your professional indemnity cover will pay is not being held or used by you or aout of sight). the cost of defending any allegations or responsible adult, the items must be kept claims made against you for negligence or in a locked room or cupboard, or in aLOYALTY BONUS – This is a system breach of duty of care (for instance, loss locked luggage compartment.operated by most insurance companies, or destruction of film or digital storagewhere you are rewarded for continuing media). Even if you are found not to be at VOLUNTARY EXCESS – An excess is theyour insurance with a particular firm. fault, legal assistance and court costs in amount you contribute towards the cost of defending your integrity can be exorbitant. a claim. Paying a voluntary excess willMATERIAL FACTS – Under UK law you are This cover is ideal for wedding, portrait reduce your premium BUT, in the event ofobliged to advise insurance companies and commercial photographers and a claim, this is the amount that will beof any material facts, such as convictions videographers. deducted from your claim. www.professionalphotographer.co.uk 95
  • 76. THE RISE OF NEW MEDIA...And The internet is usually the primary way in which a prospective client can find information about you. As part of the explosion in consumer websites, there are a great number of specialist review sites, particularly connected with the wedding industry, where both happy and disgruntled customers alike can review and rate their experiences of you and your work. There are also the more informal internet forums and chat rooms in which clients or even other photographers can post often unguarded comments. Unfortunately, it is not unheard of for fellownothing professionals also to publish negative reviews about their competitors. In a case last year, a leading historian was required to apologise and pay damages over anonymous and highly defamatory reviews he posted on Amazon about a rival historian’s book. Potential clients searching the internet for a photographer may well approach reviews and similar postings with a pinch of salt, not least the ones that appear to be deliberately malicious or the result of a very specific set of facts. In some cases, though, such comments may well be the decidingbut the factor. It is important to bear in mind that reviews and blogs are accessible via simple Google searches for your name and can feature prominently in the list of results. If an unfair and damaging allegation has not been corrected or removed, it can be viewed and perhaps even repeated indefinitely. A WORD ABOUT THE LAW The purpose of the law of defamation is to protect a person’s reputation. In the words of one judge, a statement is considered to be ‘defamatory’ if ittruth “lowers a person in the estimation of right-thinking members of society”. This may seem an old-fashioned test but it still applies today. Negative or critical comments about you or your work are likely to be considered defamatory of you. If you launch a successful legal action over the defamatory material, the court is likely to order an injunction preventing any repetition of the allegations and the payment of compensation by the author or publisher for the harm caused to your reputation. However, simply because a disgruntled client (or even competitor) has published defamatory and damaging comments about you, it does notIn a world where everyone can have an automatically mean that you are entitled to vindication and compensation; the maker of the statement may have a defence to a defamation claim.opinion and promote it, Guy Martin and In the context of critical reviews or client comments, the defences of ‘truth’Luke Staiano of leading media law firm and ‘fair comment’ are often relied upon. It is a complete defence to a defamation claim if the maker is able toCarter-Ruck give the advice you need to prove, on the balance of probabilities, that the ‘sting’ of the allegation is true. If a bride posts a review claiming that you, as her wedding photographer,protect yourself and your reputation. “turned up an hour late to the church” and is able to prove that you were so late that it adversely affected the services you were required toDeveloping and maintaining a good reputation should be of provide, the bride is likely to be able to defend a defamation claim even ifparamount importance to a photographer turning professional. you were not in fact a full hour late.New clients and instructions are frequently generated through A disgruntled client may also argue that the remarks, althoughword-of-mouth recommendations and internet review sites are defamatory, are “fair comment”. This defence would succeed if it can beincreasingly the first port of call for potential customers. proved that the comments were their honest opinion, were made in It goes without saying that positive feedback and rave client reviews can good faith and were not motivated by ill-will or spite, even though they mayhelp a career flourish. However, the negative impact that even one single be exaggerated or prejudiced. This defence may be particularly relevant inadverse comment can have on your reputation should not be underestimated, the context of a client who criticises the standard or quality of yourespecially when you are trying to nurture a fledgling business as a photographs. The court has recently taken a robust view of defamation casesprofessional photographer. The recent expansion of new media and social in which it considers little may be achieved by the litigation, particularlynetworking sites has resulted in a proliferation of forums in which untrue in relation to comments posted on the internet. In a recent case, a claimantor unfair allegations can be published. The speed at which such was the subject of an extraordinary 267 negative postings on internetcomments are accessible to the world at large means that a reputation that forums. The court considered that comments on internet bulletin boards arecould have taken years to build may be destroyed within moments. “rather like contributions to a casual conversation (the analogy sometimes96 www.professionalphotographer.co.uk
  • 77. BUSINESS SPECIAL considering a complaint direct to them. They will have a defence if they“People who submit reviews of did not have actual knowledge of the defamatory material until a complaintphotographers usually intend and want was made, as long as they then acted quickly to remove it. Internet hosts and website owners often are prepared to remove the comments swiftly whentheir allegations to be taken seriously; notified of a potential claim rather than face the risk of paying out damages. Although they may have commercial considerations and perhapsthe whole purpose of posting freedom of speech issues to take into account, they will often take a more detached approach to the matter than the author, who may have an axenegative comments is to encourage to grind and be reluctant simply to back down.others not to engage the same Limit the effect of negative reviews Although it is sometimes not possible or indeed appropriate to makephotographer. Comments are often a legal complaint, there are other practical steps that can be taken towell thought out and a deliberate minimise the effect of critical comments and reviews that remain accessible on the internet. You may wish to post your own comment to correct anyattack on a person’s reputation.” specific allegations. You can explain the background to the events in question and why the allegation may be untrue or unfair. This may help to neutralise the impact of the libel when future viewers of the site readbeing drawn with people chatting in a bar) which people simply note before the comments.moving on”; the remarks are often not intended, or to be taken, as serious. Social media can also be used to promote your services. In addition However, this is not to say that comments on bulletin boards cannot form to your own website, it may be worthwhile setting up a professionalthe basis of a legitimate defamation claim. People who submit reviews of Facebook group to promote your business. If you receive positive feedbackphotographers usually intend and want their allegations to be taken from clients during a photo shoot or at a wedding, you may want to suggestseriously; the whole purpose of posting negative comments is to encourage that they follow your group or submit a comment on your ‘wall’.others not to engage the same photographer. Comments are often well Twitter and LinkedIn are other good ways to publicise your services and tothought out and a deliberate attack on a person’s reputation. increase your presence on the internet. All the positive material and comments published about you online willPRACTICAL STEPS TO PROTECT YOUR REPUTATION be accessible via the search engines and may help to push down any negative pages in the search results. It is important that you activelyBe proactive police your reputation and take immediate steps to correct any inaccurateAll too often a person does not become aware of unfair comments about information about you and your business. PPthem until after the damage is done and potential clients have goneelsewhere. To help minimise this risk, it is important to take a proactive Carter-Ruck is recognised as the UK’s pre-eminent media law firmapproach to reputation management. It is worth keeping a regular eye on the and has unrivalled expertise in advising a wide range of individualssearch engine results for your name (and any other relevant terms that and organisations who find themselves subject to adverse ormay impact on your business); it can sometimes take less than a day for intrusive media coverage. www.carter-ruck.comGoogle and the other search engines to uncover and display in their results FACT FILE:new material published on the internet. You should consider setting up aGoogle Alert so you are informed by email as soon as new internet contentcontaining your name becomes available online. GUY MARTIN, PARTNER, CARTER-RUCK Guy has substantial experience in media law,Consider bringing a legal complaint specifically intellectual property issues arising inOn becoming aware that unfair allegations are being published about you or a media context, breach of confidence/privacy,your work, it is worth considering whether it is possible and appropriate defamation and general reputation management.to make a legal complaint in order to stop the publication. If the comments His clients range from sovereign states to high-rankingappear to be defamatory, are untrue and you believe that they will impact dignitaries, leading business people, universities,on your reputation or business, you should consider seeking specialist legal celebrities, religious leaders, multi-national corporations,advice. Some firms of solicitors are prepared to act on a conditional fee authors and publishers.(‘no win, no fee’) basis. LUKE STAIANO, SOLICITOR, CARTER-RUCKConsider a complaint to the website or webhost Luke specialises in defamation, privacy and allIt is possible to bring a legal complaint against anyone involved in the areas of media litigation and reputationpublication of a defamatory statement, not simply the author. This is often management. He advises a broad range of clients,important in the context of comments on the internet as the author may have including governments, heads of state, MPs,posted the allegations under a pseudonym and so be difficult to trace. celebrities, sports stars and leading business people, and has Of special importance is the role of the owner of the website and the achieved significant successes against numerous national andinternet host: they may be liable for the defamatory comments, so it is worth international media organisations. www.professionalphotographer.co.uk 97
  • 78. COPY The issue of copyright can be a minefield. Knowing the stage at which your images legally become yours is of vital importance if youCAT want to protect your work. We asked our champion of photographers’ rights, Pete Jenkins, a photojournalist for more than 30 years, to explain where you stand. works. At the same time British copyright law was extended to all its possessions across the world. The British Government also signed the Berne Convention of 1886 for the protection of literary and artistic works, which was agreed by the major European powers, but the United States didn’t become a signatory until 1989. Berne wasWHAT IS COPYRIGHT? A BRIEF HISTORY OF UK COPYRIGHT important as it established the principles ofCopyright is not something you can touch; rather The protection of one’s intellectual property international copyright, and these have beenit is the idea of protecting a creation or the has been discussed since the time of the ancient strengthened over the years with revisions orphysical expression of an idea. Typically, this can Greeks. However, it was not until additions in Paris, 1896; Berlin, 1908; Berne,be an essay, photograph, article, film, web page, the Statute of Anne of 1709 – named after 1914; Rome, 1928; Brussels, 1948; Stockholm,book... All are the creations of one or more the Queen in whose reign it was enacted – 1967; and Paris, 1971. Berne sets minimumoriginator, and are protected by international that intellectual property was accorded a true standards of copyright protection, but allowscopyright laws. legal status. individual countries to require higher standards Copyright arises when a work (like a of its own nationals.photograph) is created, if it is original, and Statute of Anne (1709)exhibits a degree of labour, skill, or judgment. Fundamental in establishing today’s copyright Copyright Act 1911Interpretation is related to the independent laws, it recognised both the author being the This Act was used to bring the UK fully in linecreation rather than the idea behind the creation. owner of the intellectual work and the principle with the Berne Convention, as well as combiningFor example, your idea for a photograph would of a fixed term of protection for that work. all its copyright laws under one Act, abolishingnot itself be protected, but the actual photograph There was also, for the first time, the requirement several of the earlier ones.you take would be. Someone else is still entitled for copies of any work to be deposited withto photograph the same things you do, provided designated libraries. Copyright, Designs and Patents Act 1988they do not directly copy or adapt yours when This Act made a major overhaul of the UKthey do so. International Copyright Act 1886 and the Copyright Act, and became law on 1 August An image does not have to be registered Berne Convention 1989. This established many of the currentto be protected; under copyright it is automatic. By the mid-1870s a Royal Commission had aspects of copyright law that we now take forIt doesn’t even have to be published. established the need to improve British copyright granted, including the ownership of copyright byA photograph on your computer, taken by you, legislation and to extend copyright agreement the creator for the creator’s lifetime and (asis protected in the same way as the photograph on internationally. The initial agreement with the amended) for 70 years after the creator’s death, asthe front cover of this magazine. United States also got rid of the need to register part of his or her estate.98 www.professionalphotographer.co.uk
  • 79. BUSINESS SPECIALSO WHY IS COPYRIGHT SO IMPORTANT? I commissioned the work, therefore all the If my image is published I shouldIt is copyright that allows creators to sell their images are mine to do with as I wish. automatically get a picture credit.work or, more to the point, sell licences to use > Before 1 August 1989, it was true that the > You would think so, wouldn’t you? But this iswork. It doesn’t matter whether you are struggling commissioner of a photograph generally was actually not the case. One anomaly of currentto make a living supplying the local paper deemed to be the person who held copyright. British copyright law is that photographers have(freelance or staff), or a successful wedding Since the 1988 Copyright Act it is always the to assert their right to be recognised as the authoroperator, it is copyright that allows one to sell creator who has copyright of any created works of their own work. What is more surprising, butone’s images, whether it be a licence to print in (employees excepted). no less galling, is that even when this is asserted,a newspaper or an expensive photo book of the newspapers and magazines are under nohappy day. The pictures are of me, therefore they belong obligation to credit their contributors. Indeed, in the current business climate, when to me.some newspapers and magazines are shrinking in > Unless you are the creator, or the creator’s Creative Commons licences (CCL) protect me.size and using (and commissioning) less work, employer, you have no ownership of any image > This licence allows others to download yourand with publishers doing their best to force taken in a public place, even if it is of yourself. work and share images with others as long as theydown both commission fees and space rates, the (There may be some limitations on how mention you and link back to you, butability to market an image and sell its use to an image may be published, but this is not a (supposedly) they can’t change them in any waydifferent clients is for many the only way to stay copyright issue.) or use them commercially.in business. In my opinion, only those who do not earn Copyright makes the business model of stock It’s my house; therefore the pictures you took money from creative works, or who do notphotography possible. Photography sold as stock of it are mine also. understand what copyright is, or how it protectsis licensed to a client for use in a particular way, > As with images of people, unless you are the creators, champion CCL. Make your materiala particular size and for a specified period. creator, you have no control of an image taken in available using a Creative Commons licence andThe greater the use, (usually) the greater the fee. public, even if the property belongs to you. you immediately lose control of it. It is far easier (There may be some limitations on how images of (and better) to get people to ask permissionWHO OWNS WHAT (AND FOR HOW LONG) property may be published, but, again, these will to use your work; you can then stipulate theFor a freelance (sole trader) this is very simple. not be issues of copyright.) terms and conditions.The creator is always the owner of the copyrightand the copyright period lasts the life of the I can copy your photograph and the new ORPHAN WORKScreator and for 70 years from the end of the year negative (or RAW file) is mine, therefore I have It would be remiss of me to discuss copyrightin which they die. The copyright is then vested in the copyright in the copy. without at least briefly mentioning ‘orphanthe estate of the creator. So it is important when > Copying an image does not create a new image. works’. The current (government) definition of anmaking your will to take specialist advice with Any image on a copy negative or RAW file is still orphan work is one whose creator cannot beregard to the image rights that form part of your the copyright of the original creator. immediately located or identified.estate. In my case, for instance, the rights to myimages will probably be my single largest legacy, It has been published on the web so it is now in the public domain and free to use.and libraries and portals are likely to be payinglicence fees for many years after I am gone. > No! Publication never confers ‘public domain’ “Copyright makes the For the employed worker (those on PAYE), it isdifferent. For work created during the course of or ‘free to use’ status. This has to be specifically decided by the creator. Many creators are quite business model of stockemployment, copyright is vested in the employer,or the employing company. The copyright period happy for their work to be used by anyone, but one cannot know this is the case without asking photography possible.lasts for the time of the creator’s life and then 70 permission. Taking or copying someone else’s Photography soldyears. In the case of employed workers, the imagerights do not form part of the creator’s estate; image to use for yourself, without permission, whether or not the use is a personal one or for as stock is licensedspouse and children etc will not benefit fromfuture licensing of the work. a website, is theft, and one lays oneself open to the full power of the law (penalties can run into to a client for use in Where two or more creators are involved in thecreation of an image, then the copyright period thousands of pounds). a particular way,will be from the end of the year of the death of It is an old picture, I don’t know who took it, a particular size and and I can do what I like with it.the remaining creator, plus 70 years. > Just because it is an old image does not mean it for a specified period.COMMON MISUNDERSTANDINGSDespite being very simple, it is surprising how is out of copyright, and using such an image without the permission of the copyright holder is The greater the use,many misconceptions there are about copyrightand how little some people understand it. still image piracy (theft). Relatively few images now available are actually out of copyright, and (usually) the greaterThese are some of the most common errors: even fewer in the case of published ones. the fee.” www.professionalphotographer.co.uk 99
  • 80. BUSINESS SPECIALSo what exactly is the ‘orphan works COPYRIGHT – THE FUTURE to publishing without the creator’s expressproblem’? Like most creators, I welcome the 1988 Copyright permission.The problem is that libraries and academic Act, but there are a number of anomalies thatinstitutions needed access to already published need clarifying, the most obvious being in the The right of withdrawal: The author maywork for cataloguing in digital databases. area of moral rights. withdraw a disclosed work in return forWe already have the British Library Newspaper Moral rights are frequently misunderstood, compensation to the publisher. If a photographercollection, in Colindale, north London, where all especially by those who don’t think they have any is unhappy with the use of an image within aUK newspapers are stored and catalogued. to defend. Indeed, many creators who actually do particular publication, campaign, or context, theyPersonally, I think it is a fine idea to digitise this have a vested interest in their own moral rights should be allowed to prohibit use even when thecatalogue of history and created works. often state that it is not an issue – mainly because work has been commissioned.(Remember the articles and photographs they don’t understand the concept or the facts.contained within were originally created by But in today’s world of Facebook and Flickr, These rights need to be inalienable (althoughpeople like you and me.) of MySpace and Twitter, internet-based social waiverable) and be supported with legislation. The potential exploitation is already with us. networking makes everyone a creator and Furthermore, for these rights to work they needOn 19 May last year the British Library everyone a publisher. proper legal support both in law and with theannounced a commercial collaboration with means by which enforcement can be initiated andonline publisher brightsolid, owner of How would you feel if a major newspaper took function. Misuses, lack of credit, deliberate orbrands including findmypast.co.uk and Friends your image from your Facebook site and careless transgressions all need financialReunited, to digitise the National Newspaper published it, but didn’t give you a credit or sanctions which are easily obtained and enforced.collection. The company will finance this effort pay you? The onus on enforcement should not be left solelyby selling views of newspaper pages to its to the creator, who is often not in a position tocustomers. The problem here is that neither How would you feel if a large company perform this function.brightsolid nor the British Library owns copyright followed your Twitter link and took an image In Europe, copyright is under examination andin UK newspapers and many of the articles and of yours and used it in an ad campaign and there are efforts to bring all European copyrightimages are still in copyright. Should brightsolid didn’t ask you first? laws up to the same high standard. In Germany,be allowed to profit from the work of others for instance, moral rights are already inalienablewithout some payment to, and permission How would you react if a political party took a and one does not have to insist on credits.from, the owners of the copyright? I don’t think personal image from your website and used it There is also an understood respect forso, do you? as part of their party literature, didn’t ask you, creators/photographers and an understanding didn’t credit you and didn’t pay you? that simply because it is published on the web it is not automatically a free resource.“Creators who actually do The moral rights that need to be put in place for photographers are: Conclusionhave a vested interest in The right of authorship or paternity: Copyright is the lifeblood of photography. With ittheir own moral rights Any user of the work must state the name of the author unless released from the obligation we can license our work time and time again, and ensure an income far into the future. One of myoften state that it is not an by the author. This right should be automatic and never require assertion. The release of most-used images is of a ‘yellow knight’ at a joust at a Robin Hood pageant. It has sold dozens ofissue – mainly because obligation should never be as the result of bullying or oppressive coercion. (The author/ times. Let copyright work for you – as it works for me. PPthey don’t understand the creator should also have the right toconcept or the facts. have a work published anonymously or pseudonymously.) SOURCESBut in today’s world of The right of disclosure: The author has the www.ipo.gov.uk/types/copy/c-about/ c-history.htmFacebook and Flickr, of discretion to decide whether, when and how the work will be made public. No one should be able http://copyrightaction.com www.stationers.org/MySpace and Twitter, to publish a work without first referring to the www.copyrighthistory.com/internet-based social creator, and abiding by the creator’s decision. www.wipo.int/treaties/en/ip/berne/ trtdocs_wo001.htmlnetworking makes The right to respect for the integrity of the work: The author may oppose any change, www.ipo.gov.uk/cdpact1988.pdf www.bl.uk/news/2010/pressreleaseeveryone a creator and distortion or mutilation of his work and any prejudice to his honour or reputation; no one 20100519.html http://creativecommons.org/everyone a publisher.” should be allowed to alter or change a work prior about/licenses/ www.professionalphotographer.co.uk 101
  • 81. stop press...We’re always keeping our eyes open and our earsto the ground to make sure we bring you the latest news, LATELY WE’VE BEENindustry rumours and kit from around the world... HEARING... G It’s been tablets, tablets and more tablets released at 2011 International name suggests, it is available in aluminium CES in Las Vegas, the world’s largest HDD (hard disk drive) and titanium SSD consumer technology show. A report (solid-state drive) versions. The aluminium by technology and market research version is crush resistant to 2,500lb and comes company Forrester Research in capacities between 250GB and 1TB, while predicted that sales of tablets would its titanium counterpart, that can withhold outstrip those of laptops in the US by 5,000lb, is available in 256GB or 512GB. 2015. The company already predicts All drives support USB 3.0, but are backwards that retail prices of tablets will fall… compatible with USB 2.0, and a FireWire G Nan Goldin says she no longer version is planned for March. For more on the wants to reveal to the world the Rugged Portable range see www.iosafe.com intimacies of her life – something thatPHASE ONE CAPTURE ONE Prices start at £189 for the 250GB aluminium HDD version. Available in the UK has been a signature of her work from the start. Goldin has been in thePRO 6 from The Tech Bag. Log on to shadows for a while but, perhapsPhase One has released what it claims to be its www.thetechbag.net coaxed by guest curator Patricemost professional RAW conversion and editing Chéreau, she exhibited a slide show ofsoftware to date, Capture One Pro 6. Suitable new work at the Louvre in Parisfor digital medium format cameras and more recently. The work, entitledthan 170 DSLR camera models, the application LEXAR MEDIA’S NEW Scopophilia, dwells on the fragility ofallows you to capture, organise, edit, share and PROFESSIONAL 133X human relationships, love and death… G Everyone loves a portrait of Ladyprint images and supports a file viewingapplication called Capture Pilot that works on SDXC MEMORY CARDS Gaga – if the latest magazine salesthe iPad, iPhone and iPod Touch, to let you see The launch of ever more figures from the US are to be believed.your images as you shoot. New features powerful cameras, as well as The pop star featured on Rolling Stoneinclude black-and-white conversion, keystone developments in HD video, (shot by Terry Richardson) andcorrection to reduce or eliminate perspective mean storage is always an issue Cosmopolitan magazines’ best-sellingdistortion and easy-to-use print options. for pros. With this in mind, issues of the year. Vanity Capture One Pro 6 is available from Phase Lexar Media is claiming an Fair’s Gaga cover was itsOne dealers in the UK, including The Flash industry first with the launch of its 128GB second-biggest sellerCentre where it retails for £199 plus VAT, 133x SDXC memory card. It has also released while US ELLE’swww.theflashcentre.com. For more details a 64GB version. With a minimum guaranteed collaboration withabout the software visit www.phaseone.com speed of 133x, the cards allow quick transfer of the Gaga was its third- high-resolution images and 1080p video. best seller of 2010… The cards retail at £249.99 for the 64GB andIOSAFE RUGGED £449.99 for the 128GB card.PORTABLE DRIVES www.lexar.com APPS WE APPRECIATE... G The more people read your blog, theThe latest in ioSafe’s series of hard-workingdrives is the Rugged Portable. Tough, as its FIRMWARE RELEASED more people know about your work. FOR THE PENTAX 645D Analytics App is designed for both Pentax has announced firmware iPhone and iPad, and allows you to updates for the 645D (which we access Google Analytics while on the reviewed in last month’s issue), which move to find out just how many people enable compatibility with SDXC memory are visiting your site. Price: £3.99 from cards. www.pentax.co.uk the iTunes App Store. www.professionalphotographer.co.uk 103
  • 85. legend Bert Stern 1929- “When a portrait evokes a feeling, then you’ve got something. Technique isn’t really important. What I want is a believable moment.” movie, Jazz on a Summer’s Day, with its lustrous Not only did it transform Stern’s life. Not only worshipping of Anita O’Day’s giant-brimmed hat. did it upend advertising. It also revolutionised our He shot Sue Lyon as the sexually precocious drinking habits. At the height of the Cold War, Lolita – reading a Superman comic. Realistically Stern convinced Americans to start a love affair or not, he believes he was the model for the with that most essentially Russian of liquors, photographer in Antonioni’s Blow-Up. Well, him vodka. Within three years, vodka was outselling and Bailey. “The sexual encounters seemed gin in the US – and Smirnoff had an 80% share. familiar,” he said. Still and all, though, that’s not the image that He was the great photographer of Madison really made Stern’s name. As giant as his Avenue dreaming. As Art Kane was to colour contribution to advertising was, his fame was magazines, so Stern was to 1950s and 1960s created by the pictures – the strange, strange advertising. He created not just the dream but the pictures – he took of Marilyn Monroe. The Last dream of the dream – the illusion, the wonderful, Sitting, he took to calling the three days of enrapturing illusion, that you could have it all. sessions – again, that religious echo, conflating That we all could have it all. the desires for transcendence and, well, desire. The TV show Mad Men’s history is false, Just weeks before her death, Stern managed to dishonest even. Copywriters had been king in the convince her, at the age of 36, to strip for him and immediate post-war of adman legend David the world. Ogilvy and his ilk. By the time of Mad Men’s Their impact, though, goes way beyond thePeter Silverton examines the Brill Building era setting, it was the image that obvious – and not at all cheap – thrill of acareer of a living legend whose ruled not the word. Photographers were king. diaphanous glimpse of the breasts of the world’scommercial images changed the You can pinpoint the date and place that power most lusted-after woman. The pictures provoke anface of advertising. switch started, too. It was 1953, just outside obvious question, of course – deliberately, I guess. the tiny desert community of White Sands, Did Stern have sex with her? Are these pictures of New Mexico. There, a simple – but stunningly the afterglow of a one-night stand with a womanBert Stern was born – as Bertram – “early lit – picture was put together by Stern. who, by any account, launched a thousandin the morning” on October 3, 1929, into The landscape is washed out, drained of colour, dreams? A shallow, prurient question, of course –eastern European Jewish Brooklyn. its emptiness a siren call to our unfulfilled – in and all the more profoundly human for it.Like other sons of that immigrant world, truth, unfulfillable – desires. I think there’s another possibility, though,he lost himself – and so found himself – in Its composition is a series of triangles, invoking which might account for their longevity. It’s not athe imaginary universe of comic strips, – however unknowingly – the formal requirements comfortable one. It’s this. Monroe is drunk,particularly the fantasy dreamed up by of Renaissance devotional painting. There’s a man lushed-up, glazed-eyed in almost every shot.a couple of young Jews in Cleveland. in a black suit and hat on a gate-backed chair, She’s like a young girl who was been persuaded“Superman was my only reality of the time,” both in profile. There’s a Martini glass – Baccarat to shed her clothes for the camera by a smart,he said in 1981 – when he had not long Crystal, naturally – and a lemon, smack at the calculating photographer. And that, troublingly, is,returned to work after years spent in a eye’s focal point, almost sluttishly enticing in its I think, why the pictures have had such anwilderness of self. shameless, flaunting, Mediterranean brightness. after-life. They capture – both knowingly and Before those lost years, though, he had become And, there, in the foreground, is the point of the unknowingly – our universal complicity in oura Superman himself, of sorts. At his height, he image – a bottle of Smirnoff vodka. creation of Marilyn Monroe as a sacrificialhad a four-floor studio in central Manhattan, with Overnight, advertising switched from telling us princess for our own unspeakable complexities.the fastest lift in the city rushing him up and what we wanted to illuminating our secret Now that’s a photograph.down the building to consult with clients. He lived dreamscapes for us. Show not tell. “Becoming a Bert Stern is alive and living on East 39thin a penthouse across the street, with his own famous photographer took me about 20 minutes Street, NY NY. PPswimming pool. one day,” said Stern, of the moment when that He had his own art superstore, called On First – Smirnoff ad appeared, full-page bleed, in theas in “on 1st Avenue”. (It failed.) He made the pages of LIFE magazine. www.bertstern.com GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK114 www.professionalphotographer.co.uk