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  • 2. You pay a price forswitching to Hasselbladmedium formatThe same oneyou pay for a high-end35mm DSLR£8,995 + VATThe new Hasselblad H4D-31. The H4D body, the 31 megapixel back, the 80 mm lens. Acomplete Hasselblad system for just £8995 + VAT. For high-end 35 mm DSLR users whoknow that image quality is everything but who thought they could never afford it. Until now.Visit or call us on 020 8731 3250 to find out more.
  • 3. welcome march I’ve spent a lot of time recently talking to photographers and readers, and I must say that it has been particularly pleasing to hear how many of you are responding positively to what we are trying to do. We have tried over the past year or so to create a magazine which not only inspires and informs but also tells it as it is. No false promises, no false hopes, just the facts as they are from the people who know. From what I have been hearing this is what you want, so we’re pleased to be able to bring you another issue of what you say you want and need. One of the people who certainly doesn’t shy away from reality is our sometime working pro Peter Dench. His diary seems to be building quite a following and, as ever, this month he lays his photographic soul bare in the Dench Diary on Page 40. Another regular contributor, Martin Middlebrook, this month shares his experiences of the camaraderie of photojournalists in Afghan Café on Page 37. I share my experiences of shooting my first book in Being There (and thanks for all the kind comments I have received concerning this monthly column) in Bringing it All Back Home on Page 23. And Clive Booth discovers the importance of blogs in this month’s Dispatches on Page 32. To round up this issue’s outpouring of personal experience we take a look at the growth of extremely personal photography which we are seeing in both book form in Me, Myself and I on Page 78 and in the blogging world in The New Kid in Town on Page 94, as well as its importance in a photographer’s life in The Personal Project on Page 72. The one name which most photographers agree on as being among the true greats is W. Eugene Smith, which led us and Peter Silverton to ask the question, “Was and is he the greatest photographer of all time?” You can read Peter’s answer in the article asking exactly that on Page 66. While we are talking about legendary photographers who are sadly no longer with us it seemed like a good time to reassess the work of Herb Ritts. He defined the visual aesthetic of the 1980s and 1990s before his early death, but was being forgotten until recently. You can find out more in Everyone’s Talking About Herb Ritts on Page 58. Add to all of this an exclusive interview with fashion and portrait photographer Nick Haddow on Page 88, the holy trinity of wedding photographers Yervant, Jasmine Star and Crash Taylor in a royal weddingEDITOR’S IMAGE: MATT HALSTEAD head-to-head on Page 83 and shootingTHIS IMAGE: HERB RITTS hard drives with shotguns on Page 97, and I believe you’ll agree that we are delivering on all fronts and hopefully getting it right most of the time. Grant Scott, Editor
  • 4. 51-891. PHOTO © Gregory Heisler. Light Shaping by Gregory Heisler Shot with flash lighting or in natural daylight? See how at LtdFor further information go to or call 0208 905 1507.Profoto is available from AJ’s (, Calumet ( and Pro Centre (
  • 5. NEW PHOTOGRAPHY 8 Portfolio The best of your work posted on to our online portfolio. 57 Exposure Robert Mapplethorpe returns to London thanks to contents march the rock band Scissor Sisters. NEED TO KNOW 23 Being There PP Editor Grant Scott recalls the experience of turning a personal project into an internationally published book. 32 Dispatches Clive Booth talks about developing his brand, website and photographic touch points. 37 Afghan Café Photojournalist Martin Middlebrook relives the camaraderie he found in Kabul with fellow photographers. 40 The Dench Diary This month photojournalist Peter Dench judges a camera club and survives January, just! 44 The World of Convergence Film maker John Campbell’s regular news-packed look at the world of convergence. 47 Frontline We talk to legendary art director and former Pentagram partner David Hillman. 55 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 58 Everyone’s Talking About Herb Ritts The legend of 1980s celebrity portraiture is remembered by those he helped make famous. Actress Carey Mulligan, taken by Nick Haddow. Discover his approach to photography in our interview on page 88. 66 The Greatest Photographer of all Time... The answer is simple. The answer is W. Eugene Smith. INTERVIEWS WITH... 98 Panasonic Lumix DMC-GH2 . Is it a stills camera? Is it a video camera? 78 Me, Myself and I 72 The Personal Project Award-winning photojournalist Kieran Doherty gets PP Editor Grant Scott has had enough of Dmitri Kasterine’s photographic life has been one. his hands on this gem of a camera to find out. introspective photography and so has photography Now in his 70s, he is having his work rediscovered. publisher Dewi Lewis. They both explain why and 103 Stop Press... what they believe to be the reasons for the fashion. 88 Let There Be Light The latest essential news, gossip and kit from the An exclusive interview with Scottish fashion and pro world. 83 The Royal Wedding portrait photographer Nick Haddow. Slamdown Three of the biggest names in wedding photography tell us how they’d shoot the wedding of the decade. NEWS & REVIEWS KEEP IN TOUCH 26 Subscribe 94 The New Kid in Town 14 Click Check out our latest subscription offers across all Blog photography is fast becoming the new platform This month’s line-up of the best news, dreams, our photography titles. for photographic curation. PP Editor Grant Scott themes and photographic schemes, plus our pick of wants to find out more about the world of reblogging. this month’s photographic exhibitions in the UK. 28 Podcast Free photographic discussion for the masses.NICK HADDOW 114 Legend 97 The Hard Drive Must Die We look at the great lost talent that was British Take a hard drive and a shotgun and see which 53 Feedback photojournalist Tony Ray-Jones. wins. It’s a simple formula with a surprising result. Your thoughts, your opinions, your page. 5
  • 6. CALUMET t ow us a it L27 g sh Vis nd gin 011 ta a 2 n s n Im arch o o s hM cu 6-9tFo Limited offer Save over Bowens Gemini 500R Twin Head Kit £249 The Gemini 500R monolight retains the unique ability to be powered from AC mains in the studio or the award-winning Travelpak battery unit out on location as well as boasting a range of new features designed to offer photographers not only ultimate freedom but unmatched power, durability and control too. This limited kit offer contains two 500R heads and Gemini Remote Control, bundled together with an 80cm x 60cm and Includes 100cm x 100cm soft-box, stands and kit bag. extra softbox £989.00 & remote control* 500R Kit BW4812UK Nikon Canon EOS 60D D7000 DSLR Discover your creative side with the EOS 60D. Express yourself by producing The new D7000 includes a range of stunning stills or Full HD Movies using new features to ensure superior image the vari-angle LCD screen and the quality including 16.2 effective advanced creative features. Featuring megapixels with the newly developed an 18MP APS-C CMOS sensor, 5.3fps Nikon DXformat CMOS image sensor. shooting for up to 58 jpegs and a 9-point cross type AF System. D7000 Body Only 355-875A £999.00 Canon EOS 60D Body 321-349A £829.00 D7000 w 18-105mm Lens 355-875B £1125.00 Canon EOS 60D +18-135mm Lens 321-349C £1029.00 Calumet Calumet 8000 Series Reflectors Tripods with Ball Head Calumet 32” (81cm) round, Amazing carbon fiber tripods, significantly lighter than zigzag style Soft Gold & Silver standard aluminum models without compromising reflector, with the reverse side performance. The 8x technology features eight layers of pure white. The combination carbon fiber designed to provide maximum strength and gives a mild warming effect on stability while keeping the tripods weight to a minimum. one side, with a reflective soft even white on the other. Calumet 8121 4-section Tripod includes head CK8121 £199.00 RM4030 £24.99 Calumet 8132 3-section Tripod no head included CK8132 £149.99 Calumet Pro Series Calumet Rolling Wireless Transceiver Units Camera Case RC1188 This unique, multi-functional, 4-channel transceiver can be used Holds up to two or three DSLR camera bodies, three or four additional either as a transmitter or as a receiver, in tandem with other lenses, a portable flash, and accessories, and yet it meets domestic units to fire portable flashes, studio flash heads, or cameras. airlines carry-on requirements. An expandable compartment can A choice of 4 channels offers a range of synchronizing options accommodate an optional tripod or lightweight stand case, and a with multiple flash and camera setups, and prevents your flash pop-out rear prop keeps the case at a comfortable working angle from being triggered by other flash units around you, making it and your equipment off the ground. Its exterior dimensions are perfect for photographing events and other location assignments. 14 x 10 x 20.75" (36 x 25 x 53cm) and it weighs 14.4 lbs. (6.5kg). CF0085 £84.99 RM2202 £149.99 All prices include Vat at 20%. Prices correct at time of going to press. E&OE. Call: 08706 03 03 03 Click: Visit: stores nationwide
  • 7. friends marchDavid Hillman Peter Dench Yervant Ted SabareseArt director Photographer Photographer PhotographerDavid is an iconic figure in the world Peter is fast becoming a Twitter Born in Ethiopia, Yervant won his Ted shoots all kinds of people, butof graphic and editorial design. sensation due to his regular, witty first photography award at the age especially relishes working withHaving art directed Nova, designed tweets. Yet he still finds time to write of 11, and in turn the admiration of non-professional models and actorsthe Sunday Times Magazine, created The Dench Diary for PP each month, the Emperor Haile Selassie. In 1975 who don’t fit society’s traditionalthe graphic identity for the Guardian feature in our monthly podcasts he moved to Melbourne where, definition of beauty. His personaland been a partner at the legendary and continue his career as an after leaving college, he went on and fine art work has won criticaldesign firm, Pentagram, his award-winning photojournalist. to become a master wedding acclaim for its conceptual andimpressive CV has seen him work Such has been the success of his photographer and scooped the 2010 graphic nature and been exhibited inwith many of the last century’s contributions to the magazine that he WPPI Lifetime Achievement Award. US and other international galleries.greatest photographers, from Man is now considering merchandising This month in PP, on page 83, he As well as shooting for commercialRay to Helmut Newton. David brings opportunities. If you have yet to enter takes on two fellow legends of and advertising clients, he alsoall of this experience to his advice in Peter’s world, do so by reading his wedding photography to see who guesses how other people light theirthis month’s Frontline on page 47. diary on page 40. can get the royal wedding gig. shots. Find out more on page 55. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane SALES EXECUTIVE Leigh Barr ORDER HOTLINE 01858 438840 Professional Photographer is published, 01242 265895 VISIT monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE Amy Pope EMAIL Archant House, Oriel Road, Cheltenham,, 01242 216054 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds CLASSIFIED SALES EXECUTIVE Bianca Dufty Fiona Penton-Voak, 01242 211099 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech GROUP COMMUNICATIONS MANAGER Lisa Flint-Elkins, Lucy Warren-Meeks, 01242 264783 01242 264751 EDITORIAL ASSISTANT Jessica Lamb MD SPECIALIST MAGAZINES Miller Hogg CONTRIBUTING EDITORS WHOLESALE AND RETAIL DISTRIBUTION London: Suzanne Hodgart, Geoff Waring, PRODUCTION MANAGER Susan Bozzard If you have difficulty obtaining Professional Photographer, Jonathan Worth. 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 01242 264767 © Archant Specialist. Archant Specialist is part of Archant Ltd. I While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. I Employees of Archant Specialist, and those professionally connected with the competition/ giveaway, for example, employees of the sponsor company, are not eligible to enter. I Unless otherwise stated, competitions/giveaways are only open to UK residents. I Prizes are as described and no alternatives can be offered. ABC certified circulation I The editor’s decision is final and no correspondence will be entered into. I Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. (Jan-Dec 2009): 11,816. If you are sending your entry by text and do not wish to be contacted, please add the word ‘NO’ to the end of your text message. If you are sending your entry by post, please tick the appropriate boxes on the entry form. 7
  • 8. PORTFOLIOEach month we share the bestof the latest postings from ouronline portfolio with ourmagazine readers, so for yourchance to appear inProfessional Photographer, goonline and start uploadingyour best images If youwant to see moreof any photographer’s work,go to their online profile toaccess their website details. JOANNA ZYSNARSKA, POLAND MICHAEL STUART-DALEY, UK DANIEL LACROIX, UK8
  • 13. Let Park Cameras help youexpand your Canon systemWe aim to replicate a consistent, unrivalled level of Free Canocustomer service ensuring that, no matter where your n/Park Cameras cphotographic interest lies, you can always expect the leaning cloth (RRPvery highest level of service: £4.99) wit• Complete range of Canon EF, EF-S and MP-E lenses and every prom h otional DLSR bodies lens purch• Official Canon EOS Professional Centre ased.• Award-winning customer service• Dedicated Canon experts offering unrivalled product advice• Touch and Try before your buy• Canon hire stock facility• Onsite test studio• Next day delivery via• Open seven days a weekTel: 01444 23 70 Find your perfect Canon lens Sport Photography Wildlife photography Portrait Landscape Wedding EF 70-200 EF 70-300mm EF 50mm f/1.4 EF 16-35mm EF 17-40mm f/2.8L IS II USM f/4-5.6L IS USM Standard lens featuring f/2.8 L USM f/4L USM The all-new EF 70- Designed to deliver superb quality and High performance ultra L-series ultra-wide-angle 200mm f/2.8L IS II USM ultra-high quality images portability. wide-angle Canon zoom lens that’s ideal increases the speed, along with lightning fast £299.99 L-series lens. It has been for weddings. performance and optical operation, the new Canon specifically designed Great flexible wedding quality of the mark I EF 70-300 f/4-5.6L IS Fashion & Beauty for improved edge-to- lens when used with an while maintaining all of USM telephoto zoom lens EF 85mm f1.8 USM edge image quality EOS SLR cameras with a the characteristics that brings a favourite zoom A highly practical medium that will meet the focal length conversion have made it a legend for range to the celebrated telephoto lens with strict requirements of factor higher than professionals. Canon L-series of lenses. superb delineation and professional user. £644.99 £1,978.00 £1,238.99 portability. Images are Great for capturing sharp and clear at all stunning landscapes. apertures. A flexible lens £1,217.99 for fashion and beauty. £315.99 All prices include VAT @ 20%. Prices correct at time of print. E&OE
  • 14. click Georges Braque, 1960. the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane © FRANK BAYH AND STEFF ROSENBERGER-OCHS – COURTESY SONY WORLD PHOTOGRAPHY AWARDS 2011 20th-century boys – and girls A new encyclopedia of the finest monographs by 20th-century photographers showcases such important photographers as Ansel Adams, Diane Arbus and Cecil Beaton. Many, like Terry Richardson and Wolfgang Tillmans (whose work is pictured below), areDAVID GIBSON still producing new work; however, what they all have in common is a huge contribution to the art form. Photographers A-Z features facsimiles from books and magazines and is Word on the street authored by German photography writer Hans-Michael Koetzle. The inaugural London Street Photography Photographers A-Z, by Hans-Michael Festival will take place this summer – from Koetzle, published by Taschen, £44.99, 7 to 17 July – but deadlines for the accompanying ISBN: 978-3-8365-1109-4. awards are looming. The competition, to determine the best emerging and worldwide street photographers, is divided into two categories – a UK student award and an international award. The deadline for both sections is 31 March. The festival itself will feature a diverse programme of exhibitions and interactive events at London venues, including the National Portrait Gallery, the V&A Museum, the British Library and St Pancras International train station. Highlights include the first UK exhibition of recently-discovered work by secret street photographer Vivian Maier, from Chicago, whose pictures were only discovered after her death, as well as work by photographer David Gibson. For more details and a full festival programme visit 14
  • 15. German photographers Frank Bayh and Steff Rosenberger-Ochs are finalists in the lifestyle section of the commercial category with this image, entitled Don’t Touch My Universe. Dench at Derby Sony World Photo 2011 In the last edition of Click we short list announced previewed FORMAT, the The Sony World Photography Awards 2011 short list has Derby-based photography been announced with 15 categories in the professional festival, from 4 March to competition under three genres: Photojournalism & 3 April. Fans of our regular documentary, commercial and fine art. Short-listed feature The Dench Diary will photographers come from as far away as Afghanistan, be pleased to know images Argentina and China, with several UK photographers from England Uncensored making the cut from more than 105,000 entries. by Peter Dench (one of which The winners will be announced on 27 April at a ceremony is pictured here) will be at the Odeon Leicester Square, in London, marking a move showing on a digital screen in the festival’s QUAD and Focus sections. Peter, who away from Cannes, which has hosted the ceremony in is returning to the city he left 15 years ago, said: “When the world’s heavyweight previous years. The overall Photographer of the Year willPETER DENCH street photographers gather, it’s time to take notice. I’m delighted Derby is win $25,000 and professional Sony camera equipment. hosting a festival fast becoming one of the most successful in the world.” To see a complete list of short-listed photographers visit For more details on the festival visit 15
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  • 17. Bohemian rhapsody Buy the Always at the heart of the post-war cultural scene, latest Ida Kar was a trailblazer who fought to have photography accepted as a fine art. She is a largely issue forgotten name in photography, but a new exhibition direct at the National Portrait Gallery brings to the fore There’s no longer images from the archive of the Russian-born any need to leave photographer who moved to London in 1945. As well the comfort of your own home to as iconic works, some of the images will be on public get your copy of the latest issue of© NATIONAL PORTRAIT GALLERY, LONDON view for the first time. Ida Kar: Bohemian Professional Photographer Photographer, 1908-74 is a three-month show of magazine. You get the latest issue her work and features portraits of artists and writers delivered direct to your door simply including Georges Braque (left), Henry Moore, by ordering straight from the Bridget Riley and Jean-Paul Sartre. website. If you live in the UK, it’s Ida Kar: Bohemian Photographer, 1908-74, free delivery. Go to the National Portrait Gallery, 10 March to 19 June, www.professionalphotographer. admission £3. Olympus XZ-1 Pioneer spirit A handy, neat addition to Converge, the festival dedicated to the kit bag, the new XZ-1 HDSLR film making, is being from Olympus is a held at the National Film Theatre, high-end compact offering in London, on 1-2 March, and a 10MP sensor, HD movie features pioneers of the HDSLR capabilities and a quality world such as Philip Bloom and Zuiko lens usually found documentary maker Danfung on DSLRs. Compact and Dennis. One-hour workshops will good looking, the XZ-1’s cover aspects of DSLR film making such as creative lens quality and speed make work and post-production workflow with award-winning it the ideal camera for editor Steve Sander. Film writer/director Richard Jobson pros who need to scout will be holding an acting workshop, where he will break new locations for their down a scene and demonstrate how he would bring it to next shoot and to create life on screen. PP editor Grant Scott will also be a guest mood boards. speaker, discussing the impact of convergence on RRP: £399. professional photographers. For more information visit 17
  • 18. Candid cameras Get up to speedLondon gallery Neil Turner, a vice-chairman of the British Press Yohji Yamamotothe Wapping Autumn-Winter Photographers’ Association and regular contributor NEIL TURNERProject Bankside 1998-99 collection. to our sister magazine Photography Monthly, will benever fails to running and teaching the new course inbring something photography and photojournalism at Up to Speedfresh and Journalism based in Bournemouth, Dorset. The course costs £4,000, plus £199.15exciting to the exam fees, with students learning how to cover news, sport and entertainment eventsart scene, and its using both stills and video cameras. They will also be taught writing skills and medianext exhibition, law at the centre based at the Bournemouth Daily Echo newspaper. The next MONICA FEUDIYohji’s Women, course starts at the end of September 2011 and continues until February 2012.sees them true to To enrol or find out more visit Runningparallel to theYohji Yamamoto exhibition at the Victoria & Albert Museum, the Foto Mags The Foto Mags Now app lets you enjoy our magazinesshow features the work of seven international photographers who on your iPad. You can download single issues orhave collaborated with the influential designer to convey his vision Now subscribe to Professional Photographer, Photographyof strong women. The pictures, by leading photographers such as Monthly, Turning Pro, Which Digital Camera and WorldNick Knight, Inez Van Lamsweerde & Vinoodh Matadin, Craig of Photography. Available in the iTunes store, the appMcDean and Paolo Roversi, perfectly match the spirit and vitality enables you to expand features, scroll around theof Yamamoto’s designs. page, listen to podcasts and view video footage. It evenYohji’s Women, the Wapping Project Bankside, 12 March to 14 May. works on your iPhone. For more information go iTunes or the App store.
  • 19. clickEast is east Land of our fathersIan Berry is a Taking Land: Crimea 2010 is a new hardback,Magnum master cloth-bound book published by photographicand regular publishing house Foto8 and Zoï Environmentalcontributor to our Network, a non-profit organisation. In true Foto8 © IAN BERRY / MAGNUM PHOTOSsister magazine style, the book features thought-provoking imagesPhotography by Swiss photographer Alban Kakulya to tell theMonthly. Born in story of the Tatars of Crimea. Exiled by the Soviet dictator Stalin in 1944, the TatarsLancashire in are now returning to this autonomous republic in Ukraine to reclaim their homeland.1934, he moved to The book shows how past and present interact as they try to create a new future.South Africa in his Taking Land: Crimea 2010, by Alban Kakulya, published by Foto8, £25,20s and documented the struggles of the anti-apartheid movement. ISBN: 978-0-9559580-6-9. www.foto8.comHe joined Magnum in 1962, having been invited by HenriCartier-Bresson, and has captured major world events in the courseof his career. In 1972, the Whitechapel Gallery commissioned In full focusBerry to capture the rapidly changing face of East London for the Focus on Imaging, Europe’s biggest annual imaging show, is this yearexhibition This is Whitechapel. Now, as this historic part of being held at the NEC, Birmingham, from 6 to 9 March. The editorial teamLondon undergoes major changes in the run-up to the 2012 will be on the PP stand as well as pro photographers such as Peter DenchOlympics, the gallery has revisited its archives to present 30 images and Martin Middlebrook, so come and say hello. More than 200 exhibitorsfrom the 1972 commission in a free exhibition. These show a side will be at the show, so it’s also a great chance to meet manufacturers andof the East End that was already disappearing in 1972. distributors, see the latest launches and attend seminars and workshops.This is Whitechapel, the Whitechapel Gallery, 11 March to Entrance for non-trade is £10 on the day or £8 by pre-payment online.4 September. For more details and registration visit 19
  • 20. We have done the hard work for you and chosen the best photographic exhibitions on show now or coming up soon. For a full list of exhibitions and events visit Angelheaded Hipsters: Images of the Beat Generation National Theatre, South Bank, London, SE1 9PX 020 7452 3400; Until 20 March The Beat Generation of writers and poets rose to prominence in the 1950s in reaction to what they saw as the conformity and materialism of post-war America. Allen Ginsberg was a leading figure of the Beat movement and his 1956 epic poem Howl!, in which he celebrates his fellow ‘angelheaded hipsters’, helped to define the generation. A collection of his photographs is Writer Jack Kerouac in 1953 making what Ginsberg described as a “Dostoyevsky mad-face” or “Russian basso be-bop Om” while now on show at the National Theatre and sheds walking through the Lower East Side of Manhattan, New York. light on this influential sub-culture. This freeALLEN GINSBERG exhibition (courtesy of Corbis Images and the Allen Ginsberg Trust) traces the early years and subsequent fame of Ginsberg, Jack Kerouac and William S Burroughs, while images from other photographers show the influence of the Beat Generation. Tumi Figures and Fictions: Contemporary South African Photography Mokgosi. Victoria and Albert Museum, Cromwell Road, London, SW7 2RL 020 7942 2000; 12 April to 17 July This spring the V&A museum will host an exhibition of contemporary South African photography, featuring more than 150 works which represent the vibrant and thought-provoking photographic culture that has emerged in the country since the end of apartheid. The images show people within their community or family surroundings and depict issues such as race, religion, gender, class and politics. The 17 photographers featured in the exhibition include established figures David Goldblatt and Santu Mofokeng as well as a newZANELE MUHOLI generation including Zanele Muholi and Hasan and Husain Essop. Each is represented by a series of photographs that question what it is to be human in South Africa at this time. Zed Nelson: LOVE ME Impressions Gallery, Centenary Square, Bradford, BD1 1SD 01274 737843; 4 March to 29 May Award-winning photographer Zed Nelson’s show at the Impressions Gallery this spring explores the cultural and commercial forces that feed the global obsession with youth and beauty. The images in LOVE ME depict cosmetic surgeons, beauty queens and bodybuilders alongside everyday teenagers, businessmen and housewives. Zed visited countries across five continents to capture images for the cross-cultural exhibition, which questions our views of what beauty really is and raises questions about our own vanities and insecurities. We talked to Zed Nelson about his career as aZED NELSON photojournalist in the June 2010 issue of the magazine; back issues are available from
  • 21. Bringingitall backhomeWhen PP Editor Grant Scottdecided to bring two strandsof his photography togetherhe found himself not only major eight-page articles and the occasional publisher Thames & Hudson, who were interesting portrait. As always with editorial commercial enough to ensure my book was seenhaving a book published but commissions, when you start working regularly but had a pedigree to ensure it was alsoalso travelling the world... for one title it is not long before rival publications are noticing your work and the phone begins well-designed and produced. I approached my contact there who was fortunately in a position ringing. I was soon shooting for LivingEtc, House to give the green light to the project if he It is often the case that & Garden and Homes & Gardens magazines, believed it made both artistic and commercial as photographers and getting commercial work for interiors and sense for the company and after a number of we can easily become design clients. I was now considered by one set of meetings we got the go-ahead. I say ‘we’ because pigeonholed. clients to be an interiors photographer who could I had soon realised when compiling the list of After approximately shoot portraits and by another set of clients as possible shoots that I was going to need help. five years of working a portrait photographer who liked shooting in Fortunately, my wife is both a novelist and a as a pro I found myself environments but could work in a studio if writer, and she agreed not only to help me in not just one necessary. This seemed confusing to me and to organise each shoot but also to oversee all of the pigeonhole but two! my clients so I decided to do something about text for the book, including interviews with eachSince first making the switch from being an art it and started work on creating a project which person included.director to working as a photographer I had would present me and my work clearly to both Although Thames & Hudson agreed to publishbeen taking portraits with some success, shooting sets of clients. the book they were happy for us to do everythingcelebrities and what I call “People you may The resulting concept was called Bringing it All else required to make it happen. Initially, becausehave heard of ” for editorial clients as well as Back Home. Based on my love for design and of my design background, they were keen for medoing a range of different portrait work for meeting people whom I admired I compiled a to design the book as well as photograph it, butcommercial clients. I had been lucky enough list of the world’s leading product, furniture, I was determined not to confuse these disciplinesto be successful in the now-defunct but interiors and graphic designers with the idea of and so I worked on the design with a friend,then-important Kobal Photographic Portrait photographing each of them in their homes, Jonathan Ellery, at Browns, an award-winningAwards and I was happy to be described as a wherever they lived, to see if the designs theyportrait photographer. created for us to buy and live with were the Just as I was feeling content with this state of same ones they chose for their own homes. “I have always seenaffairs I was contacted completely out of the blue The locations would range from New York toby the art director of Elle Decoration and asked Sao Paulo, Frankfurt to Barcelona, San Francisco photography as a passportto shoot a portrait and interiors story for themagazine in Turin. It was an exciting commission to Milan, and Derbyshire to West Sussex. It was not going to be a cheap project to complete; to enter worlds and meetand because I had always had a personal and I needed someone to help pay for it as well as people that I would neverprofessional interest in design of all types theyseemed like a great new client to work with. a format in which to present the final project. The answer to both problems would be a have had access to if it had I have always seen photography as a passport to publisher and a book. not been for my camera andenter worlds and meet people that I would neverhave had access to if it had not been for my Fortunately, as an art director I had designed and helped to edit a number of books for it is these opportunities tocamera and it is these opportunities to meetpeople and share knowledge that keeps me so photographers and about photography, so I had a pretty good understanding of what a publisher meet people and shareexcited about photography. Anyway, the shoot in was looking for when commissioning a project knowledge that keeps me soItaly went well and the magazine was pleasedwith the images; so pleased in fact that it and also some good contacts in the publishing world. In my mind the perfect choice for excited about photography.”started to commission me regularly to shoot my project was the art, design and photography Grant Scott 23
  • 22. “Having done my sums I same day and no stay-overs. The American sessions were going to require me to arrange the Evidently Bring it All Back Home was not a good title for Amazon, as it did not includeworked out that I would have shoots on the back of work I hoped to get over there from my US or UK clients. New York enough key words. At Home with the Makers of Style was suggested and settled upon. I wasto shoot all of the portraits wouldn’t be too difficult because I was often neither happy nor convinced by the reason for theand interior images with no working there but the rest would not be as easy. We got a great response from the people we new title. I felt the cold hand of a marketing department being involved in last-minutemore than five rolls of contacted who we wanted to include in the book decision-making. I may be wrong but I had seen12-exposure 120 film and and my schedule rapidly started to fill up. Design greats such as Alberto Alessi, Dieter this happen before and had to fight a similar battle as a designer. The same was true of theone pack of Polaroid per Rams (the man Jonathon Ive admits having cover. We wanted it to be type only; the publishers been influenced by when designing Apple wanted some images on the cover. A compromiseshoot. Cheap hotels, no products), Karim Rashid and David Mellor signed was reached, which worked for neither of us.assistant and the cheapest up and I started shooting. The adventures I had over the following six months will have Despite these last-minute problems the final book was a success. On its launch it wasflights I could find.” to be saved for a future Being There column but, featured across 10 pages in Elle Decoration and as you can probably imagine, plenty were 20 pages of Dwell magazine. Similar-lengthGrant Scott experienced. I managed to get to both Sao Paulo features appeared in the Observer, Times and and San Francisco on the back of commissionsdesign group in London. As I shot on Hasselblads for the San Francisco based Dwell magazine, forat the time and never cropped my pictures, the whom I worked. It led me to shooting in thesquare format was crucial to the images I created. favelas under armed guard on election day inThames & Hudson thought it was important that Brazil and playing football against the Applemy approach carried through into how the book development team on a warm Sunday morningshould look and suggested a square format, which in California.worked perfectly with the ideas that both Jon My four shoots in New York took place overand I had for the typography. The design and two extremely humid days running acrossformat were agreed upon, the final list of whom Manhattan dealing with a number of fragile egos.we wanted to photograph was confirmed and I did the shoot in Barcelona following coffeethe budget/advance agreed. Now it was time to in a rat-infested bar. In Frankfurt I drank a littlestart the project. too much wine with Dieter Rams and on It may surprise you to know that it is very returning from one of the Milan shoots in theunusual for any photography monograph early hours I forgot where I had left my car in(a book compiled of photographs by only one the Gatwick car park. In Paris I shot on a roofphotographer) to sell more than 1,000 to 2,000 in a storm and when it came to photographingcopies and many sell a lot less. When it comes to the legendary product designer David Mellorsales a major publisher would expect to have to (traffic lights, bus stops, cutlery and so much Telegraph magazines. It had both Frenchsell more than 25,000 copies before they could more we take for granted) I discovered he and American co-editions and sold reasonablybegin to recoup their investment. So any form of was not as well as I had hoped and that he had well. Did it achieve what I wanted it to do andadvance or shoot budget you get will be based on to be supported by his son and carer. reposition my work with clients? Not really, I justthe commerciality of your project. Basically will While shooting the book I had also been became the photographer who shot portraitsit appeal to those interested in more than just the editing the contact sheets, deciding the pace and and interiors who could also travel. If you want tophotography? Suffice to say that the people at which images which we would use. As the book see the completed book you can now buy it onThames & Hudson were happy to advance me a was to be compiled in designer surname Amazon (find it via its Amazon-friendly title),fixed sum and the rest was up to me. alphabetical order, the layouts were completed reduced from its original £19.95 to 1p and Having done my sums I worked out that I as we continued shooting. The whole project upwards depending on condition. You may evenwould have to shoot all of the portraits and was completed on time and on budget. When we be lucky enough, as I recently was, to pick upinterior images with no more than five rolls of delivered the completed work, however, the a copy from TK Maxx. Whoever said that12-exposure 120 film and one pack of Polaroid only disagreement with the publishers came over professional photography was exempt from theper shoot. Cheap hotels, no assistant and the two of what I consider the most important bargain bin? PPcheapest flights I could find. The European elements when it comes to creating a book:portraits would mean in-and-out shoots on the The name and the cover. GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK24
  • 23. SAVEUP TO£15! JOIN OUR PHOTOGRAPHY PROFESSIONAL TURNING MONTHLY PHOTOGRAPHER PRO 1 YEAR - 13 ISSUES 1 YEAR - 12 ISSUES 2 YEARS - 12 ISSUES SAVE £15! £36.87 by Direct Debit SAVE £15! £32.88 by Direct Debit SAVE £15! £44.88 by Direct Debit SAVE £10! £41.87 by credit/direct card SAVE £10! £37.88 by credit/direct card SAVE £10! £49.88 by credit/direct cardSAVE MORE!WHEN YOU SUBSCRIBE TO TWO MAGAZINES SUBSCRIBER BENEFITS Save up to £15 on a single subscription or up to £30 on a double subscription. Save up to £30 on FREE access to fully the cover price when searchable digital you subscribe to two editions of current magazines detailed and back issues – above. Order online worth £15. today. Every issue delivered straight to your door. If you would prefer your subscription in digital format, go online and subscribe today from just £15 a year at Terms & Conditions: Professional Photographer is published 12 times a year and savings are based on a cover price of £3.99. Photography Monthly is published 13 times a year and savings are based on a cover price of £3.99. Turning Pro is published six times a year and savings are based on a two-year subscription and a cover price of £4.99. Bookazines are available while stocks last. Free delivery to UK; add £3 to Europe and £5 to rest of world. Offer ends: 24 August 2011.
  • 24. COMMUNITYIT’S EASY TO AVAILABLE APPS NOWSUBSCRIBE FOR IPAD & IPHONEONLINE WWW.SUBSCRIPTIONSAVE.CO.UK/IMAGING Download all of them for free via iTunesCALL US 01858 438840 AND QUOTE PPP1FREE P&P TO UK WHICH DIGITAL WORLD OF CAMERA PHOTOGRAPHY JUST £3.99 + FREE P&P TO UK JUST £4.99 + FREE P&P TO UK Which Digital Camera informs you of World of Photography is an the best cameras and accessories on exciting, inspirational and essential the market. Purchase a copy today to addition to any photography ensure you have all the information enthusiast’s library, featuring only you need to make an informed images taken by the readers of decision on your next purchase. Photography Monthly.HOW TO JOIN OUR COMMUNITY SUBSCRIBE ONLINE FOLLOW US on Facebook and Twitter (@prophotomag and @photomonthly) VISIT OUR WEBSITES and
  • 25. 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 January Issue October IssueMarch Issue ICONS OF PHOTOGRAPHY THE SECRETS OF BEING A PROTHE PERSONAL PROJECT SPECIAL PP Editor Grant Scott and deputy editor Eleanor The team discuss the secrets of professionalThis month the regular team grapple with the O’Kane are joined by regular columnist photography. Veteran pros Grant and Peter relateimportance of creating personal projects for and photojournalist Peter Dench to discuss the their experiences of working alongside othersustaining, promoting and developing a importance of learning from the masters, and photographers and how these have influencedphotographer’s career. Should a photographer debate the point at which they believe a their working practices. With the days of theapproach the project in the same way as a photographer becomes an icon. The team talk communal darkroom and lab long gone, thecommission or adopt a different tack? We look about their own personal favourites and explain opportunity to share news and advice in personat photographers who have got it right and why they think they deserve iconic status. has disappeared. The team looks at new ways ofdiscuss whether there’s such a thing as too networking, including the PP’s United States ofmany introspective personal projects. December Issue Photography support group. PHOTOGRAPHIC COMPETITIONSAND THOSE YOU MAY HAVE MISSED… Grant Scott is joined by Eleanor O’Kane and September IssueFebruary Issue photographer Peter Dench to discuss the world of THE UNITED STATES OF PHOTOGRAPHYTHE BUSINESS SPECIAL competitions, the contentious Taylor Wessing The regular podcast team of Grant Scott, EleanorThe regular podcast team talk tax, finance and Photographic Portrait Prize and whether there is O’Kane and Peter Dench discuss the creation ofmarketing to coincide with the business special such a thing as a formula for winning. PP’s support group, the United States ofin the February issue. They look at whether Photography, which was launched in thepossessing business and photography skills go November Issue September issue. They talk about the origins ofhand in hand, discuss potential areas where SEXY OR SEXIST? the USP, which was a response to an article onseeking professional advice could reap rewards Grant Scott, Eleanor O’Kane and Peter Dench the loneliness of being a freelance photographer.and ask if current photography students are discuss why some images are seen as sexy while The team also asks if photographers areaware of the importance of business skills when others are labelled sexist. Does it depend on becoming isolated in a digital age and whychoosing a career as a professional photographer. context or are there other factors at play? support groups are more important than ever. PP28
  • 26. ADVERTORIALEpson paints a pretty picturefor photo and fine art printsProfessionals can reap stunning creative benefits from the new Epson Stylus Pro 4900Every photographer and fine artist searchesfor the holy grail of a printer that will givebetter-than-lab quality results on a widerange of media, accurate and consistentcolour and high productivity - yet doesn’t costthe earth to buy and run, or take up too muchvaluable studio space. The good news is that the new Epson Stylus Pro4900 ticks all the boxes. Whether you areproducing prints for display in photo and fine artexhibitions, or selling your prints as collectible art,this compact, 17-inch professional productionprinter sets new standards in long-lasting colour The Epson Stylus Pro 4900 is an idealprecision and productivity. printer for photographers wanting to print Epson’s innovative Micro Piezo printhead high-quality photographs and fine art, ink expertise and many years’experience in developing leading-edge printers for a wide range of media is used. Not only is thethe demanding photo and fine art market are colour extremely accurate but prints are durable,distilled in this new printer. It features Epson’s with excellent scratch and water resistancenext-generation 11-colour UltraChrome HDR inks, and are lightfast for up to 75 years, withincluding two blacks (matte and photo) plus black-and-white prints lasting well overa green and orange for a great tonal range and 100 years*.first-class results. Colours are accurate, reliable The Epson Stylus Pro 4900 prints on aand repeatable, even when printed on wide range of professional photographic produce limited, certified editions of theira variety of media such as fine art paper and and fine art paper, allowing you to create a original works, as well as guaranteeing exceptionalcanvas, and the Stylus Pro 4900 can match completely individual style of work. Choose from image quality and durability.98% of PANTONE colours. a range including roll media and high quality cut Complementing the superior quality output, cost The UltraChrome HDR ink technology gives the sheet output, featuring various surface textures and savings come from the Epson Stylus Pro 4900’sEpson Stylus Pro 4900 the widest colour gamut the latest fine art papers. incredible boost in productivity when compared toachievable today so you can produce everything Building on the success of its quality-assured similar models. It produces prints at 30m2 per hourfrom subtle greyscales to vibrant colours. The fine Digigraphie print solution, and responding to its and has minimum maintenance requirements.brush strokes, skin tones and textures needed customers’ requirements for a dedicated, Not only does the printer give excellent results,for fine art reproduction are all replicated to the high-quality fine art and photography media range, it does so at a low total cost of ownershiptiniest detail. Black-and-white prints benefit from Epson has launched its Signature Worthy brand and is ENERGY STAR® qualified for excellentthe addition of two black inks (light black and of media; a way for users to identify clearly the power efficiency.light, light black) producing neutral greys, products in its premium line-up. The flexibility from this new printer givessmoother gradation, enhanced shadow detail The Signature Worthy range will include Epson’s photographers and artists alike the power toand denser blacks. highest-quality cut-sheet media products that produce stunning results and the freedom to For anyone who wishes to produce prints to enable the best possible print results for artists and ‘exceed their vision’ and push creative potentialaccurate and repeatable profiles, an optional photographers alike. When used in combination even SpectroProofer offers automatic colour with Epson’s Stylus Pro print technologies andcertification and calibration. You can be confident UltraChrome inks, the Signature Worthy media colours on the print are identical to those in will deliver Digigraphie-approved results,the original image, no matter which substrate from allowing fine art and photographic artists to *See
  • 27. dispatches Clive Booth tales from the frontline of professional photography This month: Like many of us I am acutely aware of the importance of being far more visible online and making sense of and using social Clive ponders the networking to gain a regular audience, retain it and ultimately generate more work and importance of building an income. This whole subject raises more questions than answers and I’m not sure if anyone can online profile and shares answer with a high degree of certainty. It is most his ideas and experience likely that our web and social media presence will play an increasingly important role in whether we on getting it right. win or lose commissions. The power of our virtual presence cannot be underestimated; it is the web that, as a friend put it, “represents us in CLIVE BOOTH our physical absence” to share with others our work, thoughts and feelings, along with following our career and, sometimes, life journeys.32
  • 28. “Corporate giant Ernst & Young’s final decision to choose me from a short list of photographers was in part decided from their reading of my articles for this magazine which, although in print, are still in effect a monthly blog. They understood my passion for photography, the way I shoot, my workflow and working principles...” Clive Booth This was proved to me last year when corporate We want to learn as much as possible about a ways to an almost unlimited audience so easilygiant Ernst & Young’s final decision to choose me product or service and be in a position to know all and instantly. There may be billions offrom a short list of photographers was in part the available facts so we can make an informed conversations taking place at any given momentdecided from their reading of my articles for this purchasing decision. and yet it will always be the content that willmagazine which, although in print, are still in With the advent of the smartphone and, more make us stand apart from the competition.effect a monthly blog. They understood my recently, the iPad, our web and social media With this in mind I have started a project of mypassion for photography, the way I shoot, my presence is quite literally at the tip of our own to create a far stronger web presence.workflow and working principles, and felt that prospective followers’ fingers and the world is No matter how beautifully designed a gallery ofwhile I would be sensitive when working with moving increasingly towards delivering media on pictures or films may be, it’s no longer enoughdifferent cultures around the world I would also demand. Even the humble TV is now a mixed and our followers are always hungry for more anddeliver. In effect, by sharing the experience of media device with not just Freeview and Sky, but more information. It all started as a blog and Ihow I shoot, work and my feelings on previous the iPlayer, Demand Five, LOVEFiLM, YouTube, suppose the site will be loosely based on thisprojects, both personal and professional, I had I could go on. concept as I aim to update it at least two to threegiven them a glimpse of how I would work for So it’s clear that the web is more important than times a month. Whenever I try to explain thisthem. What Ernst & Young did was no different to ever and there has never previously been a time project to friends and colleagues I fail to come upmany of us when making a serious purchase. when we could communicate in so many different with a name. Obviously it’s a website, gallery, 33
  • 29. dispatchesblog and my presence online, a place where Ican share my thoughts, experiences, learning, “Gone are the days of designing an online portfolio and thenopinions and views, articles, pictures and films.LinkedIn, Facebook and Twitter will be conduits updating it every few months when we find the time andto it but not the site itself. Ultimately I would like have the energy. Our website is now a constant companion,to invite guests to collaborate and contribute andthrough this process link my site to theirs and vice a mouth that needs regular feeding.” Clive Boothversa. Being referred is a hugely important aspectof creating awareness and one that keeps me find the time and have the energy. Our website is once published is there for all to see and, evenlooking at my Google Analytics account nearly now a constant companion, a mouth that needs worse, is there forever. As with all forms of mediaevery day. regular feeding. Maybe a better way of looking at and communication, it is of course a tool and not As well as a window on new projects, my aim it is as a conversation taking place each day an end in itself and so as long as we haveis to edit work carefully from the past five years between us and our followers. Rather than our something interesting to say then people willinto relevant and interesting chunks for easy viewers, listeners and readers growing bored of listen and continue to follow. Personally I am notconsumption. The food analogy is a good one as the subject matter, it’s up to us to keep them a fan of Facebook, Twitter or even LinkedIn anda successful website, blog and Twitter/Facebook stimulated and wanting to come back for more. yet I now see them as essential for creating instantaccount should have a following with a perpetual We have somehow to make time for this and so awareness of a new project or posting on the site.appetite and taste for our own particular dishes of our website will require our input on a daily, Many photographers are tweeting on apictorial, written or moving media. In all good weekly and monthly basis. As the adage goes, the project-by-project basis announcing, “Follow thisrestaurants the menu will change and it is the more we put in, the more we get out, but we must shoot or that shoot” as they head off around thesame for the website. Here is where the biggest make sure that what we put in is going to be world; a great way to generate interest and alsochallenge will come for most of us; if we are relevant, representative and, above all, interesting. share learning and experiences. This investmentgoing to attract a following, then we are going to I have deliberately stood back from social of time could pay dividends in all manner of new CLIVE BOOTHwant to keep that following and even increase it. networking and have been, for the most part, a ways and need not be a one-way street. With anGone are the days of designing an online portfolio sceptic, finding little or no interest in what often informed following we could find that a simpleand then updating it every few months when we seems like a sea of meaningless nonsense that tweet or blog posting with a technical question34
  • 30. For me the critical elements of a marketing strategy can be applied equally to a handwritten advert in a post office window or iPad-ready webzine: - Who am I speaking to? - What is the message they should take away? - Is there a call to action? - What outcome am I looking for? - What am I going to do next? Your marketing materials, social media and web presence are now the cornerstones of your communications strategy. This is your commercial and artistic CV How long will a potential client . linger? How would you judge your brand from your own print, email and website, and would you know what to do next? Many businesses are investing in ever more complex websites and social media pages, often just to be there rather than to be competitive. Using this technology does not ensure tangible benefit, nor does it offer added value to anyone interacting this way. Every online brand-touch should be consciously managed for it to add business value. If you are blogging, plan your entries as if they are commissioned articles. If you are sharing opinioncould well be answered instantaneously. In effect learned from examples like SHOWstudio and we or advice, make it relevant. If you have ambitionswe could ultimately be carrying the intellectual can all take something away with us from such an to increase the breadth of what you offer, ensure aproperty of hundreds or even thousands of open, rich and free source of ideas. demonstrable shift in your portfolio.colleagues in our pockets. For me it’s still early days but over the next few The time Clive spent on brand definition in Many of you will be far ahead of me on the months I aim to share my findings, learning and 2009 established a clear direction for his workweb-based, virtual presence and social media experiences of building a better online web and and business. To promote his business he haslearning curve and yet there is someone who has social media presence, from concept, content and had to demonstrate both his capabilities andbeen pushing every boundary both creatively and design through to the nuts and bolts of software aspirations. He has continued to use a traditionaltechnically for more than a decade. Nick Knight choice and third-part plug-ins and services. portfolio but now, when the idea of a ‘book’ islaunched in November 2000 Before I wrote this article my friend Andy fast disappearing, it is equally likely to be aand the site’s groundbreaking projects have Watt, a brand/marketing consultant with more conversation around an iPad gallery or onedefined the manner in which fashion is presented than 20 years’ experience, particularly with generated by an immersive web experience.via the internet: Live fashion shoots, radio automotive manufacturers, gave me this advice… His new approach should ensure clients canbroadcasts, streaming TV collaborations and , remotely research his work and capabilities but ‘‘contributions from designers, film makers, actors, How often do you receive a business email also understand a little of his personality andmodels, musicians, scientists and chefs all imploring you to check out a new website, methodology as well. In common with any goodinteracting with a global community of dedicated become a Facebook friend or subscribe to a brand site, he is creating a compelling look andviewers. I am very fortunate to have worked with Twitter feed? Too often, what these requests have feel that demands closer inspection and, mostboth Nick Knight and SHOWstudio since 2006 in common is that they are evidence of a business importantly, consistently represents who he is andand the experience has taught me much, not least ‘doing marketing’ with a broad justification of what he be confident in what I do and share what I’ve improved visibility and customer consideration. In the ever-advancing virtual world, wherelearnt and my experiences; in other words, give it Virtual brand experiences differ little from real the line between information and overload isaway. In fact, without this learning and ones. As you might expect, the approach I constantly shifting, my advice remains the same:willingness to be transparent I would not be advocate is about sticking to the basics. question why you are investing time and effort inwriting this article. It’s like a form of karma; what Marketing is about generating awareness, interest your online presence, think about how this fits ingoes around comes around. It’s a big picture view and sales leads. This is potentially much less with how your business communicates andand can often unlock the door to opportunitiesthat had once seemed impossible. Knight says: “SHOWstudio is based on thebelief that showing the entire creative process,from conception to completion, is beneficial for engaging than investing time on a new website: on benchmarking, trend research, image selection and site design. How do you ensure, as a friend quoted to me the other day, that you aren’t “in the thick of thin things” busy GO ONLINE FOR MORE DISPATCHES ’’ crucially, consider exactly who is listening. PPthe artist, the audience and the art itself.” creating a new online presence without I’m not suggesting we all run and set up our a clear business outcome in mind? That’s a FROM CLIVE BOOTHown online magazines, but a great deal can be hobby not a business necessity. 35
  • 31. “Light Blue is my way of recordingwhere I am with my business. Lastyear I booked three weddings simplybecause Light Blue reminded me tofollow up enquiries – I couldn’t livewithout it.”James Davidson, Light Blue userThousands of photographers have discovered howLight Blue can help them run a busy and successfulphotography business. Managing a diary, contacts,communications and the financial side of things iseasy, and it’s simple to set up and customize yourbranding and templates.Download a free, fully functioning 30-day trial fromour website, and discover Light Blue for yourself.
  • 32. SOAPBOX metal door, an icy aperture in a 100m length of concrete wall, crowned with razor wire. Nervously you knock on the door and a peephole slides open, an Afghan security guard staring at you with an apprehension that gives up its truth in a clear and precise way: “My job is not for the faint-hearted, my life is not safe.” Keeping the international community in Afghanistan secure is the biggest source of employment, but also the most dangerous. They are more likely to be targeted by the Taliban than the international community is. You are recognised and the door is opened into a small courtyard, where you are greeted by two Afghan security guards with Kalashnikovs and an electronic scanner. You are carrying two cameras, five lenses, a couple of flashes, batteries and chargers, and a laptop, but after nothing more than a cursory check, you are cleared to go, another door is opened and you stroll into the garden of Flower Street Café. The tension you have been feeling all day is suddenly lifted. Your nostrils spontaneously empty themselves of dust Afghan and you take on the glow of Kate Winslet – and why not? You have faced death and now you can get a decent cup of coffee and a bowl of chips as recompense. You will be surrounded by NGOs and members of the international community, fellow photographers and shady-looking people in secret squirrel conversations, in a corner under a tree, away from the bustle and relief this place provides. café When I first visited Afghanistan in 2003, I landed at Kabul International Airport and doom filled my boots. In those days the airfield was littered with the wrecks of airliners that had been shot down, blown up, or simply got it wrong on landing. When times get tough in hostile Nothing wakes you from your environments you can always rely terminal slumber more effectively than seeing death on journalists and photojournalists to strewn across your path. I was picked up and taken to a café. As I sat there I felt like Jim Wormold in find or create a meeting point away Graham Greene’s Our Man in Havana. I had never seen so many spies. No, scrap that, I had never seen any spies, and yet this place was like from the frontline. While in Afghanistan, a convention. Every couple of minutes two men would walk in, say Martin Middlebrook found a Kabul café something to the café owner, a door would slide open and they would disappear out of the back of the building to deal in espionage and that was a place of photographic support, Afghan rugs. You could tell right away who was CIA and who was MI6; the movies have these details correct, I can assure you of that. My, what help and friendship. an introduction to the world of photojournalism, I thought. I spent the next 10 days driving around Afghanistan shitting myself. In a back street of Kabul, a dusty, potholed, spine-crushing, empty I don’t know where that café is now, if indeed it still exists, but Flower nothing of a street, is Flower Street Café. You wouldn’t know it, of Street Café is where it all happens these days and it is an oasis of peace course. The first challenge is to find the street, because every street amid all the turmoil. It has a garden, tables placed under shaded trees and in the Afghan capital looks the same. Travelling in Kabul reminds me of traditional seating areas under a canopy. Inside are two main rooms, manned a nesting colony of Arctic terns. Everybody seems to find their way home to the gunwales with consultants on laptops tapping like crazy, keen to get but I still can’t figure out how. There are no road signs, no distinguishing that report to ISAF or UNDP, or whoever. It has Wi-Fi, which is hard to put landmarks, every street is lined with anti-blast concrete barriers, every road a price on in Afghanistan. Internet connection is so slow and sporadic in a throng of Hazara people pulling their wooden carts, the Eddie Stobarts of Afghanistan. But tell your driver to go to Flower Street Café and, asMARTIN MIDDLEBROOK unerringly as those Arctic terns, he plonks you right outside it. Above: These guys are the real targets in Afghanistan – they are so vulnerable and the Except, and here is the odd bit about going to a restaurant in Kabul, you main target for suicide bombers. We got stuck next to this ISAF [International Security still can’t see it. No fancy neon signs or menu stands advertising tempting Assistance Force] convoy for an hour as the roads ahead were closed. It’s the time I fare, not the happy thrum of people queueing, or the sound of music. Just a feel most nervous. I actually got out of my car and walked away until the traffic cleared. 37
  • 33. Initially the riders were happy to play and let us shoot, but after a while things went the way they frequently do, and money was demanded. Lots of it, from most of the riders. In these situations you are ‘damned if you do, damned if you don’t’. If you don’t pay, things become threatening, if you do pay you have to pay everyone, otherwise those who haven’t received any yet will pester you relentlessly. If you do pay everyone, then they will come back for more, and more. You may not like it, but the average annual income is $500, so they can hardly be blamed, we would do the same. The main aggressor then claimed that his horse had gone lame due to the show they had put on for us, and a substantial fee was demanded. Of courseKabul that your expectations are managed for you. You sit down, order I declined, so he started ramming me with his horse, making it rear,a mango smoothie, fire up the laptop and discover you have 30 emails. and crushing me against a boundary wall. My knowledge of Dari, one ofTwo hours later you are still downloading them, but you will get there, andby the following Thursday you have managed to reply to half of them.The Afghan Government frequently disconnects the internet when it isconcerned about specific threats and in the first week of my visit in June it “Many days have moments like this, thatwas turned off a couple of times every day. It drives you crazy. You go to Flower Street Café for the sanctuary it provides, the burger and start pleasantly but turn ugly, and it’s atchips you can order, and the Wi-Fi you urgently need, but mostly you gobecause it is full of like-minded people with whom you can share such times when Flower Street Caféexperiences, security information and creative ideas. I needed to visit comes into its own. I won’t say that youJalalabad [about 100 miles east of Kabul] as part of my work this summerand I was receiving constantly conflicting security advice from the Afghan are scared, but it’s often stressful,Government, the US State Department and my main Afghan contact.Ostensibly I work alone without protection, so solid security advice is and the cumulative effect of this stresscrucial. In the end it is the first-hand advice of fellow photographers thatI always trust the most. They have been there, seen it, done it. So when is not apparent until you walk throughthe information became increasingly confusing I headed off to Flower StreetCafé to bend the ear of people I trust. the metal door of the café, put down I would meet a Canadian photographer called David Belluz there. He wasin Kabul waiting to get his papers approved for an ‘embed’ with the US your kit and order a coffee. It’s then thatmarines in Helmand province. He had been based out of Kabul for about you couldn’t be happier to be in thea year and was the perfect contact and a top man to boot. He had ordereda Nikon D3 that was being shipped in and he was like a kid in a sweet shop company of people you would call yourthe day it arrived. He shot down my Canon EOS 5D MkII with a frame rateof 11fps and a buffer that was staggering, and I sulked that life wasn’t always own, with the food and drink you wouldgreat as a Canon user, although, of course, my 21MP was substantially betterthan his girl’s blouse 12MP. call your own, speaking your own So to put it to the test, we left our coffee, jumped into my car and headedoff to Nadir Shah Hill, a plateau that overlooks Kabul and provides the language, emailing friends and readingfinal resting place for the last King of Afghanistan. On windy days it is theperfect place for kite flying and Afghan horsemen test their skills on the the BBC news.” Martin Middlebrookflat, dusty arena next to the royal mausoleum. On the day we turned up, animpromptu game of the national sport of buzkashi broke out among thehorse riders and we decided to see who was the better photographer, whosecamera was better and who would get the shot of the day. As it turned outwe were both crap. As David clicked away at 11fps I concentrated on notgetting killed by the barrelling stallions and dealing with increasinglyaggressive Afghan men. What started out as a fun shoot, testing our kit and our immature machobravado, eventually turned nasty, as incidents often do in Afghanistan.Right: Playing cricket in Jalalabad 20 minutes after a suicide attack –never trust US intelligence!Above: It always starts this way – smiling and happy…Opposite page: … But soon enough this bloke wants your dollars – would you say no?38
  • 34. SOAPBOX Afghanistan’s official languages, is sketchy at best (I can say ‘thank you’ and Every photographer you meet feels the same. They love it for the that’s all), so I shouted to David for support and between us we got back to opportunity it provides, for the experiences it throws up, but they can’t wait my car and escaped the menace. Many days have moments like this, that to get to the airport and go somewhere else. My experience of meeting start pleasantly but turn ugly, and it’s at such times when Flower Street Café fellow commercial photographers in the UK is they are very protective of comes into its own. I won’t say that you are scared, but it’s often stressful, their contacts, ideas and techniques; it’s not a United States of Photography, and the cumulative effect of this stress is not apparent until you walk through it’s every man for himself. The antithesis seems true with photojournalists. the metal door of the café, put down your kit and order a coffee. It’s then Everyone is in it together. Need a driver in Herat and they will know one; a that you couldn’t be happier to be in the company of people you would call hotel in Bamiyan, a quick call is made; want to borrow a lens, it’s offered in your own, with the food and drink you would call your own, speaking your an instant. It’s a collective sense of being part of something, part of a own language, emailing friends and reading the BBC news. community, which whisks you along on a tide of shared experiences and This is not a racist observation, it’s a truth. When I am working, I spend energy when you are tired, fed up and ready to throw in the towel. the great majority of my time with Afghans. They are truly wonderful This collective camaraderie couldn’t exist without a physical place for people, unfailingly helpful and polite, but understandably a lot don’t want everyone to meet, and in the world of internet and texts, nothing beats sitting you there, for them the occupation is a crime. On one day alone in Kabul round a table and bitching about what a tough day you have had. On more the police stopped me more than 20 times. You are followed and pushed occasions than I can remember, Flower Street Café has been my emotional around wherever you go, most smile cheerfully at you, but others make it saviour. When I have wanted to throw my toys out the pram and down tools, clear you are not welcome. I have been shoved over, had punches thrown a peaceful hour drinking coffee and eating chips, earwigging others’MARTIN MIDDLEBROOK at me, been followed on a number of occasions, and narrowly avoided being conversations and chatting with colleagues, means I have suddenly found my blown up. The duststorms whip up in the afternoon and the traffic is mojo again – what an island of civilisation in an ocean of stress it is. PP gridlocked. It grinds you down. By 5pm on most days you are beat and there is only one thing to do – get a mango smoothie at Flower Street Café. GOT SOMETHING TO SAY? TELL US YOUR VIEWS, GOOD OR BAD AT 39
  • 35. thedench 1st “Awful pictures every single one of them. Bad compositions, wrong exposures, the kind of photos drunk people take at parties with a cheap I return home and settle down with a six-pack and meet the assembled cast on the oche starring at the BDO World Darts in Frimley Green. A mandiary point-and-shoot camera. Gives real photographers a bad name.” The name is Dench. Peter Dench. In February 2010 the Sun newspaper ran a centre spread of my images on England with an howls like a wolf. A clip is played of another walking an invisible dog on a pink lead. The year is looking up. As the cans slip back I formulate a plan to kidnap commentator Bobby ‘Midas’ accompanying online gallery. This quote is a George and bundle him down to CashMyGold. response from Nickjlt posted in October. It was one of the gentler ones. He must have been 6th These are the dark times. Depressed, lonely pondering his reply for eight months. Today is and lacking any creative libido, I can’t get out ofWith few 1/1/11; the barrel of a new year presses the bed and stay ridden until noon. In an effort,assignments on temple. A year loaded with expectation, foreboding, paranoia, hope and solutions for a collect the post and open a package containing the book Closing Time by Kevin Casey,the horizon and toned abdomen. I’m reviewing 2010 looking for the positives to kick-start 2011. I think Nickjlt is 81 photographs of the lost pubs of Liverpool. I mourn each page, every picture a tombstone.the most one. I would have expected Sun readers to connect positively with the work, to recognise I didn’t order this! Who would be cruel enough to send it? Since I’ve been asleep two more pubsdepressing day of something familiar of themselves or their country. (The tabloid was a fixture in my adolescent are likely to have closed. I can only do so much.the year looming, household). Nickjlt, I will do better, I will learn to compose and expose. Sun readers everywhere, 10th The phone rings at 9.15am. Stern, leading German news magazine and loyal client, booksour resident you shall be my inspiration. me for a job. The year is afoot! At 2.22pm, the phone rings. Leading German news magazinecolumnist Peter 5th The first day back at work for many and I’m determined to meet it head on. Now is the time. Stern cancels the booking. I am not disheartened, for today I am the ‘all expenses paid’ guest judgeDench looks to Hit the year square on the nose. My mind’s blank, I don’t know what to do. Looking in the fridge I at the Kentish Photography Club. We meet at the Blind Dog in Canterbury, an aptly named venuePinot Grigio and find a ghost of Christmas past, a corked bottle of Pinot Grigio. I divide it into two pint glasses, top for a gathering of snappers. Earlier I had judged the club entries on landscape. After an initialnetworking for up with soda water and begin to spritz it back in the hope it will help me decide what to do. round of fours and fives for the two pictures submitted by each member I showed them to myinspiration. It does. I decide to go to the pub. Flicking through the papers for ideas and good news I chance daughter. She liked them and commented that photography “isn’t a real job, Daddy”.Welcome to the across my horoscope in the Daily Mirror. I scurried to put an extra pen mark over the of a sometime Taurus declares, “Later in the year Uranus is getting stressed under a relationship with Pluto... Back in the Blind Dog I survey the anticipated ensemble. First to be judged is the gloriouslyworking pro. you won’t be laughing when the planet of shock falls out with the planet of loss.” Brilliant, nothing buoyant Agnes. I wield her an eight out of ten, my second highest score, and search those to look forward to except a stressed Uranus. Estonian blues for moist adulation. Agnes is unmoved. The score for her second image is six. Local hotshot, commercial photographer and club Peter and most-improved co-organiser Jason Dodd, whispers that the lowest photographer Steve Baker. mark he has ever given is six. I continue to throw out the scores with the lethal precision of Phil ‘The Power’ Taylor. At one point I think some members might leave. At another I think perhaps I should. The evening is salvaged and I give a quick presentation and hand out the gongs, a trophy to 2010 overall winner Paul Spree and a signed ‘Dench’ to the most improved, Steve Baker. 11th Jason emails through the KPC ceremony snaps. Another email arrives from the member I marked lowest, well joint lowest; there were three least of the low. I’m thanked for my time and insight and told it was a turning point and JASON DODD springboard to do better. Later that evening I apply the same strategy and score my wife
  • 36. Above and below, left: Hopefuls for the title of Miss Leeds 2010, a regional heat for Miss England. Below, right: Student Felicity Walker celebrating her birthday at “After an initial round of fours and fives for the two pictures submitted by each member I showed them to my daughter. She liked them and commented that photography ‘isn’t a real job, Daddy’.” Peter DenchPETER DENCH 41
  • 37. A security officer for UnitedBreweries photographsa birthday cake to bepresented on behalf of thebodyguards to Indianbillionaire Vijay Mallya.a five out of ten. It doesn’t meet with the same The French festival of photojournalism held in street photography I deliver 85 files for latepositive response. Perpignan each September has screened five of inclusion in the FORMAT Festival running in my projects in the previous eight years. Having an Derby from 4 March to 3 April.12th Inspired by the company and productivity of exhibition is a greater achievement. This yearKPC members (I’ve not yet shot a frame) I decide I haven’t a new project. In a cheeky manoeuvre 18th Off to attend Orphaned and Ostracised –to stop being such a sad sack whimpering about I edit from my archive, slap on a new title and HIV in Africa, a talk by Carol Allen-Storey hostedmy predicament, and embrace the future. It’s time request a retrospective. at the Frontline Club. It’s a serious topic for ato do something significant. With one eye on the serious club. Up the stairs past the Robert Capabody clock the decades are ticking low. A project 17th Today is Blue Monday, statistically the most prints; if you run fast you can pretend to beI return to often for inspiration is August Sander’s depressing day of the year. Turn on the radio. landing on the D-Day beaches. Glass of red inPeople of the 20th Century, a collective portrait of Nicky Campbell reports that the average age of hand I’m seated under the Marc Riboud next toGerman society. In the Sander spirit I have tried a children being abused has fallen from 15 years the coat rack; the scent of shed women’scouple of test shoots for my UK interpretation. old to 13. In an odd effort to cheer up listeners outerwear cloys around. I first met Carol at theOnce, I erected a backdrop next to the dance floor they play some ABBA. I turn off the radio. Sony World Photography Awards VIP dinner inat, the nation’s favourite themed In October 2010 Thames & Hudson published the Cannes last year. A fascinating, fizzing redheadnight out. On another it was erect backstage at book Street Photography Now, featuring 46 of and 100 words a minute New Yorker talker.Miss Leeds. The results were pleasing. I’ve an the “world’s best street photographers,” I wasn’t She had me hooked by the fish starter. While theinitial list of other groups and locations I’d like to included, perhaps I was number 47. It has taken images aren’t exceptional (but then I am in thefeature, and get to work sending out requests. time, but my pride has recovered enough to order company of James Nachtwey and LarryRiding a new-found optimism for the year I a copy; it arrived today. It’s a beautiful book with Burrows’s work) Carol is and her passion andprepare my submission for Visa pour l’Image worthy contributors, Trent Parke and Lars commitment unquestionable. I look over at Don2011, which are being received until 31 March. Tunbjörk my highlight. Consumed by all things McCullin’s Shell-Shocked Soldier, Hue, Vietnam,42
  • 38. the Left: Vijay Mallya poses for photographs with the Mumbai elite on the dench yacht Indian Empress. Below: The tycoon discusses business on his private jet during diary a flight from Mumbai to Bangalore. this year, would have been nice to say Hello. “The week was spent in a machine-gun protected Back at the TM party Chezza pencils me in for a spring commission. Sweep past fashion air-conditioned bubble of privilege, attending his 51st photographer Julian Broad to say hello to Team birthday on Indian Empress, one of the largest private Telegraph: Sheth, Greenacre, Campbell, Captain Lavery, and rock up to comfy-looking Gary ‘lotsa yachts in the world, a welcome experience, I even ate off huggin’ Cochran. The bar tab soon dwindles. a silver platter. Shame Lionel Richie wasn’t coming this 25th I’m in the village of Farndon, Cheshire, year, would have been nice to say Hello.” Peter Dench standing outside Paul ‘my rock’ Burrell’s flower shop. Not my rock, but that of the late Diana, Princess of Wales. I’m here on assignment for and momentarily feel a fraud. Carol explains was in March 2010, a feature on cheese, and I Stern (they’re back) to shoot a portrait of the about returning to her subject time and again. pitched it. I’d like to ask what’s happened but former royal butler. “I can spot a paparazzo a mile On each visit she takes an album of photographs probably won’t. Many there I consider friends off ” comes the pronounced voice behind and Paul from the previous trip to help build a relationship rather than employers; might ruin a good drink. guides me into the shop past a picture of Diana, in the picture-making progress. Photojournalism I meet image producer Caroline Cortizo first and upstairs into a room where photographs of the is alive and well tonight, although the subjects of before we trot over to Mayfair and the Tempo royal family eagerly await my arrival. I explain the images don’t look like they will be for long. Club in search of the bar. Picture editor Cheryl once excusing myself from the Queen’s company The audience questions are Paxmanesque. Newman points the way. I consider Chezza to get a refill; apparently not protocol. Maybe I I decide not to ask what film she used (think it among the best and she’s responsible for some of should have offered to get her one. The shoot runs was TRI-X). The applause is loud, the lights are my career highs. One was spending a week with smoothly and Burrell is an engaging host. on and we’re back in the room. The 70% majority Indian billionaire Vijay Mallya, who owns United I’m served tea, given a lift in his ‘Chitty’ to the female audience form a fine denier flock. Breweries. We flew from London to New Delhi station and handed a signed copy of his book The There are many I recognise and I start to say on his private Airbus corporate jet. A £1 million Way We Were – Remembering Diana. Reading it hello, then realise I don’t know most of them but upgrade had included a bedroom, office, dining on the train has the women at my table in a Diana have become familiar with their LinkedIn table and bar with two billionaire-standard dither. It’s a late and welcome fee for the month. thumbnail and profile. I shall social network with barmaids. Announcements for take-off were A battle of superhero proportions is imminent. them in the morning, retreat down the beaches of considered vulgar. Only as we taxied the runway Dual-faced villain TAXVAT-Man beats an angry Normandy and head into the cold neon-lit night. did I decide to sup up and belt up. Mallya idly path to my door. I stand ready, slightly unsteady, leafed through a helicopter brochure; someone no your friendly, neighbourhood Imbiber-Man. PP 20th Today’s forecast, scattered drinking, longer on his Christmas card list had shot down a becoming heavy later. Tonight is the Telegraph previous chopper. The week was spent in a Magazine’s belated new year party. Historically machine-gun protected air-conditioned bubble of they’ve been my most prolific employer. privilege, attending his 51st birthday on Indian You can hear Peter in person each month on the Professional Photographer podcast,PETER DENCH Since my first contributing feature in June 1998 Empress, one of the largest private yachts in the more than 25 have followed, including seven world, a welcome experience; I even ate off a available on iTunes or on our website at covers. Things have slowed. My last commission silver platter. Shame Lionel Richie wasn’t coming 43
  • 39. [ THE WORLD OF CONVERGENCETo make sure you don’t get left behind in the rapidly changing genre that is DSLR filmmaking, John Campbell brings you the latest news, the most exciting films and thebest kit from this brave new world. ]ONES TO WATCH sensor’s image area? It can seem complicated andSOUND AND VISION it’s very easy to tie yourself in knots trying to figure it out. A short video by Mitch Gross could WEBSITE TO WATCH Shot on a Canon EOS 5D MkII, Human well ease the frustration of trying to work out how I have come across a really usefulPrints is a beautifully shot 1min 52sec film with and why this crop factor happens with varyingpost-production colour grading in Final Cut Pro. lenses fitted to different cameras. site that has a collection ofNotice how the editing and soundtrack work web-based tools for calculations thattogether; the rhythm of the edit emphasises the a-lens-is-a-lens-is-a-lens are related to HDSLR video orpastiches, and the mood is heightened by thegrading, which reflects the music stunningly. cinema. You can work out frame PENTAX IN THE MIX duration, frame-rate conversion, Pentax has commissioned a couple of films aspect ratio, file size, composition by different companies to show how the K-7 canTHE CAR’S THE STAR handle video. One of these, Uncle Jack, is a and light, and there is an impressive,As DSLR shooting has become popular, those quirky 5min 23sec film shot entirely at night in simple depth-of-field calculator.with a budget truly are pushing the boundaries Denver, Colorado. Created by Jamin Winans, the This is a free one-stop shop that willby shooting with more than 20 Canon EOS 7D film proves that it is not only Canon and Nikoncameras simultaneously. The VW Polo film Last which are striving to exploit the potential of allow you to prepare for your shootTango in Compton is a great advert, not only for DSLR video. The lenses used to shoot Uncle Jack more efficiently.the car it is trying to sell but also for showing were the SMC Pentax DA Star 16-50mm f/2.8 ED quality can now be realistically achieved, AL (IF) SDM, the AMC Pentax DA 10-17mmbecause hiring 20 RED cameras for such a job f/3.5-4.5 ED (IF) fish-eyewould be a nightmare and expensive. and the SMC Pentax DA Star 60-250mm. The second film, called The Rider, was also shot in Colorado.FOCAL LENGTH IN FOCUS you ever been confused by the focal length pentaxian1#p/f/13/of lenses and how that relates to the size of the Vez7qSrZfpc44
  • 40. WHAT’S HAPPENING NEW DEVELOPMENTS Dan Chung from the DSLR News Shooter website reports on a demonstration by Steve Heiner from Nikon USA and Rod Clark from Teradek of wireless and interference-free transmission of video to a laptop from a Teradek Cube encoder attached to a Nikon D7000. The implications has become are huge and will undoubtedly transform Sweden’s how we shoot. This innovation, coupled with PACK YOUR BAGS leading other wireless developments such as the The Cinema Out of Your Backpack Film short film remote follow focus, will help to maximise Festival is a celebration of DSLR film festival and freedom of movement for camera making. The main idea is that you take as this year will operators, especially when it’s a case of much equipment as you can fit into a celebrate ‘run and gun’. Once we were overloaded backpack and shoot either a three-minute its 30th with cables stretching from this and that film or scene from a feature idea that you anniversary. monitor, but we can now move freely. have. A selection of the films will be shown The festival shows more than 300 short at Baden-Württemberg Film Academy in films in five categories and explores the nikon-d7000/ Ludwigsburg, Germany, this summer, creativity and diversity of the short film followed by an awards show for the festival form. Covering everything from new films winners. You will have to be quick though to retrospective programmes, fiction, as submissions must be in by 31 March. documentaries, experimental work and animations, it should be well suited to all DSLR film makers. The deadline for SHORT AND SWEDISH entries is 30 June 2011 and the festival For those of you who are keen to get takes place from 24-30 October. Why not your films shown to a wider audience, the add yourself to the 300-plus films shown Uppsala International Short Film Festival last year? will be right up your street. The Uppsala www.shortfilmfestival.comKITJAG35 ELECTRONIC FOLLOW FOCUS There are three motors available, depending on Described as a revolutionary system by itsSYSTEM your lens. The J1 is light and fast; it rotates the makers, not only is the microRemote Finding lens barrel 150°, making it compatible with controller wireless – akin to high-endcritical focus most Canon lenses. The J2 has metal internal film-making equipment – but you canwhen filming gears with higher torque and faster speed. operate it with technology made for thewith DSLRs can The J3 motor is designed for a longer lens iPhone or iPod touch, which will allow yoube tricky – and the barrel is rotated 230°, which will make to calibrate your lenses to various degreesespecially while it compatible with older lenses. to maximise image quality. It has arunning and depth-of-field gauge that will show howgunning with a shoulder rig – so having a much critical focus you have, dependingfollow focus is critical. This entry-level follow REDROCK MICRO REMOTE on lens and f-stop. This setup is softwarefocus system by JAG35 is the new guy on the Red Rock has developed an amazing based, so if you are unable to calibrateblock. The electronic follow focus system is microRemote controller for its follow focus your own lenses, you will be able todesigned for HDSLR and is initially available system. Designed for professionals and download them from the internet, as longas a wired system, but will soon be able to use amateurs alike, this is really going to increase as someone has already calibrated the lensa wireless system that JAG35 has developed. your ability to control focus and depth of field, you are using. It can be coupled with theThe wired system is based around the M1, a thereby maximising critical focus. It can also microTape real-time rangefinder, whichsmall and light 15mm rod mountable controller be hard-wired will give you an accurate real-time displaythat can be powered using the company’s when you are of distance to subject and can be usedLi-On battery system. The controller can be in a position with the wireless remote or on its own.mounted on any 15mm rod and be rotated to where you are All in all, this system will surely breakvarying positions that can be reached easily unable to use new ground for DSLR film makers.and comfortably by the camera operator, even wireless you are using a shoulder rig and the handles. equipment. microremote 45
  • 41. HERTFORDSHIREThe Photographic Sopwell House 27th April 2011Trade Show MANCHESTER Man Utd Football Stadium 17th May 2011 For All Professionals COVENTRY Ricoh ArenaRegister now for your free tickets - 14th June 2011 WINDSOR Trade show 11am-6pm Camera Clinic FREE Entry Product Demonstrations Royal Windsor Racecourse 29th June 2011 FREE Seminars Digital Advice BRISTOL NEXT EVENT Ashton Gate Stadium 19th July 2011 Edinburgh DUBLIN Royal Highland Centre Croke Park Stadium 29th March 2011 6th September 2011 KENT Brands Hatch CircuitFor more info about your local show and to register for your free 18th October 2011tickets go to or call 01634 296 001 LONDON Royal Horticultural HallsSPONSORED BY: 15th November 2011 Follow us on Twitter
  • 42. 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 speak to editorial design icon David Hillman, who designed the Sunday Times Magazine, art directed the groundbreaking Nova magazine between 1969 and 1975 and was a partner at design firm Pentagram. Highly respected in the industry, he has worked with some of the greatest names in photography during his career. Is it important to have a connection with the photographers you work with? I find it difficult to work with people I don’t like. They can be great photographers but if I don’t think I’m going to get on with them then it doesn’t happen, partly because I think it’s unfair and also because things don’t normally work out. I’m not saying I’m always right but on the rare occasions I’ve been persuaded to work with someone [against my instincts] I’ve regretted it. On Nova my office was long and narrow, maybe 10 or 15 paces to my bench, and about five paces from the light box to the door, and by the time the photographer had walked to the light box I had already decided if I was going to work with them. Over the years I have built up a portfolio of David Hillman photographers I really enjoy working with. The ones who worked with me on Nova magazine tended to be ex-magazine art directors so there StudioDavidHillman was an understanding about telling a story, be it in fashion or reportage. If I wanted to do a Careerhistory: montage, especially in fashion, there were certain photographers I knew who couldn’t bear the Designer: Sunday Times Magazine thought of me chopping up their work, while Art editor: London Life others would be more understanding of what I Designer/editor: Design for Living, was trying to achieve. Sunday Times Magazine Art director/deputy editor: Nova magazine On your website you have this quote, Freelance practice “The successful jobs are based on equal Partner: Pentagram Design partnerships and living off each other’s Studio David Hillman experiences.” Is that a sentiment you strongly advocate? For me, the relationship between the was no respect. The clients were buying design in photographer and the art director should be the same way they were buying paper or concrete, extremely close, a single team. We should work so the relationships were short-lived. When I together rather than it being a case of me ringing work with anyone there has to be trust. “I hate it that everythingHARRI PECCINOTTI / DUFFY / NOVA a photographer up and asking, “Can you do a How do you think the industry has changed? now is over-retouched; picture of this?” I refuse to be treated as a ‘supplier’, that word drives me around the bend. The most important thing about photography is for me that’s just laziness.” When I ran the Pentagram office in Hong Kong the relationship between the photographer we were always referred to as ‘the supplier’ and the subject at the moment you press the David Hillman and it really got up my nose. It’s why the office shutter. For me – and it’s not me being an old was never terribly successful, because there fogey – what I find is that the magic has gone out 47
  • 43. of photography and that’s to do with digital Are you seeing new work? Are you still cameras. When I used to work with photographers impressed by any new work that you see? such as Helmut Newton, Donovan or Man Ray, I do still see photographers whose work is they all had an inner sense of when they had the amazing. I use less photography now because of picture, even though they couldn’t see what was the type of work I’m doing but I still have a great on the roll of film at the time. With other interest in photography and go to shows. I’ve just photographers you knew that once they got past finished a project with the Royal Mail to produce the 10th roll of film they weren’t ever going the Olympic stamps and the original idea was to to get the picture, maybe because I’d chosen the invite 30 image makers of all disciplines, so we wrong photographer to do the shoot or did see photographers. We found it hard to get the because they weren’t really interested in the photography through, though. I think [clients] feel fashion or the subject. With photographers such that if it has an illustration they can interfere a bit as Donovan it could have taken just one roll of more but if it’s been shot they can’t, for example, film to get the shots, but nowadays so many reschedule a cycling race to reshoot it. In all the photographers press the shutter, look at an image time I’ve worked in the magazine and design on the screen and are forever adjusting business, photography and illustration have never accordingly. It’s taken the spontaneity out of it. been in vogue at the same time. I remember in the I hate it that everything now is over-retouched; 1970s and the 1980s they were always in and out. for me that’s just laziness. On Nova magazine we did hardly any retouching at all, partly because Are you seeing many books these days? it was so bloody expensive! The rule was that If we’re commissioning a job then I’ll get if a model turned up and she had a spot on the portfolios in, but I also get a lot of email flyers from photographers which I keep in a file so when I need to I’ll go to it and think, “Oh, I’ll get his portfolio in.” There are so many “With photographers such as photographers now and so many designers. Donovan it could have taken Is photography as respected as it was just one roll of film to get the when, for example, you were art directing Nova magazine? shots, but nowadays so many I don’t think so. If you look at the Sunday colour photographers press the magazines, none of them does the 10 or 15-page reportage picture stories they once did. I cut shutter, look at an image on my teeth at the Sunday Times Magazine with the screen and are forever Michael Rand as art director and Mark Boxer as Editor. They were commissioning every adjusting accordingly. fantastic photographer in the world and giving It’s taken the spontaneity them 10 or 15 pages. They were commissioning McCullin... people like Eve Arnold... other out of it.” David Hillman Magnum photographers, and these guys would be in the Sunday Times office all the time, so there would be a rapport between the end of her nose, well, then she was sent home. photographer and the person doing the layout. On one occasion when I was doing a 10-day When the photographer would go off to Beirut calendar shoot with Donovan, a model we had or wherever with a writer they would work interviewed about two months earlier arrived together as a team; now everything seems to and was about two stone heavier than she had come out of a picture library. been at the interview. We sent her packing. Today they would probably say, “We can What are you looking for in a portfolio? retouch that.” For me the surprise element and Originality. I’m not terribly impressed by the spontaneity have gone. photographers who have built their reputation These days it’s all about, “Can we have it now?” copying other people’s photographs. I do think and I suppose that is to do with computers and there is still original work out there. What is the internet. Once upon a time you’d come back interesting about photography now is that there from a meeting and send the client notes from are more artists doing photography as an art form. that meeting the following week, but now they I’m not sure if I agree with it or not but there areHANS FEURER / NOVA want them straight away. The problem is if you some people doing fantastic things. It’s really don’t do it straight away there are 10 others interesting when you have two photographers lined up behind you. I think that’s the big working on the same picture, when two problem the creative industry as a whole has. photographers are thinking about the concept
  • 44. frontlinerather than the style. I can remember workingwith Saul Leiter, who shot on a Leica. He onlylooked through the viewfinder once, the rest “For me, the old way of learning photography is to go off andof the time he was standing up, talking to themodel and only pressing the shutter when become a photographer’s assistant and that way you learnhe thought the moment was right. The idea of about everything, including the business. I always regret thatalways looking through the viewfinderisn’t necessarily the right way of doing it. when I was a student no one taught me how to cost a job or Something many students and even some write an invoice...” David Hillmanprofessional photographers don’t understand isthat, if you’re going to see an art director,don’t take every picture you’ve ever shot; not much difference between that and a 6ft 6in piece of paper, in theory it could become tedious.take 12 good images and if you can’t sell blonde model in a miniskirt. But every issue of Nova was a challenge.yourself on that there’s something wrong. That’s probably why it didn’t last very long! Should photographers have an understandingIs it important to show a breadth of subject of editorial design? Given your views on photography being morematter in a book? I think it’s important to have an appreciation of it. instinctive than formulaic, is there still aI think you’ve got to show what your passions are. We used to plan with the photographers. Even if it place for studying photography in higherThe commercial world is bad enough as it is, so was a studio shoot, they would think about how education? Is it still the best route in?you’ve got to be true to yourself. The idea of your the pictures would work together. So they’d think For me, the old way of learning photography is toportfolio is to show what you think you are best at about [things such as] change of scale and pace in go off and become a photographer’s assistant andand the way you think. Part of the problem is that the story rather than just plonk a model on a that way you learn about everything, includingthe majority of clients are looking for the solution white background and take 300 pictures. When I the business. I always regret that when I was HELMUT NEWTON / NOVAin the portfolio. If the job is to shoot a horse in worked with [Nova’s original art director and a student no one taught me how to cost a job orfront of the tree and you haven’t shot a horse or a photographer] Harri Peccinotti we sketched things write an invoice; that’s the type of thing you learntree, that doesn’t matter if your portfolio shows out, it was what made being an art director fun. from working with other people. PPyou know how to compose and light a shot, and it When I think about going into an office day afterlooks intriguing. If you can do that then there’s day and laying out pictures on the same sized www.studiodavidhillman.com50
  • 45. LOOKING FOR MUSIC?Amazing music to give your images an extra Our music is pre-cleared and can be used on ALL your commercial photographic projects/slideshows and websites. Listen Purchase Download The UKs No 1 producer of Royalty Free Music 01926 864068ROYALTY FREE MUSICFOR PHOTOGRAPHERS Tel 01926 864068
  • 46. set your standards high Emotion by Jack Eames ABIPP
  • 47. feedback.tell us what you think at I was sorry both chocolates. The very fact that not the image? Photography is about your fellow the image has got people talking keeping your eyes open and your podcasters avoided and thinking on both sides of mind and then trying to capture it. answering you on the fence should be what all artistic A brave image. Gene Smith. He is photographers strive for. alankemp1970, via the Professional also my hero and Should it have been short-listed? Photographer website while you have Of course it should. Whether the probably seen this judges choose it to raise the profile quote from Bruce of the competition or on its merits, Davidson – I believe they took the decision and that’s when Smith died – that. As to whether it should have here it is just in case. won, that depends on the judges.Dear Professional Photographer, “I think that he was and still is and Considering some of the tat I haveAt last, a spread on a still-life will be for a long, long time a guide seen hanging in galleries and publicphotographer [David Parfitt, for photographers to come and places, the image is positivelyFebruary issue] and an impressive for those people in photography who poetic. Purely from a technical pointone at that! Great article on have forgotten photography’s basic of view, then no, but if that’s allcopyright too but can we have a root: to personally reflect the world images are judged on, photographyfollow-up please, to cover a point that now surrounds us and be true to is in a very sad place.that cropped up twice: “There may that world.” Anyone complaining about thebe some limitations on how an I am haunted by your piece image on moral grounds shouldimage may be published, but it is on the Düsseldorf School [October really get over themselves. It’s the Dear Professional Photographer,not a copyright issue”? Also a 2010 issue]. The magazine just 21st century not the 19th; this is At the SWPP show I subscribed tocomprehensive guide to when model keeps getting better. what the female human body looks Professional Photographer and alsorelease forms and product/property Joe Partridge, via email like – deal with it. picked up a copy of Turning Prorelease forms are needed [Editor’s reply] Calvin Bartram, via email magazine. I was somewhat sceptical,would be greatly appreciated. For our piece on why we think concerned the content would be aJuliet Sheath, via email W. Eugene Smith might just be Dear Professional Photographer, run of “You too can earn £1,000s a the greatest photographer in the I’ve seen from all your comments day from your hobby...” articles butDear Professional Photographer, world, turn to page 66. on this aesthetically dull, technically I’m happy to admit I was wrong.I was saddened by but not surprised poor photograph, that no one It’s great to see open and honestat Grant Scott’s comments [in Dear Professional Photographer, has mentioned her hairy armpit. information as opposed to ‘get richpodcast 6] on students not knowing Personally I can’t see what all the Did anyone notice? quick’ content.about iconic (or for that matter any) fuss is about [regarding the image EricPember, via the Professional Chris Turner, via emailphotographers; I believe that looking Portrait of My British Wife, Photographer websiteat other photographers’ work helps short-listed for the Taylor Wessing Twitter account focus the eye. I teach three hours Photographic Portrait Prize 2010 Dear Professional Photographer, Send us a message via oura week City & Guilds night classes and featured in the December issue What’s wrong with everyone? accounting @NiallMcDiarmidand, as well as a photographic on our Exposure page]. Yes, the Have you actually read the title and Great podcast on photog business/assignment, my students have to image is competent at best but looked at the image? She’s a wife,research a photographer each week. without the provocative view under freshly washed, home-cooked foodWe then put up examples of their the skirt the image is ordinary. has just been eaten, she’s clearly at Reactions to Has the Düsseldorfwork and discuss it. It has been a It’s the seemingly calm breaking of ease with the man she loves and School Killed Photography?brilliant success and whether it is taboos that makes it stand out. I am being very suggestive; a rare image Great piece. Thoughtful andthe lady who works at the optician’s sure it appeals to a base instinct but of someone’s wife in an usually thought-provoking, just like a proper aren’t... @jmclphotofeeling liberated by Nadav Kander surely there is nothing wrong with private moment. If you haven’t creative mag should be. But so manyor the careers adviser getting excited that. I am tired of seeing soft-focus experienced such a moment in your photographers astray! @Senezio PPover Martin Munkácsi the effect portraits that don’t inspire anything life and recorded it to memory NO, but it has led lots ofon their pictures is tangible. other than images of Dairy Milk maybe the problem is with you, 53
  • 48. At Focus on Imaging 2011 stand F40 Image by
  • 49. 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.STEVEN MEISEL/VENUS IN FURS, VOGUE ITALIA, NOV 2010Steven’s sizeable fashion story Venus in Furs, in the November 2010 VogueItalia magazine, shows a collection of androgynous, porcelain modelssplayed on top of each other. The lighting is flat, but deceptively so.With two strobes, there’s just enough shadow to pique our interest andseparate the models from the background.Camera: Hasselblad H2 with Phase One P45+ digital back and 80mm lens,set on a tripod 12ft back. Shot at 1/125sec, f/8, ISO 100. STEVEN MEISEL / VOGUE ITALIA Lighting: The key light is a large Octabank at f/8 boomed high above the group and slightly in front of them. A white beauty dish at f/5.6 ½ (-½ stop) with a sock is set 3ft to camera right, 4ft off the ground.Remember, this is called ‘Guess’ the Lighting. Therefore, all lighting, The white floor and walls act as giant reflectors and help to flatten thecamera, lens, grip, f-stop, shutter speed etc information may not overall lighting feel. PPhold up in a court of law. There is a lot of guesswork in guessing. 55
  • 50. exposure Images that have us thinking, talking and debating...ROBERT MAPPLETHORPE FOUNDATION, USED WITH PERMISSION. COURTESY ALISON JACQUES GALLERY Peter Reed, 1980. Robert Mapplethorpe’s impact on both the photographic and art world in the 1970s and 1980s was profound and shocking. He embodied the sexual drive of New York in a similar way to that of rock band Scissor Sisters now. They are marking the influence of his work on theirs by featuring him in a group show they are curating. As Mapplethorpe said: “Beauty and the devil are the same thing.” PP Robert Mapplethorpe: Night Work, curated by Scissor Sisters, Alison Jacques Gallery, Berners Street, London, W1T 2LN, until 19 March. See for more details. 57
  • 51. LEGEND Herb Ritts Everyone’s talking about HERB RITTS No photographer captured the glamour, excess and sexual freedom of the 1980s better than Herb Ritts. The 1980s were his decade and Hollywood was his town. His images became instantly iconic and now after his premature death those who knew him and worked with him have spoken about the master of the golden hour. CINDY CRAWFORD – Model MATTHEW ROLSTON – Photographer What Herb’s stuff was about You have to remember that Los Angeles was really looked down was architecture. Truly he was upon, especially in the late ’70s and throughout the ’80s, like a sculptor. It was the angle as a cultural backwater. And there really was no influential of your head – everything photography coming out of Los Angeles at that time. Not only were was about how to create a photographers not united, they were not recognised by the better sculpture. East Coast publishing world. Herb and I, and a few others,HERB RITTS / TODD EBERLE became the first generation of photographers that were being recognised by that group of very important clients, giving us Above: Herb on Volcano Rock, Malibu, 1994. Opposite page: Fred with Tires, Hollywood, 1984. a kind of a showplace for our work. 59
  • 52. SARAJANE HOARE – Fashion director CHRISTY TURLINGTON – ModelI always made Herb do everything in a natural Herb loved strong bodiesenvironment. If it had just been someone with a too, like he likedrubber sheet it could’ve gone Helmut Newton. curviness. Herb happenedHerb’s touch was always to do what he felt wasorganic and that’s what I pushed in him. Tatjana to actually really glorify[Patitz] was the quintessential female body: It was those things. He lovedvery sexy, it was big tits, it was hips. The magazines men with their chiselledhadn’t had that for ages. Stephanie [Seymour’s] faces, and he lovedbody was like that too. It wasn’t like it was trying to a sort of goddess typebe kinky, sexy. I was more interested in the organic of imagery...thing. That’s why the octopus thing happened.That’s why the seaweed happened. That’s why the We did the Valentinoleaves happened. That’s why the sand happened. campaign years later, with all these nude men.RICHARD GERE – Actor I remember being a littleHerb certainly had an eye for beauty. And it was clear bit shocked, because atthat he was gay; there wasn’t any subterfuge about that point I’m in athat. With our crowd there was no issue about that relationship. I show upwhatsoever, and we were all very physical with each and nobody tells me.other. It was very emotional, very young, you know,20s’ emotional traumas, breakups, career stuff. I believe that the PopeIt was very intense. denounced all of us. I happened to have grown up Catholic, so it actually mattered. We did it in Miami at the top of a roof, so it was white and of course, it was bright, bright. I’m in these incredible gowns, I think Oribe did the hair so it was beautiful, very constructed, and then... naked bodies. Left: Djimon with Octopus, Hollywood, 1989. HERB RITTS Opposite page: kd lang and Cindy Crawford, Los Angeles, 1993.
  • 53. LEGEND Herb 61
  • 54. INGRID SISCHY – Journalist and editor ANNIE LEIBOVITZ – PhotographerHerb may not have had that New York fashion I was always afraid to live in LAthing, but his understanding of light was innate. because I just thought I would end upOther photographers I’m sure will tell you stories doing movie posters, or something, and Iabout when Herb was beginning. He’d call them felt that one of the advantages of livingup, he’d go, “Where should I stand? Where’s agood place? Where’s a good set?” There’s quite in New York, and on the East Coast, wasa bit of that, you know? But I think a lot of that is you always had to struggle with reality.that Herb was very modest and he was very I mean there’s a struggle with reality insmart. So instead of saying, “Hey, I’m the new all of our work but it’s almost sort ofkid on the block, stand back,” he was more, understood the more make-believe takes“I’m just starting, what do you think? Do you over. The Hollywood studio photography,like shooting over there?” And it was smart. I see a lot of that in Herb’s work, but Herb was also smart enough to useMADONNA – SingerThe first time I did meet Herb was on the set of Avedon as an influence. I know it soundsDesperately Seeking Susan – and it’s true, he funny but when a photographer did theirput a pair of underwear on my head. I thought work before our time they pretty muchhe was a real geek. I must say that was my firstimpression of Herb. Anyway, that was the first stayed in one place and weren’t movingtime I worked with him, by default, and then I around. Herb went to the East Coastsoon moved out to Los Angeles and ran into and the West Coast. We were allowed toHerb again, and in his sweet, disarming way,he suggested that we work together again, and have the influence of all photography.I agreed to it and that was my real first, proper I feel there’s a similarity in us, we grewphoto shoot. And that is when I got ‘Herbified’. up in a time where we could look atNow, what does it mean to be ‘Herbified’?It goes a little something like this: He talks Richard Avedon and Irving Penn, whoyou into going to the beach. Then, he talks you were still alive, and we could beinto taking off your clothes. He talks you into influenced by them and we could learn.dancing and frolicking in the sand like an idiot. I saw a huge, remarkable learning curveHe talks you into getting into the freezing coldocean, and before you know it, you have from the day Herb started to where hesunburn and you’re freezing your ass off and ended. I think he understood what hisyou’re sure you’ve just made a huge fool out of strong suits were and he worked them.yourself. Anyway, I ended that photo shoot,swearing that I’d never work with him again,and I threw myself into my car, freezing,feeling like a drowned rat, drove home, and I HELENA CHRISTENSEN – Modeljust was like, “Ugh – that’ll never happen I got a hell of a lot of sand andagain.” Anyway, I saw the pictures and, water into my ears and mouth andof course, I changed my mind. And that wasthe beginning of an incredibly long and nose and Herb would be like,fruitful working relationship. But it was also “You’re doing so great!” And it was HERB RITTSthe beginning of a great friendship. like, I’m going to be totally sick.62
  • 55. LEGEND Herb Ritts TIM WALKER – Photographer At the height of Herb’s success in the late 1980s and early 1990s, I was a miserable schoolboy boarding at an equally miserable English public school called Charterhouse. Each child was allotted a dark wood-panelled cube as a bed and study room – rather like a horse stable. Everything I can recollect about my school days was dark, but for one memorable thing: My bedroom wall was a pinboard shrine to the work of a photographer called – exotically – Herb Ritts. Pictures torn from the pages of Vogue and Tatler radiated with Santa Monica sunshine and Hollywood gleam.MICHAEL ROBERTS – Art directorThat shoot could have looked like acomplete porno. Well, especially whenthey started hosing each other down, andthen they were only wearing their boots,you know. And the grease, the tubs andtubs of this stuff called No-Glare – when Iwas very much a stylist, this was part ofmy vocabulary – which is the stuff thatAmerican footballers use to stop the glarefrom the lights. They usually put a line ofit across their nose. I, of course, put tubsof it all over their bodies so they werecompletely... it was greasy plus. It wasvery, very exaggerated. The birth of themale pinups.Above: Female Torso with Veil, Paradise Cove, 1984.Right: Woman in Sea, Hawaii, 1988.
  • 56. ANNA WINTOUR – Editor, American VogueMy first encounter with Herb Ritts took place in my kitchen one morning. I came down tofind Herb and then-Tatler [creative director], Michael Roberts, had borrowed my table toplot a shoot for another magazine. Herb was perfectly polite, but basically paid me no heed.He was too focused on the specifics of the story – the clothes, the locations, the girls,the boys. I went out to lunch; when I came back, they were still there, and utterly absorbedin their work. I tried to make my presence felt, as one does in one’s own home, offeringconversation and cups of coffee, but to no avail. I went out to dinner. When I returned,ready for bed, Herb and Michael were still there, and still treating me as if I weren’t there.I turned in, and they just kept going.CHRISTY TURLINGTON – Model STEPHANIE SEYMOUR – ModelI was kind of an up-and-coming young I did a lot of shoots with Herbmodel, definitely on the ‘one to watch’ where my head wasn’t even in thelist. Herb was on that list too. He was in picture. And that was the most funLA, and I was in New York, but I kepthearing his name. I think the first job I thing in the world for me. I alwaysdid for him was for Macy’s. It wasn’t loved working with my body.particularly creative for either one of He would put a bar up, I would justus. We were both still taking those jobs make all kinds of different shapesthat pay the bills. After that Herb with my body, and he wouldstarted booking me a lot, and I started photograph my body for Calvingoing to LA a lot. Herb was just such agentle person. A lot of times it’s very Klein underwear, or whatever itdaunting or intimidating walking into a was. That’s very artistic. It’s astudio, especially when the completely different kind ofphotographer is a big shot, and you’re modelling. He had a real eye for20 years old… sculpture. He loved to shoot water The photographer sets the tone for the falling over a body.whole studio. Herb was so gracious andreal and sweet, and so everyoneshowed up with their best selves. These extracts come from a new book, We have joined up with Rizzoli to offer the Herb Ritts: The Golden Hour, by Charles book to readers of Professional Photographer Churchward, with a foreword by the for £30, including p&p. To order a copy, phone actor Richard Gere and an introduction by 01235 465577 and quote the code PP/HR. gallery owner David Fahey. The book is This offer will run until 1 November 2011. published by Rizzoli New York, RRP: £40, To read more about Herb Ritts and ISBN: 978-0-8478-3472-3. the aims of the Herb Ritts Foundation, visit HERB RITTS www.herbritts.com64
  • 57. BRUCE WEBER – Photographer LEGENDWe had dinner one night in LA and Herb came topick me up in a wooden station wagon. A really Herb Rittsold one, it must have been, like, early 1950s.And I said, “Herb! I thought you didn’t have anymoney, you couldn’t afford to buy your own lenses!” Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989. 65
  • 58. THE GREATESTPHOTOGRAPHEROF ALL TIME IS... (drum roll)W.EUGENESMITHThe photographer’s photographer who dedicated his life tothe art at the expense of his family, wealth and health. He shotreportage, portraits, landscapes and still lifes. He was blownup in the Pacific during the Second World War trying toget ‘the shot’. He never knew when to end a project. He wasnever content with a print or a layout. He always wanted theimpossible and did everything he could to achieve it.Here Peter Silverton takes on the legend that is ‘Gene’ to tryto explain his importance, desires and frailties but, as always,if you disagree and can put a better case for someone elseto be considered as the greatest photographer of all time,then let us know.66
  • 59. THE GREATEST PHOTOGRAPHER...It’s a daft game but let’s play it anyway. And let’s start with the (Where does that leave Evans’s reputation then? Morris was even-handedanswer: W Eugene Smith. The question? Who was the most complete and acute: “Rothstein, Lange and Evans have been accused of posing theirphotographer ever? Hold on, you say, what a stupid question. How can photographs, in short, of manipulating them to some end. And yet allyou judge 19th-century pioneer against 20th-century master? photographs are posed. There is no such thing as pure documentaryStudio against reportage? Colour against black-and-white? Still life photography. The problem is not in what any of them has done, but in ouragainst portrait? misunderstanding of photography.”) You can’t, of course. But you can try. Not because you get a definitive answer William Klein? A hungry eye. But too restless, too angry, too consumedbut because the questions raised by the question are interesting ones, with the possibility of the next picture ever to be comfortable in the one he’sproductive ones. They force us to confront photographs (and their creators), ask taking at that moment. You want to say: Calm down, Bill.questions of those pictures that they don’t always get asked. Araki? The man who’d photograph anything and everything, who turned his More, it’s a game that forces us to confront ourselves, ask questions we don’t life – and wife, including her death – into an obsession of image-making.always ask ourselves. We have to dig down into what we think and feel – More than any other photographer, Araki has made a world throughunconsciously, in particular – is the point and place of photography. Without representation. Yet you can’t help occasionally thinking: Put down that camera,confronting what photography means – and it means something different to Nobuyoshi, can’t you just give it a rest for a moment? Oh, and while you’reeach of us – we can’t make much of any single image. To look at any one about it, what is it about tying up young girls? Doesn’t do anything for me,picture – or any one photographer’s body of work – is to look into ourselves, pal. I know it’s a traditional Japanese thing and all, but it also brings to mindinto the thing inside us which is reflected and represented in the photograph in the response of an English administrator in India who, when told he couldn’tthe book, magazine or newspaper, or on the wall or computer screen. stop a suttee because burning widows on funeral pyres was a long-standing So, although any notion of the most complete photographer is obviously in local tradition, replied: “We have a long-standing tradition in England, too, wegood part specious or fatuous, it’s a notion worth playing around with. hang people who murder widows.”Why W. Eugene Smith? Well, one reason you might struggle with that name is So... W. Eugene Smith – the W is for William but he was always known asthat his work is not that easy to see these days. There has not been a show of Gene. Even the very best photographers generally plough a narrow furrow.his work in Britain for many years. There are books available but many are out Smith, though, was all over the place. That’s a major part of his elevation toof print. One of his greatest pictures – he certainly said on one occasion that it complete photographerdom. Let’s run down some of his furrows...was his best – has been withdrawn from circulation. 1. Great war photographer, reinventing the medium in a way that still hasn’t Also, he was a photojournalist, perhaps the photojournalist. He is, I’m told, fully filtered through or been played icon for photographers who don’t have icons – Don McCullin, Bailey. 2. Great photojournalist. His country doctor assignment is generally seen as theAnd the outlets for photojournalism are not that many. Yet it is making first photo-essay.something of a revival in colleges. Ten years ago, the average dream of the 3. Great social documentarist. His images of Pittsburgh are so rich and variedaverage student was to be a fashion photographer. These days it’s to be a as to be almost indigestible.photojournalist. In a time of low fees, it’s cheap. You don’t need an assistant and 4. Great portraitist. Not generally known for this but his images of, say, Charlesthe technology is now pretty much seamless. Shoot, edit, upload. Ives and Charlie Chaplin would, by themselves, have made his name. Before we get on to Eugene Smith, though, let’s round up some other His images of jazzmen, taken at his own loft in the late 1950s, shape oursuspects. Leaving aside the art photography gang – whose interest is less in memories of an entire generation of musicianship.the world than in themselves and in formalism – who do we have? 5. Great landscape photographer. Again, not usually thought of that way but he Irving Penn? Great portraits and the most extraordinary still lifes. But? had an extraordinary sense of how to turn landscape into emotion – sometimesWell, if you want to be hyper-critical – and that’s the point of this self-avowedly as a background to human action but occasionally as a subject in itself.fatuous exercise – Penn’s stuff is all a little stiff, isn’t it? Sometimes, you feel 6. Great technician. He said the camera was a ‘damn liar’ and often posedyourself wanting to say: Irving, Irving, have a drink. Or two. Spill some ashes. shots, using all kinds of supplementary lighting – which is, of course, not Cartier-Bresson? Great warmth, great humanity, great wit but, well, a little everyone’s idea of documentary. He worked hard on his prints, too. It’s saidhokey. Also, can there really be quite so many decisive moments? that each of his prints involved a minimum of 15 stages – dodging, burning,“To look at any one picture – or any one photographer’s body of work – isto look into ourselves, into the thing inside us which is reflected andrepresented in the photograph in the book, magazine or newspaper, or onthe wall or computer screen.” Peter Silverton Walker Evans? Original, of course, but, frankly, a little over-determined. masking, reprinting. In a picture of a Spanish wake, he blacked out the eyes ofYou want to say: Lighten up, Walker. A little dishonest, too. A little Martha the widow and her daughter, then whitened them back in, turned to a newStewarty, even. He’s not generally thought of as an interior decorator but he direction. If he felt it would improve a picture he would have no hesitation inwas. As Errol Morris has detailed in his recent New York Times Opinionator flipping it. Again, not everyone’s idea of reportage.series, Evans moved stuff around in those sharecroppers’ houses so they looked Then there are his qualities as a photographer and human being. Essentially,more, well, sharecroppery. if he was the complete photographer, he was the completely incomplete 67
  • 60. human being. He pretty much wrote the book on general photographic The picture was an illusion of paternity, though. You wouldn’t have wantedbonkersness: seriously mentally disturbed, alcoholic, drugged-up, bipolar. him as your dad. He was a drunk. He rattled with amphetamines. “Incredibly disordered” was the phrase his biographer chose to describe He abandoned his family. “An artist must be ruthlessly selfish,” he said.Smith’s life. He was put in a mental hospital as early as 1950. He had been So... some biography, some of which might explain – or at least give somefound wandering the streets in his underwear. On his death, he left just $18 – context and heft to – Smith’s, well, madness. Born on December 30, 1918, hebut 3,000 master prints, several hundred thousand work prints, 1,600 grew up in Wichita, Kansas, a midwestern city that, in his childhood years,reel-to-reel audio tapes, 25,000 records, 8,000 books and thousands of 3x5 was, despite its seemingly provincial isolation, one of the centres of the comingcards with notes on them. world. It was booming, trebling its population between 1900 and 1920. By the A flaw as big as its diamond, maybe – but it’s also, I think, what gives his time Smith was in his teens, that had almost doubled again. Shortly before hephotography its punch and potency. It was like he had more feelings than the was born, oil was discovered close by. The cash created by that discovery wasrest of us. His senses were all set at 11. So he was able to produce the loudest invested in plane-making. As the home base of several aircraft manufacturersof echoes of our interior selves. Which meant he was unafraid of rhetoric and – including Cessna, Beechcraft and Lear – it came to be nicknamed ‘Airemotion – as far as you can get from the Düsseldorf School without leaving the Capital of the World’. Even today, both Boeing and Airbus have bases there.planet. While the Bechers reflected on Nazism and totalitarian destruction via At 14, he got a camera from his mother and started taking pictures. He tookan exploration of industrial buildings, Smith dived into the action. He had no pictures of all those planes, of course. Soon he was taking pictures for bothsense of professional distance. “Most photographers seem to operate with a the local dailies, the Wichita Eagle (mornings) and the Beacon (afternoons andpane of glass between themselves and their subjects,” he said. “They just can’t evenings). At 15, he had a picture – of a dried-up river bed – in the New Yorkget inside and know the subject.” He did not see himself as the separate, Times. When he was 17, his father – whose business had failed – committedremoved photographer. He was always what the French call engagé. Which, in suicide, by driving to a hospital car park and shooting himself in the stomachturn, gave drive and guts to the campaigning aspect of his work. His images of with a shotgun. He didn’t die immediately but not even a blood transfusionthe effects of water-borne mercury poisoning in the Japanese city of Minamata from Eugene could save him. Was there a link between his father’s suicide andare one of the founding documents of environmentalism. Smith’s mental struggles? His brother had polio so it was already a family with“Never have I found the limits of the photographic potential... Every horizon,upon being reached, reveals another beckoning in the distance. Always, I amon the threshold.” W. Eugene Smith You can see almost all of this in one of his photographs. It was the closing problems. The suicide did, though, result in his mother focusing her life on herpicture in The Family of Man, the era-defining 1955 photographic show at son and his career. She became his agent, went into magazines to argue forMoMA in New York. Curated by Edward Steichen, it featured 503 images by him. She joined him on his honeymoon, sharing a room with him and his wife.273 photographers from 68 countries. Was this the caesura of his life? Did his father’s suicide divide it into a before The Walk to Paradise Garden, he called it, taking the title from a favourite and after? He certainly photographed children – and pets – as if they werepiece of music. Composed by Delius, the orchestral intermezzo has been privileged to live in a better place than the rest of us. The framing of his workdescribed as displaying “all the tragic beauty of mortality”. Which is there in was so often: Small people, big world. Sometimes he played it for laughs –Smith’s picture, too. Often, it’s seen as ‘optimistic’ but it’s not – to my eyes a man standing next to a giant stack of boxed fruit on a New York street.anyway. Rather, it reflects and portrays more profound and difficult stuff about But often he didn’t. That picture of his own children. A solitary Welsh minerlife – the deal we’re dealt and how we deal with it. – shot in 1950 when he was sent to Britain to cover the election campaign – It’s of two of his children, taken from behind. They are walking from the walking up a pit village road, tiny against a dark, greasy backdrop of slate roofsdark into the light, out of a wood into a sun-bright grove*. We can’t see their and a giant conical slagheap. An almost unnoticeable man walking up a hillyfaces so we have to figure out what’s going on inside them from the set and roadside in suburban Pittsburgh, surrounded by – overwhelmed by? – sheets ofshape of their small, uncertain bodies. It can be read as a representation of the almost identical houses. A country doctor, bag in hand, walking across a field,tunnel journey we all once made – except those of us who arrived via C-section, loomed over by a vast, heavy, stormbringing sky. Pathetic fallacy was alwaysof course. Or as a journey from a magic place to the ordinariness of the one of his favoured figurative devices. So, too, was obvious, almost shamelesseveryday. It’s a narrative about movement into the world. It’s about loss and irony – a seemingly abandoned car behind the road sign, Dream Street.escape and, well, if it is about optimism, then only in the sense of Romain (By the by, the road itself has now gone, overgrown with vegetation. Life’s ownRolland’s aphorism: Pessimism of the intellect, optimism of the will. shameless irony.) Sometimes, Smith feels like Norman Rockwell’s The boy – his son Patrick – seems to have paused as he enters the light, quixotic, anxious, left-leaning brother. And therefore not to everyone’s taste.perhaps worried about what he might find. The small girl – his daughter Juanita Critic Gerry Badger bemoaned his “unfortunate tendency to lay on the– trusts him. As viewing adults, we know such trust is not always well-placed. schmaltz with a trowel”. Seen next to Smith’s war pictures, it starts to feel like an image of a couple Having left school in 1936, he was in New York and working by 1937.of soldiers on patrol, emerging from the cover of a wood, knowing the risk that He was an awkward customer right from the start. He was fired from his firstmoment entails. It was, in fact, taken in the aftermath of war. Smith was still top-flight job, with Newsweek, for refusing to use medium format cameras.recovering from the terrible injuries he got when hit by mortar fire on Okinawa, His next job was with LIFE. He soon resigned from that magazine, too.on May 22, 1945, about halfway through the months-long battle for the island Rehired a few years later, he left again in a bust-up over how they used hiswhich killed 100,000 Japanese troops, 12,000 Americans and perhaps as many pictures of Albert Schweitzer. “Superficiality to me is untruth when it is ofas 150,000 civilians – a quarter of the local population. “I forgot to duck but I reportorial stature,” he said. “It is a grievous dishonesty when it is the mark ofgot a wonderful shot of those who did... my policy of standing up when the any interpretive report which pretends concern with an important subject.”others are down finally caught up with me.” His wound affected his speech for In 1942 Mr Smith went to war, spending it island-hopping across the Pacificthe rest of his life. – 26 carrier combat missions and 13 invasions. In doing so, he recast war68
  • 61. THE GREATEST, leaving a shadow on it which can still be seen in the work of Robert Frank knew him, was friends with him, rated him: “People workingJames Nachtwey, for example. Since Mathew Brady – or, at least, the for LIFE were a different class, as good as you can get.” Smith and LIFE wasn’tphotographers Brady sent out under his name to shoot the US Civil War – war an easy-going relationship, though. “Each published photo-essay was precededphotographs had concentrated on soldiers as soldiers. While photography came by an excruciating exchange of insults, ultimatums and compromises as Smithto study, unflinchingly, the death, mutilation and destruction of war, it did so and the editors fought for control,” wrote Sam Stephenson who has been– unconsciously, mostly – through the prism of militarism. working on a biography for some years now. Even Robert Capa pictured his combatants as soldiers – whether dying on a He’d sometimes keep LIFE waiting several days for him to get one printSpanish hillside, on Omaha Beach or in the wetlands of Vietnam. They were right to his satisfaction. Stephenson: “LIFE wanted a reliable photographerordinary soldiers. Universal soldiers, the same men (and boys) who would who could accept the boundaries of specific assignments and meet deadlines.come to be known as grunts and be photographed so dramatically by, say, Don Smith wanted to tell the complex story of the world with photographs.McCullin. But always soldiers. The break-up was inevitable.” Capa photographed non-combatants, too, of course – angrily, as the Then? Then, in 1955, Mr Smith went to Pittsburgh – a month after hisinevitable victims of war’s blind, spiteful rage. So did other great war mother had died. His Pittsburgh project was archetypally grandiose, obsessive,photographers. Think of Nick Ut’s image of Kim Phuc, the young Vietnamese mad even. The idea was to go to the city and make a photographic portrait ofgirl fleeing, naked, from a napalm bombing. Smith did something different. it. The deal was made by Magnum, with whom he had now linked up. It wasHe melded those two things. He photographed combatants as the for a pictorial history of Pittsburgh, to support an urban renewal programme fornon-combatants they also were. He photographed soldiers as people – the the city, one of the most polluted in the country. He got $500 upfront, out of ayoung men beneath the uniform. The most famous image, of course, is his one total fee of $1,200 – less than nothing, even then. His LIFE contract had beenof a soldier cradling a baby on a hillside in Saipan. The picture even contains for $25,000 a year. He was meant to go for three weeks. He spent three yearsits own version of us, another soldier looking up at his buddy, confused and on it, shooting tens of thousands of pictures – 21,000, it’s said. He shotconcerned. The questions it poses are not easy ones. Was it – war, that is – everything – factories, streets, people, buildings. It is, surely, the most completeworth this child’s injuries? Can you – we, that is – justify our own assessment visual portrait of a city and its inhabitants ever made.of that harsh calculus? He got a couple of Guggenheim Fellowships to fund it. The most complete “An indictment of war,” he said. But this humanity, the skin beneath the early version appeared in Popular Photography Annual, 1959 – 88 picturesuniform, is also there in his other great war picture – Marine Demolition Team over 37 pages. Smith didn’t think much of it, called it a debacle. He could findBlasting Out a Cave on Hill 382, Iwo Jima, 1945. How can that be a humane failure and depression just about anywhere. “Never have I found the limits ofimage? Soldiers committing large-scale murder? Even if it’s happening in a the photographic potential,” he once said. “Every horizon, upon being reached,picture of such gorgeous, dramatic chiaroscuro, that just doesn’t make sense. reveals another beckoning in the distance. Always, I am on the threshold.”Yet it is full of humanity. Why? I guess because somehow it reflects something In 1957, he abandoned his wife Carmen and his four children in the suburbsof all of us: the possibility that not only are we all capable of such acts but also and took up residence in Manhattan, in a loft on 28th and 6th, near the Flower“He was like a mad scientist... I have no memories of him sleeping, or evensitting down. He worked constantly.” Jazz drummer Ronnie Freethe tragic acceptance that we might, under certain circumstances, be prepared Market. He shared the five-storey building with jazz man Hall Overton –to actually do them. arranger for Thelonious Monk in particular. Smith had always been a big music In recording war’s horrors, Smith paints in its deep, human history. He’s no fan. He said he’d fallen in love with it in 1939 when he’d fallen in love with acynic. He’s not saying that war’s inevitability – humankind’s deep, deep, dancer, Marisa. He had hauled boxes of records back and forth across thedeep-seated capacity for inflicting pain and sorrow on each other – makes it Pacific during the war. He told his wife he always listened to opera the nightokay, or even acceptable. It’s just inevitable, that’s all. Well, almost inevitable. before a battle. When Cartier-Bresson attended one of Smith’s lectures,It’s that which almost gives added depth to his work. It’s the slither of hope students complained that he only talked about music, not photography.which sets his images apart. While most war photography is angry – consumed Smith told them: What goes for one, goes for the other.with the myopia of utopian pacifism, generally – his is deeper than that. He made jazz buddies. They hung out there. He photographed them – 22,000 Back from war – and having taken nearly two years to recover from his pictures in total. Some of them were used for album covers. He taped theterrible injuries – he did a series of photo-essays, for LIFE magazine jazzers, too, in his obsessive way. The recordings have recently started tomostly, which pretty much defined the genre. The standard they set has become available. The US public radio network, NPR, ran a series of 10 showsrarely been reached, let alone exceeded. Most notably, there was the 1948 series about them over the past winter. They’re worth a listen.of pictures shot in Kremmling, Colorado, of a country doctor, Ernest Ceriani, Smith didn’t just tape music. He taped the radio, the TV conversations and ,at work. phone calls. Stuff ranging from Thelonious Monk rehearsing his big band for Other subjects of his photo-essays: a small Spanish town, Deleitosa, in 1950; his luscious 1959 Town Hall concert, to Smith himself having a discussion –a South Carolina midwife, Maude Callen, in 1951, pictures which so moved what sounds like a very stoned discussion – with the police about a cat and aLIFE readers that they spontaneously sent her $28,000 in donations, enough to mouse. Sometimes Smith just taped silence. That way, he didn’t feel so a new clinic; Albert Schweitzer, in 1954; a psychiatric institute in Haiti, “He was like a mad scientist,” said drummer Ronnie Free, who spent a year1958-9. He did more than 50 assignments for LIFE in all. flopping in the loft, pushed there by his mental state, drawn there by the drugs 69
  • 62. THE GREATEST PHOTOGRAPHER...on offer. “I have no memories of him sleeping, or even sitting down. He worked Smith himself: “It grew and grew in my mind that to me the symbol ofconstantly. He always had an assistant or two around and I never knew where Minamata was, finally, a picture of this woman and the child, Tomoko.he got the money to pay them. He was as broke as I was.” In fact, Smith was One day I simply said... let us try to make that symbolic picture.”often reduced to pawning his cameras. It was the main picture in the photo-essay which appeared in 1972, in LIFE Smith started taking pictures out of the window, too – 15,000 of them. magazine. “The best photograph I ever made, it came to say what I was tryingTracks in the snow. Woman reading a paper by a bin, framed by the building’s to say.” Smith wasn’t happy with the piece, of course. A fuller version wasfire escape. He called the series As From My Window, I Sometimes Glance. published two years later, in Camera 35. This time Smith wrote the text and didThey – well a few of them – first appeared, as a story, in LIFE, titled Drama the layout. And was happy. In 1974 when the pictures were displayed in Tokyo,Beneath a Window. They should be voyeuristic but they’re not. Robert Frank: the Tomoko picture was the centrepiece of the show.“Gene went from a public journalist to a private artist in the loft.” “Today, it has transcended mercury poisoning and the many souls ravaged He batted around and around. In 1961, the technology giant Hitachi hired by the greed of a few,” wrote Hughes some while later. “Far removed by timehim to spend a year photographing Japan for them. In the summer of 1969, he and space from a Japanese fishing village, the photograph, symbolic now,was in New York taking pictures of Bob Dylan, then hauling himself and his enables people to see in a single image all the possibilities and dangers of life.Leica M3 up to Woodstock. In 1971, he lost his loft and had to move on. To me, it is a constant, universal reminder that only through the kind of selfless He taught at the University of Oregon. He gave a lot of speeches across the love depicted in this photograph may the spirit of humanity endure. The imagecountry – taped them, too, of course. He taught a course in New York, titled of Tomoko and her mother is as beautiful as it is terrifying. And it is true.”Photography Made Difficult. It was as if it was all over. When Aperture In 1977, Tomoko died, aged 21. Then, in 1997, Tomoko’s parents asked thatpublished a monograph of 120 of his pictures, in 1968, he was 50. It seemed the image be removed from circulation. They’d been worn down by rumoursas much like a funeral oration as a career retrospective. Yet it revived him. that they’d made money from the photograph. Aileen Smith, who held theHe had a big show at the Jewish Museum in New York in 1970, Let Truth Be copyright on the picture, agreed to their request and handed them the copyrightthe Prejudice. to the image of their daughter. It’s somehow fitting – deeply, ironically fitting“What’s the use of having a great depth of field, if there is not an adequatedepth of feeling?” W. Eugene Smith In 1971, he married for the second time, to Aileen, a Japanese-American, – that Smith’s defining picture should have passed over into the realm of theand he went to Minamata in Japan to catalogue the ravages visited on the city unseeable. The most complete photographer remains plunged in a world ofby the mercury that leaked out of the Chisso chemical factory into the Shiranui uncompleteness, pushed there by his obsessive drive to make the perfect picture.Sea. As fish was a staple of the local diet, the mercury then made its way into Things didn’t get better. His marriage to Aileen broke up. In 1975, his doctorthe nervous systems of Minamata’s inhabitants – animals as well as humans. wrote that he had “diabetes, cirrhosis of the liver, moderately severeThey developed what came to be known as Minamata Disease. hypertension, chronic venous stasis with stasis dermatitis, cardiovascular This went on for 36 years, from 1932 to 1968 – even though its effects were disease, and coronary artery disease, with an enlarged heart”. He told Smith notdiscovered in 1956 and doctors figured out its cause in 1963. Numbness, to drink. Smith probably paid little attention.muscle weakness, hearing and speech damage. Coma and death often come His friends – including Ansel Adams – did, though. They helped him relocatewithin weeks of the symptoms appearing. In all, there were more than two out of New York, getting him a teaching post at the University of Arizona, inthousand victims, of whom two-thirds died. In time, Chisso paid compensation Tucson – $30,000 salary in return for his archive. They arranged for histo 10,000 people – $86 million in all. The final settlement was only reached in collection to be taken with him. There was so much of it – 20 tonnes – they hadMarch 2010. to apply for grants to finance the move. He lived there with Aileen from 1971 to 1973 – as ever, a Eugene Smith In 1978, there was a major retrospective at the V&A, which then touredphoto-essay didn’t take shape overnight. The house they rented was $18 a Europe. There were plans for him to do a photo-essay on John Travolta, thenmonth – the same amount he left on his death. In 1972, he was attacked by as high-flying as a star can be in Saturday Night Fever and Grease.Chisso employees – ‘company goons’ in the words of his friend, editor and That autumn, though, Smith died, on the morning of Sunday, October 15, 1978,biographer Jim Hughes. An eye was badly damaged. He pretty much lost his of his second major stroke, in a local store where he’d gone to buy cat food –sight for a while. Aileen helped him out taking his pictures. or perhaps, more likely, a forbidden beer. The best-known image from this series is typically humane and slightly “What’s the use of having a great depth of field,” he once said, “if there isrhetorical. Captioned Tomoko Uemura in Her Bath, it shows a Minamata not an adequate depth of feeling?” PPdisease victim in all her pain, naked and deformed. A young girl being held byher mother, Ryoko. “This was no grab shot, no stolen moment,” wrote Hughes. *Am I alone in finding echoes of Smith’s picture in a BBC One TV“The image was planned and set up right down to the use of supplemental ident? The one with the rabbit bounding towards us down the bunnyflash... this potent picture was an effective collaboration, a visual dialogue, if hole. No matter if the echo was deliberate or unknowing, my guess isyou will, between subject and photographer.” it was chosen because both images map the same part of ourselves. GO ONLINE FOR MORE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 71
  • 63. PERSONALThePROJECTEnglish photographer Dmitri Kasterine tells Eleanor O’Kanewhat has always driven him to pursue the personaland explains how he created some of his iconic images. “I shot this on Bournemouth beach in 1980 as part of my England and the English project. I got in the water so that I could stand in the right place to photograph him. It was the fact that he was wearing quite a good, well-pressed suit and the knobbly knees and symmetry of his arms holding up his trousers that I noticed. That and the contrast with the others on the beach.” DMITRI KASTERINE72
  • 64. PERSONAL PROJECT“I get hit over theback of the head by alead pipe when Isee someone I wantto photograph.Of course, when doyou see a youthso striking with hishand up a telegraphpole? You don’twalk by that! When Ifirst saw him, hewas holding thetelegraph pole withboth hands.Although I took thepicture, I likedthis one better. ” 73
  • 65. “ I ’m busy again,” declares the “I’d just seen one of 78-year-old Dmitri Kasterine in the most English of accents across the Kubrick’s early films, which telephone line from his home in was marvellous so I upstate New York. “The exhibition thought he must be has contributed to that, there’s nodoubt about it. I’m starting to get my work worthwhile photographing.published again in magazines over here and the After I’d been on setpeople I’m really interested in working with – the a couple of days he asked,collectors – seem to be sniffing around too!”The exhibition is Twentieth Century Portraits at ‘Would you like to come andthe National Portrait Gallery. This selection work for me? You standof Dmitri’s portraits of artists and writers – shot in the right place’.”between 1960 and 1980 – is bringing his workto new audiences. His interest in photography blossomed as a boywhen he began photographing birds in his flying aeroplanes steadied me up a bit,” he says.parents’ garden at the age of 11. The fledgling What they also did was provide him with thephotographer wasn’t so pleased with the results, opportunity to create a portfolio. “When I washowever. “It was heartbreaking because the birds flying, the aeroplanes were always breakingin the glass plate were so tiny, I didn’t realise you down, so we’d end up spending two or three dayshad to get so close or have a telephoto lens.I started photographing cows instead and that wasmuch better!” From bovine subjects he graduatedto people, notably his sister – “a very reluctantsubject” – and friends. He recalls an occasion involving a fellow pupiland friend at Radley College in Oxfordshirethat proved a revelation in terms of hisphotographic career. “A very famous generalcame to inspect the cadets and after we weredismissed, this boy, Jake Sharp, walked straightup to him with his Rolleicord and said, ‘I’d liketo take your photograph, sir.’ The man wascompletely charmed by this bold boy and thatmade me realise that you have to step upwith photography if you want to get anythingdone. I never forgot that.” It was a lesson that was to serve him well.After leaving college, Dmitri carried on takingpictures for his own interest while embarking ona series of rather romantic-sounding jobs thatincluded wine salesman, Lloyd’s stockbroker andracing driver, as well as pilot for Laker Airways,which saw him flying unreliable old war bombers.“I was a bit irresponsible and wild at that time so“I have photographed thishouse four times in variousstages of decay for theNewburgh project. Once ithad a tree growing through DMITRI KASTERINEthe roof but even thatcould not stand the neglect.”74
  • 66. PERSONAL PROJECT“Some I pass because they are plain. Others I stopat because of their expression or because Ilike their gestures, stance or shape. After I askedthese brothers on their deck if I might photographthem, they put themselves into these poses.” 75
  • 67. “A solemn moment atDiner, a restaurant inWilliamsburg, Brooklyn, NY.Her hand holding his ear.Why? Maybe they arejust trying to concentrateon who owes what forthe dinner.”in various parts of the world such as Karachior Colombo. I had a Rolleiflex and a Leica, andI always took photographs while we were waitingfor an engine to be flown out.” After showing his book to the Editor of Queenmagazine his career as a photographer began totake off and soon he was shooting regularly forthe Radio Times, the Telegraph Magazine andHarpers & Queen. During this time, however,he passionately pursued his own interest inshooting portraits, mostly of writers to whom “I was in The Azores but Ihe was drawn by their inherent magnetism. “Despite my education being expensive, Ididn’t come away from Radley with much spoke no Portuguese.intellectual activity at all. I was a little in awe of[the writers’] vocabulary and the way they could I just held up my hand andstring a sentence together; they were heroes too. they stopped. A teenage boyI used to send a letter to the writers with a couple who cares as much for his horse as he does for hisof prints, explaining that I’d love to photographthem and usually it worked. The fact that theywere personal projects made them much more fun younger brother. ”to photograph because I didn’t have to make analliance with anyone. When I was photographingJB Priestley he gruffly remarked thatphotographers were the only people in the world still relentlessly and passionately pursues hiswho were universally obeyed.” interests in photographing everyday people, The majority of the images in the National accompanied by Caroline. “Her eye,” he says,Portrait Gallery exhibition are the result of his “is sympathetic to mine.”personal projects, pictures that Dmitri says had His reasons for pursuing his personal projectsbeen “stuck in drawers for years”. He came to haven’t really changed over the years.the attention of Terence Pepper, NPG curator of “Thinking back, now I’ve taken to photographingphotographs, who first saw one of Kasterine’s everyday people, I approach the work in much theportraits on a picture library and contacted him same fashion as I did with the writers and find out more about his work. I think that even then it was partly to do with the It’s not only great writers and artists who draw subject’s looks. Painters such as Francis Baconhim. In the early 1980s Dmitri travelled to the were irresistible, even if you didn’t like his work.”corners of the country to shoot a project, England Having left Manhattan, Dmitri and Carolineand the English, meeting people from all walks of now live in upstate New York “among unrelentinglife and capturing them at work and play. greenery”, but for the past two years he has been city near his home. “I’d started photographing In 1986 he moved to New York, after being sent returning to Brooklyn two or three times a month people in my local town but they looked much theto shoot Mick Jagger and falling in love with the to shoot portraits; personal work that appears on same as they do in a local town in England so Iimmensity and pace of America, which thrilled Dmitri’s blog as well as his website. The plan is to got thoroughly bored. Then someone suggested Ihim. Having sworn never to remarry anyone who carry on until the end of the summer and then go to Newburgh, a town across the river.couldn’t cook, he ate his words when he met seek out a potential publisher. There were these beautiful black people there,Caroline, who was to become his second wife. For the past 15 years he has been crossing the mostly from the south and often with NativeDmitri has continued to work commercially but tracks to shoot portraits in Newburgh, a rundown American blood, living in a place that was76
  • 68. PERSONAL PROJECT “To capture this image on the number 6 train in New York City I balanced the camera on my knee and out of the corner of my eye waited for the couple to be still.” going in their favour. “It’s a disgrace, it’s terrible. It’s just one example of one of the worst things about America.” Since 2008 Dmitri has been blogging, uploading the portraits he takes on his outings with Caroline. Each image is accompanied by a simple explanation of how the picture came about, sometimes a short history of the conversation between photographer and subject or why he wanted to take the picture. He says that unlike his England and the English project, where he captured life going on around him, in his American work his subjects “confront the camera”. The blog is compelling – as much for the captions that reveal how this photographer connects with his subjects as for the portraits themselves – and is testament to “When I was photographing JB Priestley he Dmitri’s unceasing passion and drive. In our opening conversation he said he was gruffly remarked that photographers “busy again”, but it’s clear that Dmitri has never really slowed down. He says he learnt patience from director Stanley Kubrick who requested were the only people in the world who that he shoot stills on his films, following a portrait shoot for Harpers & Queen. were universally obeyed.” Dmitri Kasterine As we’re winding up the conversation he suddenly remembers something else. “I had an email from a collector today which I was very excited about. He likes everything on my website abandoned by white people during the bad times in Newburgh love our dog Louis and they love so I might sell him...” At this point he breaks into in the 1950s. Nothing was going for them at all, Caroline. We just wander about the streets.” laughter at the hope of selling a lot of prints in industry had left... the place was falling into The thought of this gentle ex-Radleian strolling one fell swoop. Although it was the experience of the river. The buildings were marvellous to through the crumbling neighbourhoods of watching a young Radleian walk up to a general photograph but actually the people themselves Newburgh both alarms and amuses me but when I all those years ago that informed his method of were so friendly and lovely, and that’s what made express my concern he merely guffaws. “They are working, it looks as if the patience he learnt from me go on and on with this project.” scared of policemen but I’m too old to be one, Kubrick might finally be paying off. PP The pull for Dmitri is still the same as it was all plus I speak oddly and that rather intrigues them. those years ago – a look that draws him in. There’s a prominent drug trade but I avoid it.” “Something happens when I look at somebody As always, he greatly respects his subjects too. and feel a little cold shiver down my back. A lead “The other thing I’ve always done is to come back Twentieth Century Portraits: Photographs by pipe clouts me over the head if they’re really with a photograph and give the people I’ve Dmitri Kasterine is showing at the National good. It’s something about how they look and photographed a print. Even if they don’t like it Portrait Gallery in London until 3 April. that’s certainly the case with Newburgh.” they think that is honourable, so I’ve been able to Admission is free. On 11 March Dmitri Kasterine will be giving a talk at the galleryDMITRI KASTERINE Perhaps motivated by the daredevil spirit of his show my face. I’m quite accepted there.” youth, the septuagenarian is undaunted when Beneath the fondness for Newburgh is a sense about his work. For more information strolling around the streets of a city notable for its of outrage that the state of the city highlights about the exhibition and the talk visit high murder rate and gang violence. “The people how so many African Americans have nothing 77
  • 69. Me,There is a rich traditionof photographersturning their camerason to themselvesand their personal livesto create imageswhich are revelatory,painfully honest, I have no problem with the work of Nan Goldin, Lee Friedlander, Larry Clark, Richard Billingham, Stanley Greene and Myself Okay. Let’s get this clear from the start; Sally Mann. I do have some reservations about the work of Wolfgang Tillmans but none about Corrine Day’s. In short I can understand, admire and at times embrace the images and projects, the books and the exhibitions that result from photographic introspection. In an article further on in this issue of the magazine (pages 94-95) I speak openly and positively about the emergence of blog photography, photographers and photographer curators who are bringing their personal views, tastes and influences to us all. It does not offend me photographically orshocking, moving and So you may ask, what’s my problem with this particular form of photographic self-expression? morally, but as a single image seen away from the body of the photographer’s work it does jar forraw. But PP Editor Well, as with the tsunami of Düsseldorf-inspired images we have been bombarded with over the many. By being seen as a single portrait, it asks us to judge it as a photograph, a single image – notGrant Scott is starting past five years or more which I discussed in a previous issue (you can now read this on our as a photographic journey that the photographer may or not be travelling. I have looked carefullyto suffer personal website under the magazine section), it’s not the at Lamprou’s website and it would seem that,image overload and to theory or concept that I take issue with, but the excess of quantity and the lack of quality. within the context of his other images, Portrait of My British Wife is one of his strongest, mostwonder if photography It seems I am not alone, as was shown by the incredible response we had here at the magazine confrontational images but very much within his personal photographic world becoming an to one of the images short-listed in the 2010 Taylor Wessing Photographic Portrait Awards: It is this aspect of context which leads me on to what I believe to be the main reason forover-indulgent mess The infamous, controversial and much-derided Portrait of My British Wife by Panayiotis the current photographic obsession with introspection, which I am beginning to tire ofof introspection. Lamprou. We published the image both in the magazine and online, and simply asked you to let daily. Again, I have already spoken out about the kind of photographic education which is being us know what you thought and, boy, did you. taught within our art schools, universities and The response was overwhelmingly negative, but colleges (yes, it’s on our website as well) and, in why? Personally I have nothing against the image. my opinion, this is where the encouragement78
  • 70. PERSONAL PROJECTand promotion of introspection is beginning. photographic journeys that allow you to build power of the personal project. But that does notThere seems to be a lack of awareness and portfolios, awareness of your work and expand mean it is one which can be easily emulated.honesty surrounding the reasons why people your creativity. I’m talking about projects which Billingham’s family and personal history gavechoose to study photography and get themselves are about and often feature the photographer and him a subject matter which was both personal andinto huge debt to do so. The simple fact is that their immediate circle of friends and family, not universal. He was dealing with social andif you want to be a photographer, you need to those which document externally but those which emotional situations which were personal to him,earn a living as one and that needs very different choose to document internally. but also found resonance with many. His storyskills to those required to photograph your wife Richard Billingham’s Ray’s a Laugh is a book was unique and not one that many can share.with her legs spread. And yet the pressure put on which is often used to justify these introspective The problem is that too many photographersstudents to find, create and implement these projects, but I see it as a marker for a point at are looking at this kind of work and trying to tellintrospective projects is huge and hugely which the introspective became predominant, their own stories in a similar way, even if thesedamaging to a student’s understanding of what rather than a reason for everyone to look inwards. are either not strong enough to do so or do notit means to work as a photographer. In many ways it was groundbreaking. On the back lend themselves to creating images. Sadly there is Here is a personal example. A photographic of the book Billingham writes: “This book is a strong theme that runs through the majority ofassistant who once worked for me stopped about my close family. My father Raymond is a the photographers who have succeeded and it isassisting me and other photographers after about chronic alcoholic. He doesn’t like going outside one of extremes. Drink, drugs, sex and violence are the dominant forces throughout the lives of Clark, Goldin, Day and Billingham. Tragedy isandI also never far away and they use their cameras to document the lives they led. They were projects but not ones set by tutors; they were projects propelled by creative necessity, a raw desire to record the often unseen and unspoken, images that polite society rarely sees. Few of us lead lives of such extremes and, like it or not, these images allow us to lead a life of vicarious danger. Now, you may say that the exploration of personal situations and circumstances through photography is a valid and important process, that it creates interesting work, that it allows students and photographers to develop a photographic voice. And I will agree with you. However, when this is the dominant training which runs through an education, what you end up with is a lot of introspective, self-absorbed images fighting to be recognised in a landscape filled with them. You also have a new input of photographerstwo years, during which time he had met clients, and mostly drinks homebrew. My mother coming to an oversaturated industry wanting toworked on commercial shoots and received Elizabeth hardly drinks but she does smoke a lot. express themselves and not understanding whya good all-round training in what it means to be She likes pets and things that are decorative. clients are uninterested in them or their need fora professional photographer. He went back to They married in 1970 and I was born soon after. personal expression. Multiply one year’s outputcollege to complete an MA in photography. My younger brother Jason was taken into care by 14 since the publication of Ray’s a Laugh andHe wanted to know more to progress his when he was 11 but is now back with Ray and Liz that’s a lot of photographers out there focusing onphotography. I was dubious, he was convinced. again. Recently he became a father. Ray says the personal. Of course, not every photographerSuffice to say, after a year of taking pictures Jason is unruly. Jason says Ray’s a laugh but leaving college has embraced this introspection,on the hour every hour of whatever he was doing, doesn’t want to be like him.” The images but from years looking at student portfolios andphotographing what he was eating and creating Billingham created which make up this book are end-of-year shows my experience is that far tooportraits of his family, he was even more confused as unsparing as his prose on the back cover. It was many are leaving college unemployable asabout his photographic future than he was a year published in 1996. Billingham had studied professional photographers but desperate to getpreviously. He was also a lot less employable than photography at college but on leaving had found funding to continue personal projects withouthe had been as his confusion showed itself in himself stacking shelves for a living. It was at this understanding they are now in a commercialhis website and understanding of the relationship point that he started photographing his family. environment. The obsession with introspectionbetween photographer and client. He now felt The book led to him being recognised as a serious has created a workforce that cannot relatehe could only work for people who allowed him artist and in 2001 he was nominated for the photography to anything else but the advance his personal vision. He is no longer Turner Prize. Today he is a visiting lecturer in As you are reading this please do not feel thatworking as a photographer. fine art photography at the University of I am condemning students unfairly or tarnishing Be clear here, however, that I am not deriding Gloucestershire. It’s a heartlifting tale and a all photographers working in the area ofthe essential need to create personal projects; parable that further emphasises the potential photographic introspection with the same brush. 79
  • 71. I’m not. I’m just trying to bring some clarity to listening to. Before establishing his own imprint, and her friends looking vulnerable, having fun,why there is now so much of it around and why it he had launched Cornerhouse Publications having sex, inhabiting dirty bathrooms andis being created. If you are making this kind of which achieved international recognition for its squalid flats? Why did that one work?work with a clear and definite end result which is imaginative publishing programme and was “Corinne was different,” says Dewi, “she wasrealistic and achievable, that’s great. If you are named Sunday Times Small Publisher of the Year. known for her fashion work. Also, it wascreating it as part of a personal journey, that’s So just how many of these hundreds of a different era and in a sense that work came outgreat also. But if you are creating it with the idea personal projects that Dewi pores over get into of, or had links back to, Nan Goldin’s work,that it is going to provide you with a living and the bookshops? “Well, all the books we publish it had that sort of feel. Her book came fromwith paying clients, be wary. Be aware of how have a personal aspect to them, but in terms of a time when it was still unique or unusual at least.many photographers are out there doing exactly those books that are very introspective, very Certainly from my perspective, that stylethe same as you. Ask yourself: “Who is going to autobiographical, I’d say no more than one or has been heavily overdone over the past decadebe interested in the work I am creating? Who is two.” He pauses for a moment. “Thinking about or so. Nan’s work was very strong, verygoing to publish it? Who is going to exhibit it?” it, I’m probably exaggerating when I say two, it’s interesting, it was a new approach, but how manyThese are tough questions to ask of yourself but rare to do more than one a year.” books can you look at where someone is justthey need to be answered. He acknowledges that the concept of ‘the photographing their friends at a party or pissed In the meantime I’m going to continue living personal’ is an ambiguous area. Some projects on the sofa or shooting up? It’s a model thata vicarious life through the images of the that are personal to the photographer have can’t be repeated but frequently it has been.photographers creating compelling work and potential if the reader can be engaged in the I’m not seeing so much of this now but I wastelling stories that need to be told and heard, subject matter, if the work moves away from seeing this for several years.”while passing over those with little to say by the egocentric. The problem, Dewi finds, is that The images in Stanley Greene’s Black Passportmeans of story or image. themes tend to be repeated. “I see endless provide an extraordinary picture of Greene’s life projects where a photographer has revisited a and career in photojournalism. “That book is house or houses that are significant to them, such totally different,” says Dewi. “I think it’s almost as a house that once belonged to their parents, or like a text-based autobiography because it reallyPhotography publisher their grandmother. They do still lifes of bits and pieces on the mantelpiece or what’s in the gives the reader a good idea about the story of his life. Yes, it’s all about Greene but it doesn’t feelDewi Lewis talks to kitchen. They can be extraordinarily good – often they are technically strong with beautiful images egotistical. It feels as though it’s explaining where he comes from and how he works.” The key toEleanor O’Kane about – but there is no real reason why someone else Black Passport, Dewi says, is the obviousthe difference between outside would be interested. At the end of the day you do tend to say ‘so what’. coherence of Greene’s body of work. And, like Corinne Day, the photographer already had aa good photo book and “The cost of publishing a book ranges from £10,000 to £30,000 so by going to a publisher reputation, his work had some exposure and was already relevant to a potential readership.something destined for you’re saying ‘I expect you to invest £15,000 in me.’ Now, that’s a lot of money, particularly in the This desire to reveal to the world difficult and sometimes unsavoury aspects of one’s lifethe pulping machine. current market, so I think photographers have to be realistic when assessing their body of work. seems to sit well with many artists, a trait that Dewi attributes partly to an obsessive nature They should look at the reasons why it might in many of the photographers whose work he attract an audience, examine the profile they has published. “Once they get involved inAs a publisher of books by leading British already have and the profile they are likely to get a particular thing, some photographers haveand international photographers, Dewi over the next year or two.” to carry it through. We published a book yearsLewis is deluged by photographers eager to If one photographer’s personal work results in ago by Tom Wood entitled All Zones Off Peaksee their personal work in print. During the a book deal, whereas a similar project by an where he took photographs all around Liverpool.past decade he has seen a marked increase unknown fails to spark a book publisher’s interest, It was a project that lasted 15 years; there’sin submissions by young, fresh-faced does success rest more on the photographer’s a certain obsession with someone who wouldphotographers who think a book deal is an profile than on the quality of work? What about travel around on a bus for that length of time.ideal way to increase their profile. “Over the Corinne Day’s Diary with its images of Corinne Many photographers now think they can go offpast 10 years a lot of photography students havebeen set the task of doing a personal project fortheir degree course, so I see an awful lot of thesepersonal photo books coming through; hundreds “Well, all the books we publish have a personal aspect toand hundreds each year, in fact.” them, but in terms of those books that are very When it comes to the prospect of fledglingphotographers getting a deal, Dewi doesn’t mince introspective, very autobiographical, I’d say no more thanhis words: “The reality is that with someonewho is not particularly well-known – or one or two... Thinking about it, I’m probably exaggeratingnot known at all – there isn’t really a market.” It might not be the reply those photographers when I say two, it’s rare to do more than one a year.”were hoping to hear but Dewi’s opinion is worth Dewi Lewis80
  • 72. PERSONAL PROJECTfor two months or even less and at the end of it take photography books and publishers are in a small gallery – not a significant one – andthey’ll have a book.” relying even more on specialist bookshops and they think this is justification for having a book. One of Dewi’s latest books, Corridor of galleries for distribution. They don’t think about timescales or the moneyUncertainty, is a monograph by the British The advent of photo book manufacturers, as involved. Even if a photographer has anphotographer Paul Hill, and is a very personal well as the possibility of sponsorship means that exhibition at a good gallery it’s unlikely that morejourney into the pain and loss experienced by rejection by a publisher is not the end of the then 15 or 20 copies of their book will be sold.the death of his wife. “With someone like Paul, dream to see one’s pictures in print. From a For a book to be viable we need to be producingit’s partly the obsessive nature; Paul is an commercial point of view, however, Dewi remains 2,000 to 3,000 copies. As a photographer youobsessive photographer, he has always taken unconvinced by the benefits of these options to need to step back and make a realistic assessmentphotographs and continues to do so, but for him the photographer. “There are a lot of books being of how your work is going to be received. It’s aI think it was also a way of dealing with a great produced either through self-publishing or hard thing for people to do, they always thinkpersonal tragedy. It’s a combination of things.” sponsorship/funding, but to my mind there’s not their work is great and that everyone wants to So what is the secret to getting a publishing much point in this. Even if a book is totally look at it.”deal? Relevance and readership are two keyaspects when considering whether a personalphoto book could be a viable project. “A booksells for two key reasons,” according to Dewi, “There are a lot of books being produced either through“firstly, if the photographer is well-known and has self-publishing or sponsorship/funding, but to my minda reputation; secondly, if the subject is fascinatingor very relevant to people. The personal only there’s not much point in this. Even if a book is totallybecomes relevant if the photographer has thoughtabout how to broaden out their own experience.” funded, is there any point producing something thatYet-to-be-established photographers embarkingon personal projects needn’t abandon all hope, doesn’t have an audience? There’s a whole process inhowever. “A lot of photographers will considerthe term ‘personal work’ simply as the work they producing a book, they have to be stored for non-commercial reasons. A personalproject can cover everything, it’s not always they end up being pulped.” Dewi Lewisintrospective, so there’s not necessarily a problemapproaching a publisher with a personal project. funded, is there any point producing something Even if you want to leave the spreadsheets andIf, however, it’s an introspective project about that doesn’t have an audience? There’s a whole sales figures to the accountants, Dewi’s finalyour family and friends, then that is incredibly process in producing a book, they have to be piece of advice should strike a chord withdifficult to place. stored somewhere... they end up being pulped.” everyone and is born of both his personal “The key thing is to think, ‘Is there really a If you’re lucky enough to have a backer you passion for the photography book and his savvymarket for this? Why is my book going to be of might be better off spending that money in other after so many years in the business.interest to a readership beyond family and ways to get your work seen. “Sometimes I think “When I’m doing workshops one thing Ifriends?’ And if you are honest, then you’ll come young photographers would be better putting always say to photographers is, ‘If you publishup with the answer. If you believe there is an those funds towards getting noticed in a different a book, in 200 years your great, great great,audience you should approach publishers.” way, such as travelling to portfolio sessions at great-grandchildren should, in theory, be able to The rise of the book-based module in higher the major photo festivals around the world. If you go to the British Library and ask to see a may have contributed to a belief get a sponsor and you put all the money into Wouldn’t they want it to be good?’ There is a realamong younger photographers that a photo book a book but only manage to get 60 copies out into longevity to the book form – it’s not as ephemeralis an automatic step in their career rather the shops, you haven’t actually done very much. a concept as some people might think. A goodthan a privilege to be earned through merit. Perhaps that sponsorship could have been used book is there to be proud of in your dotage“Students are coming out of college often having more fruitfully.” and a bad book is there to be embarrassed bydone a book-based project in the final year and Despite attracting a specialist audience, throughout your career.” PPimmediately assume it’s publishable,” says Dewi. galleries tend not to sell as many books as you“Even if they haven’t done one, they tend to see might think, even when there’s an exhibition in www.dewilewispublishing.comthe book as an essential foundation stone in their the mix. “People might love your work,” says, so at aged 24 they think they have to have Dewi, “but they won’t necessarily put their hand www.larryclarkofficialwebsite.coma book. If you look back at photographers over in their pocket and fork out £25 or £30 for your past 30 or 40 years, many were in their book. Money forces people to make different index.php?id=stanleygreenemid-30s and even 40s before they had a book. decisions. In the same way, you might go and seeNow everyone thinks they have to have one.” an exhibition that’s free but if you have to pay £15 RECOMMENDED READING Tough market conditions are forcing publishers entry fee you’ll go away and think about it. Larry Clark: Tulsato be especially stringent when deciding which The minute people have to buy the book it does Corrine Day: Diarybooks will be commercially viable. There are change the way they react to it. Stanley Greene: Black Passportfewer routes to market now, according to Dewi, “A lot of photographers come and tell me Richard Billingham: Ray’s a Laughbecause high-street bookshops are less likely to they’ve got an exhibition in four months’ time Nan Goldin: The Devil’s Playground 81
  • 73. online - email - call us today - +44 (0) 1707 27 37 47 Grow Your Business With T he UK’s Leadin g Pro Supplier BOOKS FRE ALBUMS FRE MIN E I BO MIN I BO E OKS * OKS * NEW PRO LAB - VISIT WWW.SIMLAB.CO.UK ORD ONL ER INE Prints • Simple Online Ordering • High Quality Prints From 12p • Next Day Delivery • Fuji Professional Paper In association with Many More Products Online! Visit and register for full details. SEE US AT 2011 PRICE LIST OUT NOW! FOLLOW US ON FACEBOOK Visit to download your copy today. & TWITTER STAND C42Terms Conditions apply see website for details Prices excTerms & Conditions apply see website for details Prices exc VAT and P&P Conditions apply, website details. exc. and P&P P&P.
  • 74. CRASH TAYLOR vs JASMINE STAR vs YERVANT The Royal Wedding SLAMDOWN With the biggest wedding the country has Date of Wedding: 29 April 2011 Couple: William and be attending. Flash will be inappropriate and do not expect to get very close to the bride and groom during the service. You should expect videography to be taking place as well. seen for nearly 30 years Kate. He’s 28 and worried about his thinning hair. Do not expect to get any time with the bride and groom outside the church. about to take place we She’s 29, 5ft 10in, very slim and beautiful. They met at university and have been together Guests: There is a possibility that you may thought that it was only for nine years. recognise some of the guests. Security may also be tight, so an awareness of security fitting to bring together Parents: He comes from a broken marriage and his mother died tragically. His father protocol would definitely be beneficial. the holy trinity of has remarried and the stepmother will be attending. She comes from a close-knit Weather: This is London in April so please be aware that rain, wind, hailstones or other bad international wedding family and both parents will be attending. Scandal surrounding her Uncle Gary and weather might occur during the day. photographers, Crash drugs should be taken into account. Reception: This will be held within William’s family home. It should be possible to take Taylor, Jasmine Star and Family: William has one brother, Harry, and formal portraits here and in the garden. Kate has a sister, Pippa, and a brother, James. Photographs during the speeches will not be Yervant, to see who The siblings are very close. William’s allowed. There may be an opportunity to take grandparents are traditional in outlook and will pictures on the balcony. could pitch the toughest be concerned that the family portraits are formal. Kate’s large family may be more Budget: Costs are being split between the to get the royal gig.CRASH TAYLOR / JASMINE STAR / YERVANT relaxed but will be keen not to displease groom’s father and grandmother and the William’s side of the family. bride’s parents. Although there is room for LET’S GET READY Dress: The bride’s dress will be the centre of attention and guests will be dressed formally. manoeuvre, the groom’s parents are good negotiators and are used to getting discounts. TO RUMBLE... Location: Westminster Abbey, London. This is All images will remain copyright of the bride and groom, who will oversee all a big venue and a large number of guests will editing and approval of images. 83
  • 75. THEROYALWEDDINGSLAMDOWNCRASH TAYLOR CRASH TAYLOR composure and the reserved and formal posture of every day realise that a perfect day would be his father and stepmother. a perfect miracle. Family: All portraits of family groupings (his Reception: This is where the photographer can and hers) must carefully reflect the gravitas display his true talent. Aside from formal portraits of such an important formal occasion; however, in the grounds and gardens, all of the filming individual photographs of his brother, uncles, should reflect the magic of a commoner’s dream CRASH TAYLOR aunts and family as well as her siblings come true – ‘Cinderella reincarnated’ – and theThe royal wedding between Prince William and and family intermingling with unmitigated joy, promise of a new democratic monarchy.Kate Middleton is the most important event in herald a new era in the long history ofdefining the future of the monarchy in the UK. the monarchy – literally a desperately needed Equipment-wise I will be shooting with twoI believe that the images taken must weave infusion of a commoner’s blood. Canon EOS 5D MkIIs with my three favouritean indelible photographic tapestry of the common The dress: Every subtle nuance should be wedding lenses: The Canon 16-35mm f/2.8 L II,man revitalising a monarchy in the 21st century. explored by the photographer, using his creativity the Canon 24-105mm f/4 L IS and the CanonIn essence the pomp and circumstance of the to highlight dramatically the beauty of the 70-200mm f/2.8 L IS II. I will also bring someroyal wedding must be balanced by the unique bride and her wedding dress, utilising the myriad Canon prime lenses. I would hope to use naturalblend of family love, affection and humour shared textures of light, shadow and setting. light throughout the day with my assistantby royalty and commoners. Location: The photographer should scout the carrying a Lastolite Tri-Grip reflector at all times. most advantageous position in Westminster Strobes will be in the bag and consist of sixTHE WEDDING DAY: Abbey that will provide the unique shots of the Canon Speedlites and a Profoto Pro-7b 1200WThe couple: The most important element in bridal couple during the wedding ceremony, pack. With this equipment I’m covered forphotographing Kate and William is to highlight including their entrance and exit from the abbey. whatever the gods throw at us.their lack of pretension as well as their This outcome can be accomplished only by I would also bring a camera operator to film thecomfort and pleasure in each other’s company. the photographer’s determination, talent and wedding with the Canon EOS 5D MkII on videoThe sparkling, even essence in Kate’s eyes pre-nuptial takes, using models to determine mode, which would enable me to make a shorttells you that although their relationship will enter the most effective camera angles, lenses, light film in black and white consisting of stills andinto the formal status of marriage, the bridge and perspective. video set to music.leading there was erected through love and Guests: The inclusion of the wedding guests in Albums would be handcrafted in New Zealandkinship over the past nine years of their lives. the photographs should only be to illustrate the by Queensberry, which is the Tiffany of weddingParents: The subtle definition between their worldwide appeal of the royal wedding. albums worldwide. I have booked an appointmentparents should be illustrated by the uninhibited Weather: Those of us who confront the whims for them to come and see me in a few weeks, so Iand unrestrained joy exhibited by her family’s of the English weather in our photography will let you know how I get on.84
  • 77. As many of the guests will be high-profile, giving family members are aware of all the cameras on them space to enjoy the moment is imperative if them and they will act as prompted and expected. they are to enjoy the overall experience. I will be there to capture up close and personal in the true sense. Using only available light and light from existing videographers, my assistant and I will concentrate most of the time on the bride and JASMINE STAR groom and their immediate families. My aimThe most important thing to keep in mind as is again to catch their real moments and not justa photographer is that this is not an average those that are However, as a former bride myself the At the reception, all the necessary andmost important thing for me is to approach traditional images will be covered, but I will askthe wedding as if two average people were getting YERVANT the bride and groom for 15 minutes of privatemarried. The responsibility to document the day I’m honoured to be chosen and yet surprised, as time and take them to a place where the three ofis of paramount importance, but the goal is to my style defies all traditions. My approach will us can be alone. I will not treat them in anymake Kate feel like a beautiful bride, not an be ‘up close and personal’ during the entire day special way; I will let them be Kate and Wills, Iinternational spectacle. Whether or not this is for William and Kate and all their relatives. will ask him to hug her tight, kiss her neck orthe case, it is a photographer’s responsibility to In spite of who they are and what is ‘expected’ or shoulder, to lift her and sway her, I will let themmake Kate feel like the day belongs to her and what is ‘traditional’, this day is just like any laugh and be themselves. I will even ask Kate toWilliam. Alone. family wedding – a very special, emotional day ‘dance’ for me and be a model for a moment and As far as family portraits are concerned, I when the bride and groom will reflect on the past, walk the walk, make him laugh, blow him a kiss,would start by photographing the siblings with wonder about the future, worry about how they be cheeky and hug him like she always does.Kate and William. While this may not be look, stress over the smallest detail, laugh, cry I will capture their real love that is privatetraditional, beginning with a group of people and have fun. My coverage is entirely for them as and will remain so. Throughout the day, I will runwhom the couple adore and trust the most would they experience the day. I will follow all my Canon EOS 5D MkII on video mode;set the tone for the rest of the family photos. necessary protocol and deliver what is ‘expected’ I particularly love doing this to capture perfectMore than anything, if a photographer can put the as such but my aim would be to capture this seconds. I will edit the footage in SnapFlow andbride and groom at ease with their closest allies – young ‘Generation Y’ couple of today. Photoshop, and create the seconds of perfectspecifically with the use of laughter and At the start of the day, I will spend time with expression for their album. I envisage that thiscamaraderie – the other relatives partake in Kate while she is preparing to be the royal bride. coverage will suit the Yervant Collectionthe moment and are subtly given permission to I know that despite the pressures of being a (GraphiStudio) album presentation. I created thisenjoy the family portraits in the same way. princess (act like one, look like one and be one), novel concept to be able to offer my brides anDuring these times, I would instruct another Kate will remain yet another young bride with the extended story of their special day. This isshooter to be photographing the family’s reactions same excitement, jitters and desire to be the most captured with the album pages in mind and theto conversations while I am photographing beautiful girl on the planet that day and impress story that we need to tell within all three volumesthe formal portrait. The candid photos are just her man. Her parents are of special interest to me in the set. The first contains the details and theas important as the posed portraits. during this time; their emotions and thought landscape scenario of the day, which will be Although photographing the dress, say, on a processes have to be more than any mum and dad printed on linen-textured paper. The second bookhanger or on display, is important, the shot most seeing their daughter as a bride; they actually are will contain the ‘moments’ of the day, all totallyeditors will want is Kate in the dress itself. giving a daughter away to be the future Queen of candid, unposed and in black and white andYes, the formal portrait of the bride will be England. They will exchange many thoughts and printed on a special pearl paper. The third volumeimportant, but the most compelling photos of her emotions in a look, a gaze and a touch; I want to will be the storybook of the event, the story Iwill be candid moments and subtle movements capture the depth of these and be able to show captured for them exactly as they experienced it.throughout the day. Keeping this mind, it would their exact thoughts and emotions in my pictures. I will also create a more ‘polite’ rendition of thebe a good idea to photograph Kate from behind As always when photographing brides, I will day for parents and grandparents.(to see the entirety of the dress) in real-life cover the traditional details of the gown, This book will contain all the necessary andmoments; specifically, waiting to enter the abbey, accessories, flowers, bridesmaids and flower girls, choreographed images, the safe and traditionaland leaving it, mixing with guests during but my main focus will be Kate at her most images, everything they deem customary,cocktail hour and the grand entrance. Most likely sincere, unposed, real moments. I will then spend but with a few Yervant signature images to createall these moments will be illuminated with time with William as he prepares; again all the some excitement. PPnatural light and give a true sense of the dress necessary details and formals will be shot but Iand the woman wearing it. will fine-tune my capture to his real moments, his Photographing during the ceremony would be expressions with his father, his brother, justbest accomplished with the Canon 200mm f/2.0 L looking in the mirror, and I hope to be able to seeIS lens. Shooting wide open can produce the most the couple’s real love for each other. I will askamazing results, with gorgeous bokeh and natural him to take a moment to reflect upon memories IT’S A THREE-WAYlight, while remaining at a distance from the bride of his mother Diana, which I will capture in KNOCKOUT!and groom. This type of lens would also work complete quiet and not prompt or direct in anywell in photographing guests and related wedding way. Just a few seconds of thought which I will www.crashtaylor.comevents at a distance without making them feel as look for in his eyes. The church ceremony is www.jasmine-star.comif their personal space is being invaded. anyone’s! Guests, public, media! Each of the http://yervant.com86
  • 79. LET THEREBE LIGHTNick Haddow went from working as a menswear buyer toshooting Hollywood royalty. And even though hiscommercial acumen is what shot him into the bigleague, Alannah Sparks finds he has other tricks up hissleeve to keep him at the top of his game.“I’m not intimidated by beauty. I grew up witha beautiful mother and, believe me, I’ve seenhow it can faze people. I can handle it.” This is just as well for Nick Haddow, becausebrowsing through his website one is inclined tofeel distinctly fazed by beauty – unabashed, lyricalcelebrations of it. Click the celebrity portraitsection and it’s a roll call of almost every famous,beautiful face on our screens today. There’s KeiraKnightley, both smouldering and glacial as shecurls up in front of a fire; Demi Moore, swaddledin a dressing gown and glaring broodingly into thedistance; a sylph-like Thandie Newton, angelicwhile she sleeps; and Kate Winslet, bathed in NICK HADDOW/HELEN BAMBER FOUNDATION/SAFE PROJECTgolden light as she dips a lightly bronzed leg intoa shimmering lake. These are the images for SAFE, Nick Haddow’scharity project in collaboration with actressEmma Thompson. After four years’ workdedicated to raising awareness of the womentrafficked for prostitution the world over, itdebuted in London last November and is boundfor New York, Cannes and beyond later this year.Right: Actress Gwyneth Paltrow.88
  • 80. FASHIONNick Haddow
  • 81. “For me, the goodphotography happens in atiny instant when the lightfalls in the right way, thehair falls, the woman’s eyeflickers, the mood is right– something happensmagically, which makes itreminiscent and holdingon to a time.” Nick Haddow“Unfortunately, everyone these days is obsessedwith celebrities. But when they use that power asa medium for an important message, how canyou not respect that?” He and Thompsonapproached each star individually – a huge taskconsidering the legions of publicists, PRs andminders that surround today’s stars and starlets –and convinced them all to pose for a picture in aplace where they felt safe. Ranging from MerylStreep at her home in Connecticut to RachelWeisz in the branches of an apple tree andNatasha Richardson (who, tragically, was to dielater after a skiing accident) in the arms of herhusband Liam Neeson, each actress gave up hersafe place to help women who according to Nick“have no safety, in body or in mind.” Nick Haddow’s career in photography beganthrough an unlikely sequence of events.In a warm and undulating Scots tone he tells howa college degree in business and marketing, NICK HADDOWfollowed by a brief stint as a menswear buyerfor House of Fraser, prompted his mother totell him aged 22, “that I needed to get the fuck outof Glasgow. It was killing me.” He packed inthe buying, packed a bag and packed off for pussyfooting around. They want to know that out Above: Commercial shoot with model Laura Bailey.a year around the world. One Sunday morning of X amount of money, they’ll get X results.” Opposite page: Actress Sienna Miller.he was – unusually – awake at dawn when This explains why heavy hitters from Topshopa hairdresser friend phoned in a panic because to Victoria’s Secret and Alice by Temperley to NICK HADDOW/HELEN BAMBER FOUNDATION/SAFE PROJECTa photographer’s assistant had pulled out of Avon are queuing for a piece of that no-nonsense But Haddow has three major advantages whena shoot. “I turned up groggy-eyed at the studio lens style. “Sometimes it’s difficult,” he admits, it comes to keeping the clients returning. The firstto help out and from that day I knew what “you’re dealing with someone young, someone one is speed. “I never work past 5.30,” he saysI wanted to do.” He became Steve Faulkner’s that you’ve forgotten more than they know,” he proudly, “no point in going over a shot 15 or 20full-time assistant, and has never looked at says in his idiomatic way. “Listening to someone times when you know you’ve got it right the firstmenswear trend forecasts again. who knows less than you – it’s tricky – doesn’t time. Nobody wants to be there for 10 hours.” The fact that Nick has done his time in business matter how good you are, how quick you are, He shot the picture of Kate Winslet at the lake inhas served him well throughout his career as a how kind you are, how expensive you are – it’s 15 minutes, and not one of his SAFE photos tookcommercial photographer. He runs his own show all based on the person holding the wallet.” longer than 30 minutes to get right. “For me the– production, management, agent work. Go to a This, he claims, is what makes photographers good photography happens in a tiny instant whenmeeting with Nick Haddow and you’ll get facts vulnerable in their profession, because as with the light falls in the right way, the hair falls,and figures. “Big clients now don’t want a diva any trade, you’re only as good as your last job. the woman’s eye flickers, the mood is right –90
  • 82. FASHIONNick Haddow
  • 83. “The really goodhairdressers willcome in to a shoot andif the model orcelebrity’s hair isgorgeous already –even if they are gettingpaid a fortune – theywon’t touch it. It’s thesame with photography.The best light in theworld is the light thatGod gives.” Nick Haddow
  • 84. FASHION Nick Haddow something happens magically, which makes it just choose one and leave us in peace?”) and The third and possibly most startling thing reminiscent and holding on to a time. When you wonders how I’ve never noticed how much of a about Nick’s work is that he rarely uses look back at it, there’s something almost ‘fox’ architect Charles Rennie Mackintosh was. lighting in his shoots. This, he tells me, is key melancholic about it.” This melancholia, the But underneath this provocative humour is to understanding his work. “It comes from striving for film-still poignancy, is why Haddow a niceness and empathy towards other people. confidence,” he says, choosing his words fights shy of working with the moving image. When Thandie Newton spoke to The Times about carefully so as not to sound as if he is preaching. He is shortly to begin work on an advertisement Haddow, she said: “He creates an equilibrium that “The really good hairdressers will come in to a for a big European brand and confides that it’s actually makes me feel like I am giving him the shoot and if the model or celebrity’s hair is been keeping him up at night. “With the moving picture, as much as he’s taking it.” With Haddow gorgeous already – even if they are getting paid a image I can’t control it in the same way – the time everyone gets the same treatment, whether it’s fortune – they won’t touch it. It’s the same with isn’t mine to capture. Working with a great team Hollywood royalty or his new assistant. He speaks photography. The best light in the world is the is what will make the difference and I’m lucky to angrily about the way that assistants are treated in light that God gives.” It’s extraordinary to flick be surrounded by great people.” the photographic profession and even though his through his images, characterised by evocative No wonder Haddow has a loyal entourage. career as one was short-lived (he worked for six soft shadows and flattering golden light, andNICK HADDOW/HELEN BAMBER FOUNDATION/SAFE PROJECT The second of his useful traits – one which months for Steve Faulkner unpaid and then went realise that no artificial light was used. For the becomes abundantly clear to me during the length to work briefly with Palma Kolansky) it’s easy to commercial shots Haddow will call in artificial of our conversation – is his sense of humour. see that it carved his set of values in stone. light if he’s keeping to a brief, but otherwise he His self-deprecating Glasgow lilt and devious “In every walk of life it’s the same – and I’m no prefers to work with what God gave him. take on the world has me in stitches throughout Bible basher by any means – but treat everyone At the beginning of our interview Nick tells me as he talks about working with ‘Slashies’ (“you the way you want to be treated. As we say in a joke: “You know the one – what’s the difference know, those girls who call themselves an Scotland, the fuck you give the fuck you get – it’s between a photographer and God? God doesn’t actress/model/presenter/columnist? Can’t you just karma.” The hierarchical system in the world think that he’s a photographer.” But, as I reckon of photography is abused too often and he Nick has discovered for himself, it certainly pays says the horror stories are commonplace. “It’s so to have him on-side. PP Actresses Thandie Newton (above) and Carey Mulligan wrong,” he says, “we’re doing a gorgeous, (opposite page) photographed for the SAFE project. pleasurable job. We’re not saving lives here.” 93
  • 85. Thenewkid in Do you blog or follow blogs? I do both but my blog has no images on it. Why, I hear you ask, would someone whose life revolves aroundtown photography not have at least one image on his blog? Well, because I wanted my blog to be different. A quiet haven among the self-regarding, overly personal images I was seeing on other blogs. Scruffy rooms, various areas of the bloggers’ anatomy, their last meal, the froth on their coffee, the view from their scruffy rooms and on and on. But hang on a minute, was I missing the point? If a blog is a personal visual diary then these are exactly the images which make up our everyday lives. I reconsidered. I visited more blogs and started to get the point, realising the influence these personal images were having on the editorial and advertising work I could see being commissioned. The first area of blog photography that started to seep into the commercialThe world of blogging has influenced consciousness was that of fashion. Blogs such as The Sartorialist, set up by the non-photographer but highly stylish Scott Schuman, and Facehunter,the world of professional photography in created by the similarly photographically unskilled but fashion-inspired Yvan Rodic, not only got their founders noticed as style spotters, they alsomany ways but it is the kind of images started to get them commissioned as photographers. As the success of their blogs grew, their photography improved and so did the quality of the clientsbloggers post that has had the commissioning them. You can see Yvan’s images in the Observer magazinegreatest influence on work being every Sunday and Scott’s work is all over and in GQ magazine in the US where he also has a regular page. In this country fashioncommissioned. PP Editor Grant Scott went editor Jackie Dixon soon found herself being commissioned to shoot images as well as style with the success of her blog Show Me Your to find out how and why. This was non-photography photography, vox pop photography, found-on-the-street photography, where fashion and style were all and context was a bonus. But the fashion and style magazines loved it as an antidote to the highly stylised, controlled and manipulated fashion images they had become used to reproducing. Fashion blog photography made fashion seem more real with real people in real places with real style. This was blog photography that was about getting out and recording what you like, capturing what inspires you and sharing your passions with the online world. But that’s not the inspiration behind the kind of work I see on most blogs. The kind of work I’m seeing is far more introspective, personal and tender; images that feel like stills from a European movie, without sub-titles, from which you get very little sense of meaning, but a huge amount of atmosphere. However, a few clicks later and a mystery started to unravel. Just who was taking these pictures? Every image seemed to have been re-blogged and then re-blogged and re-blogged again until I found myself a long way from the blog I started on but none the wiser as to who had taken the photograph.94
  • 86. NEW MEDIAEach journey to find out more about a particular image left me increasingly has been liked and is being promoted to a new audience; be happy with thatconfused. Despite the fact that every image I followed seemed to be taken by and make the most of the benefits. The photography blogging community isa different blogging photographer, there seemed to be a shared aesthetic that international and sees nothing wrong with re-blogging images withoutlinked them all. I can’t accurately explain this in words so I suggest you permission. They are creating their blogs because of a love for photography,follow my example if you want to understand fully what I am talking about they make no profit, they just want to share their passion. For me andand start clicking through some of the blog sites I have listed at the end possibly others of a certain age reading this article this desire to share seemsof this article. After 10 minutes you will get and see what I mean. to have a direct relationship with the days of the mixed tape; a lost art whereHopefully, like me, you will be inspired but also confused as to where those who loved music would create tapes of songs for friends, based on athis photography is coming from. theme, by recording records by different artists without permission. Again I can hear you all crying out, “That’s all very well but what has this Today’s photography bloggers are doing the same but with to do with us and our careers?” Well, after you’ve spent time looking at Many professional photographers began blogs as attachments to theirthe work I’m talking about, start looking in the magazines in your local websites but soon lost interest when they found them to be bothnewsagent, at both the advertising and editorial photography, and you willsee why you need to see how the kind of imagery created by a teenager inSweden with their friends is starting to become an aesthetic that clients arelooking for. It is a new visual language with a huge online following thatcommercial brands want and need to utilise to show that they understandtheir existing and potential communities. Simply put, this is a new approachto photography, which we all need to be aware of. From a personal perspective there are two photographers whose work ismost referenced: William Eggleston and Juergen Teller, two photographerswho have had commercially commissioned careers alongside galleryrepresentation and critical acclaim. They have both taken their personal livesand made them commercial without compromise. Their images are found orlightly contrived. Technical competence is accepted but not strived for.The camera itself is small and non-intrusive. My theory falls down, however, when I read the short biogs, whichpopulate each blog site. Have Amanda from Canada, 18-year-old Samanthafrom New York, Svetlana from Moscow, 16-year-old Marija or Eardur,an art student from Croatia, heard of either of these photographers?Probably not, yet they have embraced these photographers’ beliefs about time-consuming and difficult to populate. Few of us have lives interestingphotography through their own experiments. They are also becoming enough to warrant daily or even weekly updates. Without either, a blog willthe photographic curators of the new digital world, bringing together images wither and die. It requires a reason to encourage repeat visits, which isthey like and are inspired by to combine with their own work to strengthen something the new digital photography generation understands. They havetheir photographic world-view. grown up with the technology from childhood and as they now begin and Of course this kind of curating or magpie collecting of photographers’ leave college they are populating their blogs with images that are bothimages and re-using them without a fee does not sit well with many informed and influenced by this understanding.professionals. A quick look at your website’s Google Analytics will soon To further prove my point on the influence blog photography is having onreveal unexpected visitors to your site trafficked to you from someone the mainstream I decided to leaf through both the January and Decemberwho has posted your images with your name or website details. You may 2010 issues of Vogue magazine. Vogue has always been an intrinsic startingwant to force them to remove the image or pay you a fee. I would suggest point for both fashion and portrait photographers, and a shop window foryou make sure the image is correctly credited and move on. Your image brands looking for the coolest photographers to work with, so it seemed like a good place to start. I was not disappointed. The latest campaigns for Louis Vuitton, Chanel, Balenciaga, ASOS and portraits by Mario Sorrenti, Mario Testino and Boo George all showed a strong awareness of the personal nature and caught moment of blog photography. It’s pretty clear that the art of the blog has come a long way from its humble beginnings as a personal diary. It’s now an area, which is not only a vibrant platform for sharing images and inspirations but one which is helping to shape the look of commercial photography. My advice? Make sure you keep informed and get your blogging glasses, but be aware you could end up being part of a world you never even knew existed. I did. PP Starting Points: 95
  • 87. / ReviewThe hard drive must die!You might think that your external hard drive is tough, but have you ever shot atit with a shotgun? Mike Bloomfield has and lived to tell the tale.An indoor shooting range on the outskirtsof Las Vegas was the location. A Remington12-gauge shotgun with Winchester XpertGame Load Steel ammo (the kind usedfor hunting big animals) the weapon ofchoice. The ioSafe Rugged Portablethe target. Welcome to the Demo-lition. I first encountered the ioSafe range of harddrives at the beginning of last year. They cameon to the market as ‘the Hummers’ of storageand delivered on every level. They were heavy,bolt-down, waterproof, fireproof monsters ofdata and I loved them. I made an immediateinvestment and two of them now sit proudly onmy studio desk – easy to use and indestructible.But I knew little about the company or why ithad decided to create its indestructible range, sowhen I was contacted and asked to comeand destroy their first portable drive, I jumpedat the invitation. Since 2005, ioSafe has been making hard Rugged Portable’s underwater capabilities by starts up, no problem. Robb is not impressed;drives that have the same logic behind them as immersing it in a fish tank and leaving it on the he wants the hard drive to die and he wants us toan aircraft black box, all because its CEO, gravel bed for a while before retrieving it and kill it. It’s time to change weapons.the California-based inventor, engineer and plugging it straight into his MacBook Pro after a Next up is a fully automatic M16 rifle firingdemonstrator Robb Moore, wanted to ensure quick puff of air into the portable’s USB port. a 5.56mm calibre NATO bullet. The journalisthis pictures of his children were safe. A quick It works, no problem. We are all impressed; I’m from Florida steps up to the plate; a confidentweb search revealed there was nothing on the thinking that this is the answer to spilt tea when shooter he puts it on to solo round and takes offmarket that met Robb’s exacting personal I’m working on long edits. Robb agrees. the back of the drive in one shot. It has takenrequirements, so after a number of particularly Now it’s time to get serious. Robb attaches a military-spec weapon to kill the hard drive.weird and wonderful experiments he came up the drive on to a pull mechanism that takes it Robb winds it back in and examines the internalwith his own solution, ioSafe, a series of hard just above head height 30ft down the shooting workings; he is not confident it will work butdrives that can be bolted to the floor, survive a range. The first journalist loads up, stands behind says they have done before despite such damage.building collapse or be padlocked to anything a Perspex wall with a shooting hole cut in it Sadly, it’s a no-go and we’ve succeeded in ourimmovable. and lets rip. We are all wearing headphones and mission. The hard drive is dead. Now Robb has applied the technology and protective glasses but even so the sound of The Demo-lition is over and we are quality to a portable version and I’m going a shotgun going off is explosive at close range. The ioSafe Rugged Portable is the toughest,to see if I can kill it. Robb is a nice guy and He has also hit the drive. meanest son of a bitch that any of us have comedelivers his rundown on the ioSafe Rugged Robb winds it back for us to look at. The case across so far. I have put in my order. PPPortable with an edge of military precision and is peppered with shot but there does not seemengineering confidence. I’m not the only to be any serious damage. He plugs it in oncejournalist at the shoot-out and everyone else is more and again it works. Five journalists repeat http://iosafe.comboth American and comfortable with firearms. the process and hit it every time. The caseWe will be using live ammunition. But before we gets increasingly damaged but will not die. To see our films of the Demo-lition go toget a chance to kill, Robb demonstrates the Every time it’s pulled back and plugged in, it 97
  • 88. /Giant Killer?Panasonic is fast becomingan unexpected leader in thecompact DSLR market and The Lumix DMC-GH2 is the latest generation of hybrid cameras from the Panasonic Micro Four Thirds stable, offering interchangeable lenses on a body that looks like a DSLR but feels more like a compact. The ability of All the functions that this camera offers are easily accessible with the physical layout of the intuitive controls. Apart from the usual modes of shooting, it also has a 3D mode (with a dedicated 3D lens) for shooting stills and again these can be Panasonic to pack so many features into viewed on a Panasonic HD 3D TV should you ,the release of the DMC-GH2 such a neat and compact-looking camera happen to own one. The touch screen responds and deserves great praise. behaves as you would expect an iPhone or anis a welcome addition to the I must state here that I have never before used a iPad to do. You can swipe through images, andcompany’s photographic camera such as the DMC-GH2. My background in photography comes from using DSLRs and film double or triple tap to magnify one of them when you want to check focus planes.arsenal. It’s packed with cameras. Holding this camera is a new experience for me and having never read a manual in my life, HD VIDEOgreat image-making I am not going to start now. So the perspective of this review will lean rather more towards a All the controls associated with using the HD film modes are on screen as well. As this is a mirrorlesstechnology, so we armed hands-on feel than technical specifications. camera, Panasonic has put in an electronic viewfinder which is sharp, bright and accurate inaward-winning BUILD assessing colour and contrast, although I did I have been given a 14-140mm lens with the body, notice some image tearing appearing when Iphotojournalist Kieran and my first impressions are that a lens any longer panned the camera. Without wanting to state theDoherty with one and than this one would probably cause a weight imbalance on such a light body. The 3in 460k-dot obvious, the design ergonomics of this camera would lead me to use the viewfinder for stills workasked him to put it through resolution, multi-angled flip touch screen display on the back of the camera is very sharp and and the touch screen for video work. A neat function on the DMC-GH2 involves aits paces. This is what remarkably intuitive. It appears that firmware engineers throughout the digital camera spectrum small sensor under the eyepiece that detects eye proximity. Move your eye to the viewfinder andhe thought. have agreed on a template, which means if you have used a compact or DSLR from any the touch screen shuts down; move your eye away from the viewfinder and the touch screen comes manufacturer, you will be able to navigate back to life. ISO, white balance and other factors easily around the menu on this camera. that are constantly being used by a photographer I put this to the test by asking my are a one-button touch away, although Panasonic nine-year-old daughter (who has added the Q menu button that allows all your uses one of those digital favourite functions/controls to appear instantly. compacts that you can The DMC-GH2 is a 16.05 usable megapixel buy for under £30) to set camera. It also features Dolby digital stereo and at the camera into HD cinema its top end 1,920 x 1,080 HD resolution in cinema mode and start filming. mode with a variable frame rate. HD resolution She did so in less than a written down like this really doesn’t mean a great minute, by finding the deal to me, so I decided to see what it looked like Q (quick) menu button, which on a much bigger screen. Panasonic has included proves these hybrid cameras a mini HDMI cable socket on the camera which KIERAN DOHERTY and their software are the tools means you can plug it straight into your TV I have . with which her generation will a 37in Panasonic flat screen, so I did just that. record and view the world. All the functions are at your fingertips on the98
  • 89. Review Kieran was impressed with the Panasonic DMC-GH2’s ability to meter the scene of Fulham football ground being watered and (below) that he could work at ISO 1600 to capture Damien Duff’s yellow card.“It appears that firmware engineersthroughout the digital camera spectrumhave agreed on a template, whichmeans if you have used a compact orDSLR from any manufacturer, you willbe able to navigate easily around themenu on this camera. I put this to thetest by asking my nine-year-olddaughter (who uses one of those digitalcompacts that you can buy for under£30) to set the camera into HD cinemamode and start filming. She did so inless than a minute...” Kieran Doherty 99
  • 90. Review / just taken, which was a little distracting, especially when trying to shoot a sequence. I chose to test the DMC-GH2 in programme mode, my only alteration being to set a dedicated white balance in-camera. I wanted to see how it handled extreme backlighting, shadow details and massive exposure differences all in the same frame. I then viewed the images through Panasonic’s supplied software SILKYPIX. The results were pretty astonishing. The camera’s ability to meter a scene such as the pitch being watered at Fulham football ground was impressive, as was its ability to work at ISO 1600 for the Damien Duff yellow card incident during Fulham’s 4-0 win over Tottenham in the FA Cup. Stewards are briefed before the fans are let into Fulham football ground.“Is it my sort of camera? Initially I would have said no, butthe more I used it, the more I enjoyed doing so and theimpressive results speak for themselves.” Kieran Dohertycamera’s touch screen as you scroll through your making a documentary film in China. But thestill images or video recordings on the TV In the . DMC-GH2 has taken a big step in that direction CONCLUSIONrecord mode menu on the camera it says that and I am sure it’s only a matter of time before this This model packs a punchAVCHD (1080i) mode is the best recording mode becomes reality. with its functionalities,for playing on TV in HD. Once you get over the three-quarters of which I haven’t mentioned in thisfact that the resulting video is not going to look STILLS review. Everything I have written is based solelyquite like a BBC natural history production, it’s an This camera has various stills shooting modes, on information on the camera, and I am sure thatenormous achievement that a camera of this size including the ability to shoot still images while more technically versed photographers wouldcan produce such superb quality. The recorded recording HD video, although I am assuming this glean far more from the camera than I is not available through the TV only through , could be achieved only through the use of a Is it my sort of camera? Initially I would havethe camera, but it is exceptionally clear. remote, as pushing the shutter button during said no, but the more I used it, the more I enjoyedThe DMC-GH2 does, though, have a port for filming would surely cause movement and be doing so and the impressive results speak foran external microphone. counterproductive. themselves. I imagine that the HD video side of I am not convinced the DMC-GH2 would be the The DMC-GH2’s image sizes range from 4,608 this camera is its real pulling power, but the stillschoice for specific areas of professional film x 3,456 to 1,792 x 1,792 and it has aspect ratios of image side is an able wing man. I think themaking, but certainly serious amateur or indie 1:1, 4:3, 3:2 and 16:9. In my opinion it is never a DMC-GH2 is more than likely a stepping stonefilm makers will be suitably impressed with its true test of a camera’s capabilities to walk out into en route to what will ultimately evolve into avideo credentials, particularly the external HDMI a perfectly-lit street and start shooting at ISO 200. Panasonic giant killer. PPslot which, when attached to an external monitor, Let’s face it; every digital camera manufacturerwill allow artistic directors on location to see in has got ISO 160-800 pretty much covered.real time what is happening during a shoot. What has transformed the image in the digital age RRP: £918.99 (including 14-42mm lens). Another huge plus is the DMC-GH2’s ability to compared to the film age is its ability to operate in focus very quickly while recording video low-level lighting conditions. Twenty years ago we www.kierandoherty.comthrough its AFS mode. I would have loved would either accept movement as part of thePanasonic to have taken a step further and offered picture or hope that people stood really still.touch screen magnification for focus checking Now we can shoot in almost complete darkness KIERAN DOHERTYduring recording when not in AFS mode. and freeze movement. GO ONLINE FOR MORE KIT REVIEWSFunctionality like that would have hauled me When shooting stills I noticed the viewfinder AND PHOTOGRAPHIC NEWS ATout of a tricky situation I found myself in while immediately showed momentarily the image I had
  • 91. ADVERTEXCLUSIVE FOCUS OFFERS JOIN THE LARGEST When there is such a choice of representative organisations out there you may ask yourself, ASSOCIATION why The Societies? FOR THE SERIOUS To us the answer is simple. If you are a newcomer to the industry or considering a career PHOTOGRAPHER change then we offer the most comprehensive range of FROM ONLY £99 P.A educational seminars backed by our Mentor Me programme leading to qualifications. JOIN AT FOCUS & RECEIVE A FREE WELCOME GIFT WORTH UP TO £75! www.thesocieties.netAMAZING SUBSCRIPTION PACKAGES! Save up to 55% on full price Receive a FREE gift! FREE delivery to your door FREE access to fully searchable digital editions (current and back issues) WORTH £15! MEET THE TEAM AT Q15 AND FIND OUT MORE ABOUT OUR FANTASTIC SUBSCRIPTION OFFERS! PROFESSIONAL PHOTOGRAPHY TURNING ALSO FIND US ON C21 PHOTOGRAPHER MONTHLY PRO
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  • 93. 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... all supported bodies are available on the company’s website. The IQ180 will be available from April, and the IQ160 and IQ140 are due to be released at the end of May. Offical RRP prices start at 16,990 euros and products may be ordered now through Phase One professional photography partners worldwide. G Several scenes from pop star Rihanna’s latest video for the single S&M bring to mind the work of David NEW LENSES FROM LaChapelle, let’s hope that he’s a fan...PENTAX K-5 SILVER CANON G Champagne house Moët & Chandon’s new campaign by Tim Walker has shotPentax is releasing a limited-edition version of Canon has brand ambassador Scarlett Johanssonits K-5 DSLR. Only 50 units of the camera, in launched two looking extremely bubbly...silver, will be available in the UK. As well as new lightweight G Rumours abound as to when thethe new finish, the thumbwheels, buttons and super telephoto Apple iPad 2 (second generation) willpackaging have been updated. The rear LCD lenses: the EF be launched. It may even have happenedand top screen have been reinforced and the 500mm f/4L IS II USM and EF 600mm by the time this magazine hits thehandle redesigned to make it more comfortable f/4L IS II USM. The lenses were newsstands, frustrating the hundredsto hold. To complete the new K-5 silver previewed at Photokina last September of thousands of people who received aversion, three existing pancake lenses are and replace the EF 500mm f/4L IS USM first-generation iPad last also available in silver: the smc DA 40mm and EF 600mm f/4L IS USM respectively. G Alasdair McLellan has recreated thef/2.8 Limited, the smc DA 21mm f/3.2 AL Canon promises increased durability and iconic image of Marilyn Monroe standingLimited and the smc DA 70mm f/2.4 Limited. up to 27% reduction in weight. over an air vent in The Seven Year ItchPrices have yet to be confirmed, but the Both lenses will be available by with Lara Stone for the launch of Redmodel is expected to go on sale in March. mid-2011. RRP is £8,999 for the EF Nose Day 2011… 500mm f/4L IS II USM and £11,299 G The spring for the EF 600mm f/4L IS II USM. 2011 campaign for clothing range T by Alexander LIGHT BLUE 3.0 GOES Wang caught our eye. Shot MOBILE by Daniel Jackson with Fabien Baron as Light Blue software, which is used by creative director, it’s accompanied on photographers to catalogue shoots, orders, Wang’s website by a frenetic film…PHASE ONE LAUNCHES payments and image purchases, has G A vintage Leica model MP-36, that released version 3.0. Its main new feature is may have once belonged to notedNEW BACKS the availability of a new hosting service on Swedish photojournalist Leif Engberg,Phase One is launching a new generation of Light Blue’s servers for a monthly fee of £25, sold on eBay for $104,000 recently.medium format digital camera backs. allowing users to access data from their The Germany-based seller claimed itKnown as the IQ180, IQ160 and IQ140 they iPhones or iPads. The software is available belonged to a famous photographerhave a maximum resolution of 80, 60.5 and now for £295; upgrades are also available but the description was patchy to say40MP respectively. The backs are compatible for £95. To download a free 30-day trial visit the least...with the Phase One 645DF camera; details of 103
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  • 99. legend Tony Ray-Jones 1941-1972 “My aim is to communicate something of the spirit and the mentality of the English, their habits and their way of life...” After deeply unhappy years at Christ’s Hospital on their coast, exploring the irony that when we School in West Sussex – echoed, re-created even, holiday we do it to become someone else and so in his picture of pupils from his old school, inevitably become most ourselves. waiting with mothers and trunks on a Victoria His was a Britain that would soon be washed Station platform – he studied graphic design away by a tide of cheap flights and new horizons. at the London School of Printing. He was taught Deckchairs, Thermos flasks and one-piece by Bill Brandt’s brother Rolf. bathing costumes. Pier ballrooms and a couple on Then a handful of pictures shot through a north a bench in Great Yarmouth, in the background a African taxi window got him to America, sign that would read JOYLAND if it weren’t via a scholarship to Yale. While there, he studied facing the other way. One of his great strengths with Alexey Brodovitch – mentor to Irving Penn, was his lack of fear of the obvious. Eve Arnold etc etc etc – and lived the life of His pictures should have been patronising, Manhattan, at its full post-Mad Men, Baby Jane condescending, superficial but they weren’t Holzer moment. He photographed the Beatles somehow. His subjects all seem so wonderfully and the Rolling Stones when they came to town. unaware of his presence, so unself-conscious. He became friends with jazz pianist Horace Even when photographing people’s dreams Silver. He took pictures, then took more pictures. failing, he could accept our tragic shared “We’ve got to keep working,” he’d say to Joel humanity. His images had the democratic delight Meyerowitz – great friend, great photographer, and wit of À Propos de Nice, the warmlyImmensely talented, this son of too. They’d spend their Saturdays shooting the sardonic Côte d’Azur travelogue made by Jeanan English artist lived a short, passing parades, from Veterans’ Day to Vigo, one of his favourite directors.productive life during which he St Patrick’s Day. “We learned how to shape As he was obviously influenced by the greatcaptured the soul of the nation pictures that were not about an event but about French street photographers (Cartier-Bresson, an observation,” said Meyerowitz. Brassaï, Doisneau, Willy Ronis) and the post-warand informed the work of future Moving back to England in 1965, he earned his Americans (Robert Frank and Garry Winogrand,generations of photographers. money working for newspapers and magazines, in particular), so he influenced a generation of particularly the new-and-fresh Sunday colour British photographers – Chris Steele-Perkins, supplements, then home to a generation of Homer Sykes and Martin Parr most obviously.Tony Ray-Jones was born on June 7 1941 in photographers, from Don McCullin to Diane “They have an ambiguity, a visual anarchy,” saidthe Somerset cathedral city of Wells. Arbus. Partly via these commissions and partly Parr of Ray-Jones’s pictures. “They showed meAt least, that’s what the books generally say. on his own, he began shooting a record of what was possible.”In fact, it was up the road in the village of England as it was – or at least how he felt it was. The work that made his name was his 1974Wookey – close to Wookey Hole, the tourist “My aim,” he said in 1968, “is to communicate book, A Day-Off: An English Journal. In itsattraction based around the caves in which something of the spirit and the mentality of the own way, it was a companion piece to Bailey’sthat most English of cheeses, Cheddar, English, their habits and their way of life, the effervescent Goodbye Baby & Amen – an ironycomes to maturity. ironies that exist in the way they do things, partly he would have loathed. An ambitious, aggressive His father, an artist and engraver, died eight through tradition and partly through the nature of and dissatisfied young man, he thought Baileymonths later and he was raised by his doctor their environment.” ‘phoney-baloney’. But by then he’d been deadmother – supported by her parents and the Artists’ This meant pictures of vanishing rituals: the two years.Orphans Fund. (His life, accordingly, was bittered Helston Furry Dance, Wormwood Scrubs fair, the In 1971, he got a job teaching in San Francisco.with almost obsessive stinginess.) Coco-nut Dancers of Bacup. New rituals, too: He found it exhausting. Only it wasn’t exhaustion, There, in those two founding facts – of place beauty contests, Derby Day at Epsom. All in all, it was leukaemia. Unable to afford Americanand family – are the essential elements of his something of a dialogue with Bill Brandt’s 1936 medical treatment, he flew back to England onphotography. The English at play. The minute The English at Home. March 10, 1972. Immediately admitted togradations of class. The sharp-tongued dialogue Travelling the country with his wife Anna in a the Royal Marsden, he died three days later,between commerce and tradition. VW camper van, he photographed the British aged 30. PP GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK114