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Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
Professional photographer uk   2011-04
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  • 1. PROFESSIONAL PHOTOGRAPHER APRIL 2011 ● MICHAEL THOMPSON ● AUGUST SANDER ● MICHAEL OCHS ● THE HASSELBLAD DILEMMA ● WWW.PROFESSIONALPHOTOGRAPHER.CO.UK INSPIRING • INFORMATIVE • HONEST • ESSENTIAL PROFESSIONAL SINCE 1982 APRIL 2011 ONLY £3.99 IF YOU WANT TO KNOW HOW TO BE A SUCCESSFUL PRO PHOTOGRAPHER YOU NEED TO BUY THIS MAGAZINE Reese Witherspoon by Michael Thompson “Some people think that if they change the names of things, the things themselves will have changed, too.” Anon IN THIS ISSUE THE TRUTH ABOUT SHOOTING PORTRAITS, BEAUTY, FASHION & REPORTAGE PLUS: THE HASSELBLAD DILEMMA RESOLVED
  • 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 www.handsonahasselblad.com or call us on 020 8731 3250 to find out more.
  • 3. welcome april This month I’m not going to be able to say as much as usual about the latest issue, but hey, I guess that’s not such a bad thing, when design and photography define a page. I never get bored of talking to photographers about photography or listening to what photographers have to say; it’s what feeds the content of the magazine and dictates how and why we include what we do. Any of our regular readers will know that this is not a magazine created to a format. Each month we try to bring together a whole host of stuff that responds to what we see and hear. We also try to make sure we listen and talk to people working in all areas and at all levels of success, from iconic photographers such as Michael Thompson on Page 54 to people just starting out like the Haarala Hamiltons on Page 88. We have photographers filled with passion and determination, such as Maciej Dakowicz on Page 64, and humour and commitment, like Peter Dench on Page 36, as well as thoseTHIS IMAGE: MICHAEL THOMPSONEDITOR’S IMAGE: MATT HALSTEAD who understand the business and future of photography, such as Clive Booth on Page 30. These are just some of the photographers who help to define our community which I hope you also feel part of. Welcome to the club. Grant Scott, Editor
  • 4. NEW PHOTOGRAPHY contents april 8 Portfolio The best of your work posted on to our online portfolio. 53 Exposure Fashion photographer Ellen Von Unwerth shoots for wedding dress designer Jenny Packham. NEED TO KNOW 25 Being There PP Editor Grant Scott recalls a shoot at the Moët & Chandon chateau in France where he was caught in the crossfire between a non-English-speaking photographer and a fashion editor. 30 Dispatches Clive Booth gears up for the high-octane event that is London Fashion Week. 36 The Dench Diary The sometime working pro travels to Norway to teach up-and-coming photography students. 42 The World of Convergence Don’t miss film maker John Campbell’s regular news-packed take on the world of convergence. 45 Frontline We talk to Roger Tooth, head of photography at The Guardian and The Observer. 51 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 64 The Year of Living Dangerously Peter Dench catches up with the owners A portrait of David Bailey by Norwegian photographer of the Third Floor Gallery in Cardiff to discover what Pål Hansen. Read our interview with Pål on page 74. 23 Diary it’s really like to run a gallery. Our pick of this month’s most exciting photographic exhibitions around the UK. 80 August Sander is Important... 70 It’s Only Rock ‘N’ Roll Robin Gillanders explains why the German portrait but I Like It 98 Working the System photographer matters so much. Paul Middleton talks to Michael Ochs, possibly the PP Editor and longtime Hasselblad user Grant Scott . greatest archivist of music images in the world. discovers that going back to the legendary brand is 93 Talkin’ Photography Blues all about asking yourself questions. Following an overwhelming response to his article 74 What Lies Beneath on loneliness last year, Grant Scott revisits the Julia Molony meets Pål Hansen, the Norwegian 103 Stop Press... subject of depression among photographers. photographer who sees beyond the glamour and The latest essential news, gossip and kit from the glitz of the celebrity world he shoots. pro world. 114 Legend We look at the life of American photojournalist 88 Supermarket Sweep James Nachtwey, who has turned his lens on war Cass Chapman talks to Max and Liz Haarala KEEP IN TOUCH and disaster for more than 30 years. Hamilton, whose personal project on The People’s Supermarket is now bringing them new work. 28 Podcast Free photographic discussion for the masses. INTERVIEWS WITH... NEWS & REVIEWS 49 Feedback 54 God is in the Details Your thoughts, your opinions, your page. 14 ClickPÅL HANSEN PP Editor Grant Scott speaks exclusively to fashion photographer Michael Thompson about his stellar This month’s line-up of the best news, dreams, 96 Subscribe career and what it was like to assist Irving Penn. themes and photographic schemes. Check out our latest subscription offers. www.professionalphotographer.co.uk 5
  • 5. friends aprilRobin Gillanders Paul Middleton Roger Tooth Michael ThompsonLecturer in photography Writer Photojournalist PhotographerRobin Gillanders is Reader in Paul, a part-time football and music A press photographer who cut his Michael has shot celebrities forPhotography at Edinburgh Napier writer, is a full-time fan of late folk teeth on the Hackney Gazette, Roger magazines such as Vogue and VanityUniversity. He is also a practising singer Phil Ochs. It was through this is now head of photography for Fair, as well as campaigns for luxuryportrait photographer and has link that he gained access to his The Guardian, The Observer and brands including Emporio Armaniseveral works in the collection of the brother, the music archivist Michael guardian.co.uk. Since he joined and Chanel. At the start of his careerScottish National Portrait Gallery. Ochs, whom he interviewed for the The Guardian as assistant picture he assisted Irving Penn, havingThe author of several books on feature on page 70. Describing the editor the industry has embraced knocked on his door to find it beingphotography, for PP he looks at the incredible archive as “a hobby that new forms of multimedia, changing opened by the legendarywork of the German portrait got out of control”, Ochs began the commissioning of photography. photographer himself. From therephotographer August Sander – who collecting photographs while In our Frontline feature on page 45 his career went into orbit. On pageis the subject of a major exhibition working at Columbia Records in the he discusses the changing face of 54 he talks to PP Editor Grant Scottin Scotland – and explains why his late 1960s. Paul runs the Phil Ochs photojournalism and what it takes about his approach and how being awork is so influential. See page 80. website No More Songs. to be a press photographer. Virgo has influenced his style. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES grant.scott@archant.co.uk eleanor.godwin@archant.co.uk, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane SALES EXECUTIVE Leigh Barr ORDER HOTLINE 01858 438840 Professional Photographer is published eleanor.okane@archant.co.uk leigh.barr@archant.co.uk, 01242 265895 VISIT www.subscriptionsave.co.uk monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE Amy Pope EMAIL professionalphotographer@subscription.co.uk Archant House, Oriel Road, Cheltenham, rebecca.shaw@archant.co.uk amy.pope@archant.co.uk, 01242 216054 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds CLASSIFIED SALES EXECUTIVE Bianca Dufty Fiona Penton-Voak www.professionalphotographer.co.uk simon.reynolds@archant.co.uk bianca.dufty@archant.co.uk, 01242 211099 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech GROUP COMMUNICATIONS MANAGER Lisa Flint-Elkins lisa.flint-elkins@archant.co.uk, kelly.weech@archant.co.uk Lucy Warren-Meeks, 01242 264783 01242 264751 EDITORIAL ASSISTANT Jessica Lamb lucy.warren-meeks@archant.co.uk MD SPECIALIST MAGAZINES Miller Hogg jessica.lamb@archant.co.uk 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 www.professionalphotographer.co.uk feedback@professionalphotographer.co.uk 01242 264767 © Archant Specialist. Archant Specialist is part of Archant Ltd. I While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. I Employees of Archant Specialist, and those professionally connected with the competition/ giveaway, for example, employees of the sponsor company, are not eligible to enter. I Unless otherwise stated, competitions/giveaways are only open to UK residents. I Prizes are as described and no alternatives can be offered. ABC certified circulation I The Editor’s decision is final and no correspondence will be entered into. I Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. (Jan-Dec 2010): 9,386. If you are sending your entry by text and do not wish to be contacted, please add the word ‘NO’ to the end of your text message. If you are sending your entry by post, please tick the appropriate boxes on the entry form. www.professionalphotographer.co.uk 7
  • 6. PORTFOLIOEach month we share the best of the latest postings from our online portfolio with our magazinereaders, so for your chance to appear in Professional Photographer, go online and startuploading your best images to www.professionalphotographer.co.uk. If you want to see moreof any photographer’s work, go to their online profile to access their website details. ILIAN, UK SAM COOPER, UK SIMON TURNER, UK8 www.professionalphotographer.co.uk
  • 7. JOHN LYNCH,UK
  • 8. PORTFOLI JOANNA ZYSNARSKA, POLAND JOANNA ZYSNARSKA, POLAND PAUL THURLOW, UK
  • 9. TEAGHANMcGINNIS,CANADAJOANNA ZYSNARSKA,POLAND SIMON HADLER, UK KRYSTIAN ZIELINSKI, UK www.professionalphotographer.co.uk 11
  • 10. PORTFOLI MATTHEW PAYNE, UK KRYSTIAN ZIELINSKI, UK JACOB GIBBINS, UK PAUL D SMART, UK SAM COOPER,12 www.professionalphotographer.co.uk UK
  • 11. seminars & events Calumet Spring Open Days Come and meet us at our Spring Open Days in-store. There’ll be lots of product demonstrations, promotions and experts will be on hand for advice. Of course we’ll have sensor cleaning at each location too. Our stores will be open from 10am until 6pm. We look forward to seeing you there. Birmingham Wednesday 6th April Belfast* Wednesday 13th April Edinburgh Wednesday 20th April Manchester Wednesday 4th May Drummond Street Wednesday 11th May * Belfast 10am-4pm Studio Lighting John Clements If you need ultimate control of where and how you place light, and or simply a need for sheer power, then studio lighting is the answer. And for many photographers it becomes a tool they cannot be without. During this event John shares his many years of experience too show from the absolute basics, 2 how to choose and use studio lighting for simple and repeatable, people, product and still-life Say it with Flowers day photography. Jenny LillyLandrover – event Manchester Thursday 14th April Jenny is a widely published and exhibited stock An Introduction toLocation Lighting Glasgow Thursday 5th May garden photographer, who has a one-woman exhibition of her photographs of gardens which will Night Photography coincide with this seminar, at Birmingham Botanical Richard SouthallExperience Gardens and Glasshouses, where the photography Richard is a prominent nationwide architectural will take place.Tim Wallace and interiors photographer who has been The seminar will start at the Gallery at Birmingham producing images to the leisure, retail, residentialJoin Commercial advertising and car Botanical Gardens and Jenny will discuss aspects of and constructions industries for over 23 years.photographer Tim Wallace at an exclusive live her work as displayed in the imagery on view, He is a qualified college lecturer and a membershooting event . followed by a session of photography at the Gardens, of the Association of Photographers.Tim works with clients across the globe such as Birmingham Botanical Gardens and Glasshouses An evenings walking tour of Birmingham cityAston Martin, Land Rover, Mercedes and Morgan. Westbourne Road, Birmingham B15 3TR centre where the participants will gain a basicWell known within the automotive industry for his Wednesday 1st June understanding of the techniques required forcreativity and open approach he is regarded by successful night photography in a citymany as one of todays leading car environment. A digital SLR and tripod will bephotographers with a unique and strong style of essential.work that inspires not only his clients but alsotheir customers, something that was reflected in Birmingham Thursday 14th April2010 when he won International Advertisingphotographer of the year.Thursday 19th May & Friday 20th MayLandrover Experience, Lode Lane, SolihulllWest Midlands B92 8NWMaximum 14 Attendees - book early to avoiddisappointment Studio Lighting – The Next Level John Clements Studio Lighting Seminar Level 3 Morning session 10.30-13.00 Portraits using Creating lighting solutions for various face and body shapes Creating the all important backdrop Home Studio An Introduction to Lighting for mood, atmosphere and drama Further posing and composition advice, hints and tips Paul Southall Successful Bringing a variety of lighting effects together to work as a ‘whole’ This workshop will show how to set up and use a two head kit to achieve professional style portrait Architectural Studio Lighting Seminar Level 4 images. Photography Afternoon session 14.00-16.30 The format of the day will be a demonstration of Mastering your cameras characteristics and the use of the Home Studio Kits and the techniques Richard Southall used to light a model to give varying styles of A seminar session followed by a walking tourMorgan Motors lighting for its specific performance capabilities Refining exposures through histogram usage Flash classic poses. of Birmingham where participants will gain a basic understanding to architectural exteriorPhotography Day metering for accuracy The best lighting tool (accessory) for the job Recreating famous styles A practical session will then follow for students to photograph the model. photography.For full details visit www.calumetseminars.co.uk On location shooting - working with ambient light A critique of the students images and a final Course will include discussions on the legalMorgan Motor Company, Pickersleigh Road, Lighting or Post Capture? Choosing the best question and answer session will close the days aspects of street photography and the law.Malvern Link, Worcestershire WR14 2LL solution workshop. A camera and tripod will be essential.Tuesday 10th June Drummond Street Saturday 30th April Birmingham Thursday 28th April Birmingham Saturday 21st MayCheck our new website for times and prices and more great workshops!www.calumetseminars.co.uk We now accept paypal for seminar and event bookings.
  • 12. click Mick Jagger, London, 1987. the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane ANDRÉ DE DIENES The seldom seen kid It’s often the case with a long-dead superstar that some information bubbles up to the surface revealing just a little bit more about their life than we previously knew. Photographer André de Dienes was born in Romania and came to America in 1938 to shoot fashion, which he then abandoned to concentrate on shooting nudes. In 1945 he hired 19-year-old aspiring actress/model Norma Jeane Dougherty for her first modelling shoot and struck up a lasting friendship with the woman who was to take the world by storm as Marilyn Monroe. Taschen has decided to reissue a book of images by de Dienes showing a much younger, more naïve (and less blonde) Monroe than we are used to seeing. André de Dienes, Marilyn, published by Taschen, £24.99, ISBN: 978-3-8365-2710-1. www.taschen.com QUOTE OF THE MONTHHERB RITTS I like to make people Honky Tonk Man from the 2010 exhibition spanning Jagger’s whole career and shot by a variety of look as good as they’d The subject of a retrospective at last year’s Les photographers, including Cecil Beaton, Rencontres d’Arles photo festival in France, Mick Anton Corbijn, Herb Ritts and Andy Warhol. like to look, and with Mick Jagger The Photobook is published on Jagger is one of the most photographed rock stars in the world, perhaps due partly to the longevity 3 May by Thames & Hudson, priced £14.95, luck, a shade better. of his career. A book by François Hebel – the ISBN: 978-0-500-289495. Norman Parkinson director of the Arles festival – features images www.thamesandhudson.com 14 www.professionalphotographer.co.uk
  • 13. “She wasabsolutely nobodyat the time, justa 19-year-oldgirl who had juststarted outmodelling a fewweeks beforethat trip. Shewas completelysincere andnatural.”André de Dienes
  • 14. Jonelle, Los Shoot for Vogue, Angeles, 2009. Paris, 1977. ESTATE OF GUY BOURDIN. USED BY PERMISSION OF ART + COMMERCE True colours NEWS... One of the 25 bad boys from our August 2010 issue, Guy Bourdin wasPAUL JASMIN famous for his sophisticated use of Run for cover colour and form. A new book from Red Cover, the homes and teNeues, part of its Stern interiors picture library, has FOTOGRAFIE Portfolio series, pulls Dream on finally closed after hitting hard together the work of this influential American photographer Paul Jasmin shoots for top times more than two years ago. photographer, whose collaboration with magazines such as Vogue, W and Interview. In his In summer 2008 the agency shoemaker Charles Jourdan changed the latest book, California Dreaming, he uses models he accepted a Company Voluntary face of fashion advertising. Breaking found through his college job and friends to explore Arrangement, which saw the boundaries of what was possible in the notion of dreams and desires, shooting in and creditors agreeing to work with the ad world, Bourdin’s images still around his apartment on Wilshire Boulevard in Los Red Cover in a bid to keep the provoke extreme reactions. Love them Angeles. The perfect weather, pure light and agency afloat. Those with images or hate them, their force is undeniable. otherworldly air of the young models make for at the agency have been Stern FOTOGRAFIE Portfolio No. 61 beautiful images that embody the spirit of California. contacted by email and advised Guy Bourdin, published by teNeues, California Dreaming by Paul Jasmin, published by to send hard drives to the £26.95, ISBN: 978-3-652-00002-4. Steidl, £31.50, ISBN: 978-3-86930-030-6. Red Cover office for retrieval. www.teneues.com www.steidlville.com www.professionalphotographer.co.uk 17
  • 15. © RICHARD SADLER FRPS, COURTESY OF THE NATIONAL MEDIA MUSEUM/SSPL © MICHAEL MEYERSFIELD AOP Gold and Best in Category Award winner 2010. Close call The Association of Photographers has launched three of its competitions: The Photographers, Assistants and Open awards. The Photographers Award is open to full and provisional AOP Photographers, while the Assistants Award is open to AOP Assistant members to showcase the best imagery from the next generation of professional photographers. As its name suggests, the Open Award is for both members and non-members. With no categories or themes, it recognises all Life behind the lens forms of outstanding imagery shot by professionals and amateurs alike. The deadlines for entry are: Photographers – The National Media Museum in Bradford houses collections from some of 3 May; Assistants – 15 April; Open – 20 May. the world’s greatest photographers and while its images might be familiar to For more information visit www.the-awards.com us we don’t always know much about those who took the pictures. A new, free exhibition at the museum, The Lives of Great Photographers, explores the lives of the men and women behind the lens with images and histories of the photographers themselves as we’ve rarely seen or heard them. The exhibition encompasses a variety of photographers dating back to the early days of the medium; portraits and work of legends such as William Henry Fox Talbot and Edward Steichen, sit alongside images and work of street photographer Weegee (pictured above in Coventry in 1963), Dorothea Lange, Tony Ray-Jones and Larry Burrows. Famous for shining a light on how others live, each photographer – none of whom is still alive – is represented by a portrait, some of their remarkable images and personal effects such as notebooks. It’s a great insight into the minds and motivation of those who have changed how we see the world. The Lives of Great Photographers, Gallery One, National Media Museum, Bradford; 15 April-4 September; www.nationalmediamuseum.org.uk TREAT Out of Africa YOURSELF... The National Archives has digitised the photographic collection of Britain’s defunct Colonial Office, showing for the first time To the treats! magazine some of the earliest images taken in Africa. The collection blog. If anyone asks, includes pictures of Prime Minister Harold Macmillan draped in © NATIONAL ARCHIVES it’s research. leopard skin on his ‘Wind of Change’ tour in 1960 as well as this http://treats image of his wife at a market in Accra, Ghana during that trip. magazine.com/blog View the archives at www.nationalarchives.gov.uk/africa 18 www.professionalphotographer.co.uk
  • 16. Ready to Go Pro? Profoto D1 Studio Kit 51-899 PRODUCT PHOTO Gert Jansson.Professional photographers need flash units that are powerful,consistent and easy touse. Profoto has produced such flash units for over forty years,and today we are proudto be known as the first choice amongst leading photographers.Profoto has developed a lighting kit especially for those of you that shoot social,weddingand portrait photographs.The Profoto D1 Studio Air Kit includes 2 D1 monoblocs, 2 D1 stands, 2 small whiteumbrellas Air Remote and a case.The D1 Basic Air Kit includes 2 D1 monoblocs, an Air Remote and a case.The D1 monobloc heads are available in 250 or 500Ws with or without Profoto Airintegration. The D1 1000Ws comes with Air integration as standard.The excellent Profoto Air system delivers full wireless control of power in 1/10 or1 stop increments plus individual control of up to six Air integrated heads.We are a growing Profoto family and we would like You to join us.That is why we now offer a 15% discount on the ProfotoD1 Studio and Basic Kits.** The Profoto D1 Basic and Studio kit offer is valid from 1st March to the 31st July 2010. www.profoto.comFor further information go toProfoto is available from AJ’s (www.aj-s.co.uk), Calumet (www.calumetphoto.co.uk) and Pro Centre (www.procentre.co.uk).
  • 17. Eastern promise Work by finalists in Hasselblad’s 2010 Masters competition is now online to view It doesn’t come much better and this year the public have a casting than a backing from vote in the eventual winners. More than 2,500 Henri Cartier-Bresson. photographers from across the world In 1977 the legendary French submitted images in a bid for the prestigious photojournalist saw the work title. Just 110 have made the final of Raghu Rai at an exhibition in cut and their pictures – in 11 categories – Paris and recommended him are in online galleries at to become a member of www.hasselblad.com/masters-finalists Magnum. Since then, using India as his backdrop, Raghu, who was born in what is now Pakistan, has created images that perfectly capture the spirit of this jam-packed, chaotic culture. His first solo UK show, at Nottingham gallery New Art Exchange, finally gives the British public a chance to see Raghu’s India in all its glory. Lens flare, alcohol, changing the world, Raghu Rai’s Invocation to India is shooting portraits at f/1.2 and clothes with at the New Art Exchange, lots of pockets; it’s all shit photojournalists Woman at work, Nottingham, until 30 April. like, apparently. To find out more seeRAGHU RAI Delhi, 1989. www.thenewartexchange.org.uk http://shitphotojournalistslike.tumblr.com WIN The Vanguard Alta Pro 283CT is Stop-n-Lock (ISSL) System an award-winning, carbon fibre securely repositions the central tripod and we’ve got three to column in a simple movement give away. Flexible and stable, while maintaining the tripod’s it incorporates clever features stability. It has advanced that also make it extremely camera vibration and shock versatile. The innovative control, a hexagon-shaped Multi-Angle Central Column central column for extra (MACC) System lets you move stability, legs that adjust to A Vanguard the central column from zero to 180° angles in variable 25°, 50° and 80° angles, quarter-twist leg locks and Alta Pro vertical and horizontal positions – so the non-slip, spiked rubber feet for varying terrains. 283CT Tripod tripod is ideal for macro photography and The suggested retail price is £319.99 awkward, (including VAT). worth £319.99 wide-angle shots. The Instant Swivel www.vanguardworld.com To be in with a chance of winning one of these great tripods go online to our Vanguard competition in the competition section of www.professionalphotographer.co.uk www.professionalphotographer.co.uk 21
  • 18. Inspire the photographerfocal press books in your life Whether photography is a profession or simply a passion, be inspired by the latest titles from Focal Press Real Retouching No Plastic Sleeves The Photoshop Darkroom 2 By Carrie Beene By Larry Volk and Danielle Currier By Harold Davis and Phyllis Davis ISBN: 9780240814179 ISBN: 9780240810904 ISBN: 9780240815312 £24.99 £21.99 £24.99 Learn the retouching tips, tricks and Make an impact with your portfolio — You asked for more and Harold and Phyllis Davis skills that author Carrie Beene has this essential guide will give you have delivered — a brand new volume for advanced developed over years of working everything you need to know about creative digital transformations that will take your with the world’s most prestigious displaying your images and making images to the next level! companies and publications. them stand out from the stack. Photography technique, software video, and PDF tutorials are now available at ! Focal Press Books are available wherever fine books are sold or through your preferred online retailer. Join the Focal Press Monthly Photography Contest at www.focalpress.com : : w w w . f o c a l p r e s s . c o m : :
  • 19. We have done the hard work for you this month and chosen our essential three photographic exhibitions on show now or coming up soon. For a full list of exhibitions and events visit www.professionalphotographer.co.ukKIM GOTTLIEB-WALKER TERRY O’NEILL The Rolling Stones outside the Donmar Warehouse Theatre, London,1963. Bob Marley & the Golden Age of Reggae Terry O’Neill: 50 Years at the Top Proud Camden, The Horse Hospital, Stables Market, Chris Beetles Fine Photographs, 3-5 Swallow Street, London, W1B 4DE Chalk Farm Road, London, NW1 8AH 020 7434 4319; www.chrisbeetlesfinephotographs.com 020 7482 3867; www.proud.co.uk 23 March-23 April 2011 7 April-15 May 2011 A collection of vintage and modern prints will be on Proud Galleries present Bob Marley & the show this spring to celebrate the 50-year career of Golden Age of Reggae, a series of intimate photographer Terry O’Neill. Many previously unseen photographs to mark the 30th anniversary of images, created from his original negatives, will be the artist’s death. The photographs, taken in included in the exhibition. The work has only recently 1975 and 1976 by photojournalist Kim come to light after extensive research into the archives Gottlieb-Walker – the wife of Island Records’ of the legendary British photographer. head of publicity Jeff Walker – capture exciting Over the past five decades O’Neill has created moments from Marley’s career. a different kind of celebrity portraiture with an intimate, As well as images of the iconic reggae behind-the-scenes approach. His subjects have included singer, the black-and-white collection some of the world’s most famous actors, actresses includes other stars who brought reggae to and musicians, including Brigitte Bardot, Frank Sinatra, the international stage, such as Peter Tosh, Elizabeth Taylor and the Rolling Stones. Bunny Wailer, Toots Hibbert, Burning Spear The exhibition gives collectors and fans an exclusive and Lee ‘Scratch’ Perry. opportunity to buy previously unavailable prints. Deutsche Börse Photography Prize 2011 University of Westminster’s Ambika P3 Space, 35 Marylebone Road, London, NW1 5LS. 0845 262 1618; www.photonet.org.uk 5 April-1 May 2011 Thomas Demand from Germany, Roe Ethridge and Jim Goldberg from the USA, and Elad Lassry from Israel have been short-listed for the Deutsche Börse Photography Prize 2011 and examples of their work can be seen at an exhibition this spring. The £30,000 first prize goes to a photographer of any nationality who has made the most significant contribution to photography in Europe during the previous year. The winner will be announced at a ceremony on 26 April. The awards, now in their 15th year, are run by the Photographers’ Gallery, but the 2011 exhibition will be shown at Ambika P3 at the University of Westminster while ROE ETHRIDGE the gallery is closed for redevelopment. The prize is one of the most prestigious of the international arts awards. Thanksgiving, 1984. FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk
  • 20. © Fulvio Fulvietto The fastest, easiest portrait touch-up software. WORKS AS STAND-ALONE SOFTWARE OR AS A PHOTOSHOP PLUG-IN Portrait Professional Studio 10 is intelligent retouching software designed for photographers. It produces magazine quality yet natural looking touch-up in minutes. No skill is required. DOWNLOAD YOUR FREE TRIAL NOW!Professional Photographer readers WWW.PORTRAITPROFESSIONALSTUDIO.COMget an EXTRA 10% OFF with thecode PRP411 when buying online.*Customers who bought v9 after 1 July 2010 get a free upgrade to v10.
  • 21. Lost in France... things had started to go wrong. As always on a problem. I had to deliver to the client the imagesTorrential rain, a French editorial shoots, budgets were tight but this was to he was expecting and whatever that took wasphotographer who didn’t speak be a magazine supplement created in association with Moët & Chandon (well, they were paying for okay with me. My stance on this matter instantly gained me the photographer’s respect. His nameEnglish and a fashion editor at it on the basis of the concept I had sold to them), was Michel Momy and he is one of thewar with the photographer were so the expectations of everybody involved were slightly higher than for the standard magazine photographers from whom I have learnt the most throughout my career. He had started out as anot the best ingredients for a shoot. Unfortunately, they were not impressed by photographer while a French punk. He had shot the local Ibis. The photographer had refused to for i-D magazine in the UK since its launch andsuccessful weeklong shoot. check in and instead found himself and his had an approach and personality that suggestedBut they were just some of the assistant what he considered to be a much more it was his way or the highway. A man’s man, appropriate hotel at considerably higher cost. proudly French and at home with the anarchicchallenges that faced PP Editor “The magazine will have to pay,” he had declared side of his personality, he was a photographer forGrant Scott when he arrived with a Gallic shrug. Everyone else had checked into the Ibis but no one was happy there. On the whom creating the best images possible was everything. He spoke hardly any English and Iat the Moët & Chandon chateau. Monday morning the French contingent had speak very little French, but we instantly got on woken up to both black, rain-filled skies and the like a house on fire. realisation that the fashion editor was staying Locations decided upon and models dressed, It is often said that at the chateau. They were now very unhappy. we started to shoot the first of the fashion stories. photography is a The first three days were meant to be devoted to There was a definite English/French divide universal language but shooting three fashion stories based around light but we were shooting and moving forward. that’s not a lot of use spring frocks and bright spring days before the Then at one o’clock on the dot Michel stopped. when you’re squeezed fashion editor returned to the UK and the models It was his lunchtime and he expected a French into a location bus went back to Paris, leaving the photographer and lunch: hot, well cooked, with bread, wine and with a truculent French myself to spend the last day shooting still-life coffee. This was the final straw for the English photographer refusing setups within the chateau. Heavy rain, cold days fashion editor, who was used to working through to take any pictures, and no communication, even without the lunch and grabbing a sandwich when possible.a fashion editor at her wits’ end, two language barriers, meant that this was not going This was not Michel’s way and he strode off tophysically shaking French fashion models to happen. It was time for me to adopt the role of his car to go in search of the lunch he expected.(I presumed fear and cold were the reasons international peacekeeper. Much to the fashion The French crew did not expect to go with him,for that) in the sodden grounds of the Moët editor’s disapproval I agreed to pay for the they were happy with the food they had picked up& Chandon chateau in the French photographer to stay in his hotel of choice. from a supermarket on the way to the location.countryside on the edge of the champagne Instantly he was happier and agreed to leave the I quickly followed Michel and jumped into histown of Épernay. I had got to the shoot later than everyone elseand by the time I arrived on the Monday morningthere was already stalemate. The atmosphere “I had to deliver to the client the images he waswas as cold and depressing as the weather andwe still had four days to go. expecting and whatever that took was okay with me. The fashion editor had arrived the day before My stance on this matter instantly gained me theand had no problems checking into the chateauwhere she was staying as a guest of honour. photographer’s respect.” Grant ScottThe photographer had pulled together the rest ofthe team, including the models, from people he location bus with me to start scouting possible car. He gave me a look that said he approvedliked working with (all French-speaking only) and locations in the rain. We were off and running. of my decision.they had driven up from Paris the previous day to The photographer was never going to be the In a small square in Épernay we found acheck into a hotel in the town. And that is when fashion editor’s best friend but to me that wasn’t family-run corner restaurant, which from the www.professionalphotographer.co.uk 25
  • 22. outside looked depressing and definitely the stylist and the photographer. The images they I have always thought of still-life art directionwrong choice. Michel, however, was convinced create on a shoot should come from their like playing soldiers as a child. You move thingsthis was the right place for lunch and he strode collaborative effort and vision. The art director around with an idea of where you want to putacross the square and into what was a cold, should be there as a creative and client barometer, things but there are no rules. You aredusty, empty place which felt as if it had been not as a dictating force. At least that’s how I have moving things and positioning them in ways thatdreamt up by a set designer hoping to create the always liked to behave on shoots. There is nothing make sense only to you. Then when you getmost perfect caricature of a provincial French worse than a pushy art director on a shoot, things right you sit back and admire your display. The judgments you have made are based solely on storytelling and aesthetics and that was the“He was constantly experimenting with composition, formula, which Michel and I brought to our dinner party still lifes. We found a table near anever content with one approach to framing. window which gave us some beautiful and soft natural light, and I began to create the setups fromI had never seen anybody work like it and it was the glass and ceramics we had been supplied with.inspirational.” Grant Scott Having worked on innumerable still-life shoots in the past I had a pretty good idea of what worked and the importance of having odd numbers ofrestaurant. An old lady, wonderfully appropriate being disrespectful to the photographer and the items and not using too many props. Less is morefor the interior, came out to greet us from the other creatives involved. definitely applies to still-life shoots. What Ikitchen. Michel ordered for both of us before we However, on this occasion it was obvious that wasn’t expecting was Michel’s photographichad even chosen a table and sat down. We were Michel was never going to work with the approach to what I’d created. Hasselblad in handto have steak and red wine, a Saint-Émilion. fashion editor and vice versa, so I had no choice and with no sign of a tripod, he leapt and boundedWe sat and ate. The steak was fantastic, as was but to step in. Again we scouted locations around the setup in exactly the same way as hethe wine, and we tried to communicate through and worked through our shoot list. At one o’clock had photographed the models over the previousbroken snippets of each other’s national language. on the dot, Michel again mimed the actions of three days. It was still-life photography asA strong coffee and it was back into the rain and eating and drinking to me and off we went to an extreme sport as he battled with the setup andthe chateau. our little restaurant in the town. Again he ordered light to get what he perceived to be the perfect The team was waiting; the French very chilled steak and wine from the old lady out of the frame. He didn’t even shoot a Polaroid; he trustedand relaxed, the fashion editor very cold and kitchen. Our conversation was just as stilted, we his instincts and made still-life photography fun.wound-up. We finished shooting all of the setups drank coffee and then returned to the shoot. Of course it goes without saying that come onewe needed, despite the weather. Michel was The next day was just the same, a morning of o’clock we were off to what had become oura whirling dervish with a Hasselblad. He would fashion images around the grounds with regular lunchtime location and meal; only thisrun, jump, lean and do whatever it took to get the a one o’clock stop for the same lunch in the same time our lunch was both longer and more relaxedimage. He was constantly experimenting with restaurant. By the end of Wednesday we had shot than on the previous days. We had become firmcomposition, never content with one approach to all of the fashion setups we needed and it was friends through adversity and our joint passionframing. I had never seen anybody work like it time to say our goodbyes to the French team of for photography. We didn’t speak each other’sand it was inspirational. He did all the work and models, hair and make-up, and to the fashion language but it didn’t actually matter.required little from the models other than editor, who could not wait to escape back to We polished off the remaining shots thatexpecting them to look great and help him create London. Just Michel and I were left to spend afternoon and then Michel drove me back tohis images by listening to minimum instruction. a day shooting still-life setups of place settings Paris. The rain had started again and I slept for At the end of the day everybody went off to and glasses in the interior of the chateau. most of the journey, exhausted from the stress,their designated hotels. I went to the Ibis It is never ideal to ask a photographer who tensions, work and wine of the past four days.and immediately understood why Michel had not specialises in fashion, beauty and portrait work to My friendship with Michel continues to thiswanted to stay there. The next day the weather shoot still lifes as well and when commissioning day. We have shot together all over Europe on allhad improved and everybody was getting on well; it is something which you always do your best to sorts of shoots and campaigns. But wherevereverybody, that is, except the fashion editor, avoid. Unfortunately, in those days and even we have been and whomever we have beenwho was never going to be persuaded by Michel’s more so now, budgets dictate and you are left working for, come one o’clock I always get theanarchic charms. with no choice. look that says “time for lunch”. PP On fashion shoots the strong relationship Michel took it all in his stride and wasn’tshould always be between the fashion editor or bothered in any way about shooting the setups. www.michelmomy.com GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK26 www.professionalphotographer.co.uk
  • 23. The spotlightevery photographer should have Hi-tech professional spotlights, perfect for digital photo.Ultra light made of carbon fibre Portraiture Spot to Flood adjustments can be made using the focus knob Special Fresnel lens for photographic use Daylight 5400ºK Fashion No heating Still lifeLupolux SpotDaylight 800Light output compared toincandescent sources: 800 WWattage consumption: 150WDischarge bulb withelectronic power supply Lupolux Spot Daylight 1200 Light output compared to incandescent sources: 1200 W Wattage consumption: 250W HMI discharge bulb with electronic power supply Dimming modelLUPOLUX srl - Photo & TV Lighting Productionvia V. Sassi, 28 - 10097 Collegno (TO) Italytel. +39 011 4037775 - fax +39 011 4112783www.lupolux.it - info@lupolux.it Lupolux
  • 24. podcastON YOURWAVELENGTHEvery month we record a free to download podcast in which we discuss, debate and talk arounda subject featured in the magazine. We post them on our website and you can subscribe forfree and download them via iTunes. So if you haven’t listened in yet, it’s time to join us online.THIS MONTH’S PODCAST business and photography skills go hand in November IssueApril Issue hand, discuss potential areas where seeking SEXY OR SEXIST?GETTING YOUR WORK EXHIBITED professional advice could reap rewards and ask Grant Scott, Eleanor O’Kane and Peter DenchIn the latest podcast, the PP team of Grant Scott, if current photography students are aware of discuss an issue that often crops up in theEleanor O’Kane and podcast regular Peter Dench the importance of business skills when choosing industry: why some images are seen as sexydiscuss the world of exhibitions. As curator and a career as a professional photographer. while others are labelled sexist. Does it dependexhibitor respectively, Grant and Peter share their on context or are there other factors at play?experiences and the team discuss the right way to January Issuemake an exhibition of yourself. ICONS OF PHOTOGRAPHY October Issue PP Editor Grant Scott and deputy editor Eleanor THE SECRETS OF BEING A PROAND THOSE YOU MAY HAVE MISSED… O’Kane are joined by regular columnist The team discuss the secrets of professionalMarch Issue and photojournalist Peter Dench to discuss the photography. Veteran pros Grant and Peter relateTHE PERSONAL PROJECT SPECIAL importance of learning from the masters, and their experiences of working alongside otherThe team grapple with the importance of creating debate the point at which they believe a photographers and how these have influencedpersonal projects for sustaining and developing photographer becomes an icon. The team talk their working practices. With the days of thea photographer’s career. Should a photographer about their personal favourites and explain why communal darkroom and lab long gone, theapproach the project in the same way as a they think their choices deserve iconic status. opportunity to share news and advice in personcommission or adopt a different tack? They look has disappeared. The team look at new ways ofat photographers who have got it right and ask if December Issue networking, including the PP’s United States ofthere are too many introspective projects. PHOTOGRAPHIC COMPETITIONS Photography support group. Grant Scott is joined by Eleanor O’Kane andFebruary Issue photographer Peter Dench to discuss the world of You can subscribe for free and download theTHE BUSINESS SPECIAL competitions, the contentious Taylor Wessing podcasts from iTunes by typing professionalThe regular podcast team talk tax, finance and Photographic Portrait Prize and whether there is photographer into the search tab or listen viamarketing. They ponder whether possessing such a thing as a formula for winning. www.professionalphotographer.co.uk. PP28 www.professionalphotographer.co.uk
  • 25. dispatches Clive Booth tales from the frontline of professional photography According to the British Fashion Council’s putting on the five shows I am going to cover over Value of Fashion Report 2010, the UK fashion the next three days: Osman, David Koma, Holly industry contributes £37 billion to the Fulton, Mark Fast and Emilio de la Morena. economy and directly employs 816,000 As usual it’s chaotic and space is at a premium. people, making it the largest employer of all Billy fights to get us a table, while Michael the creative industries. It is similar in size to organises a tiny area in Charlotte’s office for the the food and drink service and telecommunication laptop card reader and twin G-Tech portables. industries, and bigger than the wholesale and I start to assemble the DSLR equipment, Zacuto retail auto industry, sports activity, chemical Crossfire, Z-Finder x2.5 and follow-focus system. manufacturing and advertising/video sectors. I’ve fitted the zip gears (a gear ring which hugs So here I am, ready to shoot at the industry’s the lens) to five of my favourite lenses: 24mmThis month: top event: London Fashion Week. All the equipment is packed, batteries charged, and lenses and sensors cleaned. It used to be that one big f/1.4, 35mm f/1.4, 50mm f/1.2, 85mm f/1.2 and 135mm f/2. As we unpack the bags the table fills with two Canon EOS 5D MkIIs, an EOS-1DClive steels himself to shoot Lowepro bag would hold everything; now it’s MkIV and a 100mm f/2.8 macro, 180mm f/3.5 three and, along with tripod bags and Pelican macro, two 14mm f/2.8, another 24mm f/1.4 andat the UK fashion industry’s cases, it’s still growing. Sometimes I yearn for the 85mm f/1.2, plus a 17-40mm f/4, 28-70mm f/2.8,biggest event of the year: simplicity of one camera body and a handful of lenses... in the old days, not even 10 years ago, 70-200mm f/2.8 and finally 45mm and 90mm tilt-shifts. As I want to shoot at wide apertures ILondon Fashion Week. just two. The past few days have been spent finalising security passes, organising equipment bring along several ND filters. I count 16 lenses in total and although it is entirely possible to do loans, checking the location lighting and chatting this project with fewer, I prefer to have them all with the team: Charlotte Lurot (director, Bacchus at my disposal. Studio and co-collaborator), without whom none As it’s DSLR I have two trusted Manfrotto of this would be possible; Bill Waters, first tripods (546GB legs, 501HDV head, a firm assistant and lighting; and Michael Williams, favourite with a very easy levelling system) and second assistant. one compact lightweight (190CXPRO4 legs, I try to relax watching Stanley Kubrick’s 701HDV head) along with a rented Glidecam Spartacus; I’ve been slowly ticking off the great HD-2000 camera stabiliser and Manfrotto man’s work, first reading the books and then monopod (682B). For sound it’s the usual Rode watching the films. I find the books are essential, on-camera along with a Rode studio mic and“Handheld again and I’m especially when watching 2001 and more recently The Shining, which scared me half to death. Tascam portable recorder. Additional lighting comes from the ever-faithful Litepanel 1x1changing lenses quicker I marvel at the monumental levels of effort that Bi-Color LED with an array of gold, white and Kubrick went to in order to fulfil his vision. silver reflectors for subtle fill. Media comesthan the models are I always feel nervous before shooting, and the in the form of four SanDisk Extreme Pro 90MB/schanging outfits...” Clive Booth more uncertain the shoot the more nervous I get. There is nothing certain about the outcome of this UDMA6 CF cards along with the essential Lexar CompactFlash Pro card reader. shoot. My hope is that the finished film short will When I stand back and look at this somewhat give the viewer a glimpse of what it feels like to confusing, bewildering and dazzling array of be a part of the strange, mystical and magical hardware I think, “What the hell have I got myself world that we are about to enter. As always I want into?” but quickly dispel the thought when I the final result to be beautiful, atmospheric and to imagine the potential results. Given all this some degree meaningful and real. hardware it’s difficult to believe that I can still Sunday 20 February. At 8am I leave for London shoot so freely and move so easily but there is no after a half-eaten bowl of porridge and a cup of getting away from the fact that it would not be Lavazza. The journey is easy and I make it to possible without Billy and Michael. The DSLR Somerset House for 11am. Security is tight and equipment is far more cumbersome than the CLIVE BOOTH Charlotte’s assistant has the passes (around five camera alone, but Zacuto has made a fine job ofA model runs to change outfits, per person) and we enter backstage B at London creating a modular system that can be assembledCanon EOS-1D MkIV, 50mm lens. Fashion Week. Bacchus Studio is responsible for and broken down very quickly and easily. I decide30 www.professionalphotographer.co.uk
  • 26. “My hope is that the finished film short will give the viewer a glimpse of what it feels like tobe a part of the strange, mystical and magical world that we are about to enter.” Clive Booth Backstage at London Fashion Week, Clive captured this shot with a Canon EOS 5D MkII and 14mm lens clamped to the base of a lighting rig with a monkey grip.On the catwalk, Canon EOS-1DMkIV, 14mm lens.
  • 27. dispatches “...while the backstage 14mm captures a multitude of magic, last-minute make-up, hair, darkness then light, models distorted with giant red shoes, clapping, whooping and dancing.” Clive Booth Backstage make-up, Canon EOS-1D MkIV handheld, 50mm lens with ND filter.to shoot almost everything on the Canon EOS-1D world in moving pictures pushes me into the very footage shot on the tripod with the 50mm f/1.2MkIV It has a very long battery life, excellent . necessary spaces which are normally the domain as the models come off the catwalk and rush tolow light capability, 50 fps (if needed) and a of the models, hair and make-up artists. All are change and then reappear. The Zacuto Crossfirereassuring weight and strength. The 5D MkIIs patient and polite and there is a peace that exists can be lifted off the tripod in one move and Iwill be static cameras shooting from occasional due to this symbiosis of being made up to be seen work handheld, walking through the line-upsfixed positions on tripods or monkey grips. and recorded. There is so much to shoot here it’s shooting into light as girls have last-minute Day one is a reacquaintance with the fashion almost overwhelming and I have to keep tweaks to hair and make-up while what seem likeshow and the multitude of moments and reminding myself that although I’ve shot shows dozens of photographers fight for positions.opportunities it brings. Backstage it’s bright light, many times in the past I must try to see this as if I switch to the Glidecam and a 5D MkII alonghot as hell, make-up mirrors, the sound of an it were the first time as I move from 85mm to with the 24mm f/1.4 Mk1 (I love the way thisadvancing army of hair dryers, and little pockets 50mm and then 100mm macro. Both Billy and lens shows the elements when shooting intoof peace and quiet for the art of make-up Michael have never been backstage before and I light). Handheld again and I’m changing lensesapplication. Models eating, sleeping, texting; hair watch their reactions as we walk from hair and quicker than the models are changing outfits:stylists, make-up artists, stylists, production crew, make-up to wardrobe, line-up, rehearsals and 35, 85, 135, 24, 100, 135, each time making suredesigners, dressers, seamstresses, the list goes on. catwalk. As we have five shows in the one to allow the camera to do a sensor clean, which isThe smell of a hundred different products, walls location the final edit can be cut from elements in addition to a manual sensor clean with theof clothes rails, boxes of shoes, model cards of each, enabling the finished film to appear blower, every hour or so. Billy and Michael areallocating wardrobe and space, tables full of as one show, shot from a multitude of angles. pros and make it look effortless, Michael literallyaccessories, steamers, ironing boards, Hoovers, I like the idea of this eclectic mixture of people, running to download cards. As with stills thebottles and bottles of water, grapes, sandwiches colour and styles all wrapped up into one. shooting is intuitive, reacting to what I see,and Haribos, radios, clipboards, note pads and The available light is for the most part bright trusting much to instinct, but unlike stills I mustcameras. Lots of cameras. Interestingly it has tungsten and we decide to set the white balance make sure I have covered multiple angles,been two seasons since I was last backstage and accordingly. It is simply not possible to keep focal lengths and cutaways to make sure there isnearly all the photographers are now using Canon. manually resetting the white balance, so this plenty of material for the edit. One beautifulIn fact I have to look hard to find anything else. compromise must be made. All cameras are set piece of moving imagery will work better whenMost are now shooting video with all manner of to record PAL 25fps 1,920 x 1,080p on manual, seen from different viewpoints.DSLR contraptions, from the professional LCD monitor brightness at 4 (vital when this By day two it’s clear that the three of us areto the home-made (aluminium, rods, wood and is the viewfinder) with grid display switched on working as a tighter unit. For many assistants CLIVE BOOTHweightlifting weights). It’s chaos and calm, and picture style set to neutral. DSLR is still new and learning to assemble andboth at the same time. Shooting backstage is no Day one goes well and even exceeds my disassemble the gear is very different to the skillspicnic but my drive and passion to capture this expectations, with some great static and panning needed for stills. As the day unfolds I’m32 www.professionalphotographer.co.uk
  • 28. Catwalk boot detail, Canon EOS-1D MkIV, 85mm lens.beginning to enjoy myself and relax a little, wife Samantha surrounded; she sits calmly as of the show with photographers in silhouette,knowing that we already have many very usable tens of photographers just feet away open fire while the backstage 14mm captures a multitudeshots. Billy has to leave at lunchtime as he is again and again. A quiet anticipation follows and of magic, last-minute make-up, hair, darknessphotographing Bee Gee Robin Gibb at a the lights dim. I am now behind the onlookers, then light, models distorted with giant red shoes,recording studio in the West End, and so Michael camera on tripod and 14mm... sssh, sssh and then clapping, whooping and dancing. Billy runs to myand I trim down the gear and head to the catwalk. music, mobile phones dance like fireflies and position and grabs all the stuff as I headFirst I shoot the rehearsal from three angles then light. Too much light; I quickly stop down backstage, handheld for one last key shot. I movemoving from wide to tight, and then I position the lens as models walk from left to right across with the crowd and push through to the securitymyself in front of the photographers’ pit (it’s a the top quarter of the viewfinder. Happy with the guard who, seeing my pass, waves me on, all inrunthrough and nobody minds) with the 135mm 14mm footage, Michael hands me the 24mm, shot, all good. I find the journalists, cameraf/2. I let the models walk into the f/2 focal plane then 35mm, 50mm and finally 85mm. My hope crews and celebrities jostling to interview andand then out again, the beautiful soft shapes is that this will cut well in the edit, finishing on meet the designer, and I go into orbit around thisgradually moving into focus to reveal determined a 50mm ultra-tight shot on the shoes (to be shot fascinating scene, occasionally stopping tofaces full of attitude. I linger on this, as the bokeh later that day). capture a nuance, look, question, kiss and hug.is mesmerising and dreamlike. Before the show Day three. Because much of the detail and Then it’s all over. The space is cleared;we take a position centre and back overlooking atmospheric footage are already on the hard hair and make-up are already setting up forthe audience and catwalk. Michael stays with the drives, we set to work covering the last show the next show. PPtripod and I head off with the Zacuto Crossfire, from multiple angles. A Canon EOS 5D MkII isEOS-1D MkIV and 35mm (nudging 50mm due to attached to the lighting rig with a monkey gripthe MkIV’s sensor size). I move freely in the above the photographers’ pit with a 24mm whilemidst of the melee and there is a feeling of another 5D MkII is secured to the floor at thedetachment as I watch the proceedings through models’ feet covering the line-up and entrance to www.clivebooth.co.ukthe viewfinder. Again I follow my instincts and the catwalk. As the show is about to begin, Billyjust let the world unravel around me. I stand like jostles for a ladder to press ‘record’ in the Next month: Clive sits down to edit his workan island in the middle of a surging tide of photographers’ pit (12 minutes’ maximum record from London Fashion Week.celebrities, fashionistas, journalists and time on the 5D MkIIs) while Michael is on hisphotographers. Turning, I move downstream hands and knees doing the same backstage.circling interviews, conversations and looks of I have a ringside seat using the lightweight tripodrecognition followed by fashion kisses. and fluid head covering the show on a 24mm, GO ONLINE FOR MORE DISPATCHESBehind me there is an explosion of flashes and 35mm and 50mm. It all works beautifully, the FROM CLIVE BOOTHI turn to see Prime Minister David Cameron’s 24mm over the pit shows the sheer size and scale www.professionalphotographer.co.uk www.professionalphotographer.co.uk 33
  • 29. STREET TOUGHAward-winning photojournalist Kieran Doherty travels around the world covering major sportingand press events. Because he shoots in all light conditions, come rain or shine, reliablecameras and lenses are a must and here he explains why his Nikon kit never lets him down. The Burj Khalifa building in Dubai, the tallest man-made structure in the world. Kieran took this picture from a viewing platform at sunrise while shooting stills on assignment for BBC’s Human Planet series.The first time I used Nikon kit was in 2008. could produce these kinds of images in this It is a testament to Nikon kit that I haveI was covering the tennis at Wimbledon and low light then I couldn’t go wrong. never once had to send a lens in for service.photographing Andy Murray playing in My personal kit has taken knocks in all I have never had to say it needs tweaking, orthe evening. This was before the roof was different climates. In 2010 alone, I shot in it’s not focusing or it’s back focusing,put into place with the artificial lights, Dubai, Canada, Barcelona and China, and I and I rely on the kit to get me out of trouble.so it was quite dark. I took a couple of will use pretty much every lens I own when There are times in football matches, forpictures while sitting on the side of the court on assignment. In my kit bag are Nikon D3s example, when you have to pick up theand when I looked at them, I started to and D700 bodies with the following manual 70-200mm really quickly because there’slaugh because what I saw was incredible. AIS lenses: a 24mm f/1.8, a 50mm f/1.2 and action in the goalmouth. Frankly, I don’tI couldn’t believe the clarity and that an 85mm f/1.4. I also have these autofocus deserve to have the lenses and cameraseverything was so sharp. I was using Nikon’s lenses: the 50mm f/1.4G AF-S NIKKOR, the react as quickly as they do. They are so good24-70mm and 70-200mm lenses. I thought 24-70mm f/2.8G AF-S ED Zoom NIKKOR and that I would say they pick up a little bit ofimmediately to myself that if these lenses the 70-200mm AF-S NIKKOR f/2.8G ED VR II. ground for you. So if you are slow to react, as
  • 30. ADVERTORIAL West Ham goalkeeper Robert Green stretches to try to save a shot from Arsenal’s Eduardo during the FA Cup third-round match at West Ham’s Upton Park ground in London on January 3, 2010. soon as your finger touches that button and IN KIERAN’S KIT BAG the lens kicks in, it can almost save your 70-200mm bacon. That for me is the ultimate test, AF-S NIKKOR f/2.8G ED VR II especially when working in stadiums where RRP: £2,085.99 the light is pretty grim and murky. They are really sharp and as a photographer you can’t ask for anything more. If you want to talk about the toughness of Nikon lenses, I covered the 2010 Ryder Cup golf, where it rained for eight days. Apart 24-70mm f/2.8G AF-S ED Zoom NIKKOR from some fogging on an LCD screen and to RRP: £1,565.99 a lens because I forgot to take it out of my bag when I returned to my hotel room, I did not encounter any problems with the bodies BIOGRAPHY or lenses I used. This is incredible, bearing From 1993 to 2008, Kieran Doherty worked in mind that every time I took out the camera as a freelance and staff photographer for to check an image it got soaked. the Reuters News Agency. Today he is For my street photography, when I am not commissioned to cover major press and assigned to shoot for anybody I use my range sports events, and produce documentary of prime lenses. I always use a 50mm for work the world over. His images have street photography and I have two lenses. featured in and on the covers of many One is the old f/1.2 and the other is the new major international journals and autofocus version – the f/1.4G AF-S NIKKOR magazines, including TIME, Newsweek, – which is instant. It’s solid, but so light and Stern, National Geographic, the New YorkKIERAN DOHERTY / PHIL NOBLE, REUTERS great value. The quality is there; as soon as Times Magazine and the Sunday Times you touch the button, everything comes into Magazine. Most recently he was focus. The primes are great if you want to be commissioned by the BBC to shoot stills to a little less obtrusive, but I never thought I The results I get from Nikon cameras and accompany the Human Planet television would ever ‘shout from the rooftops’ as lenses are instant, even in low light. They do series. In 2010 he took first place in the much as I have done about how great the exactly what they say on the tin. news category of the Press Photographer’s zoom lenses are, in particular the 24-70mm For more information about the kit Kieran Year awards. www.kierandoherty.com and the 70-200mm. uses, please visit www.nikon.co.uk
  • 31. thedenchdiary 1st “Whilst Peter has shown an increased dedication to photography and has produced a good portfolio of work for interview, his overall attitude tends to be one of indifference, half dozen within a few months. Checking the list, fewer than 70 recipients still have their job. I say a mental goodbye to the days of jollies masquerading as stories, visits to a town flippancy and at times complacency. dedicated to Superman and foam parties at Club Unless Peter grows up a little in the very near Med, and I go out with a smile. The stamps boreThis month, Peter Dench, future and works hard in all his subjects he will soon find himself out in the cold world my cheesy pate next to a billowing Union flag courtesy of the www.royalmail.com/smilersthe award-winning surrounded by students who leave him standing.” Words as relevant now as they were 21 years ago. service: ‘Smilers – Share a special moment.’photojournalist finds that Keen to know her progress, I Google Virginia Bolton, my former A-level photography teacher.self-imploding magazines I discover eight used copies of her book Focus on Photography for sale at a penny on Amazon,and shrinking expense but nothing else. My mum has retired and isaccounts mean things doing what mums do best, sorting things out. In my home town of Weymouth there are threejust ain’t what they used boxes of my life needing rescue, including this college report. Flicking through the viewed-onceto be in the world of magazines it’s clear just how much editorialprofessional photography. 8th I’m hanging my LoveUK exhibition atOn the plus side there’s creative ad agency Archibald Ingall Stretton in time for Valentine’s Day and pop along to thealways a launch party just offices to assess the space. Afterwards, I havearound the corner... three hours to occupy before a long-anticipated private view of an important Eve Arnoldwelcome to the world of a retrospective at the Chris Beetles Fine Photographs Gallery in Swallow Street. The sunsometime working pro. is out. Resisting the urge to imbibe I start snapping the street. It feels as if I’m trespassing all over iN-PUBLIC member and street photographer David Solomons’ Up West project. While stalking red scarves around Carnaby Street a Hexar AF sneaks into view. It’s iN-PUBLIC member and street photographer David Solomons shooting his Up West project. We start one of those twitchy conversations photographers often have with one another where no one is really paying attention; eyes and wrists photography has changed. A 1999 Marie Claire a flick to the colours that pass and the people who whacking 426 pages, a 1998 GQ a healthy 321. wear them. David is gracious enough to let me The format is big and the pages are jammed crash his drinks meeting but something odd with adverts for PalmPilots, pre-Viagra remedies happens: I decline. I’m enjoying myself and and photographs of Gail Porter with hair. continue to play peek-a-boo with the sun as we My contributions failed to save some of the bounce up and down Piccadilly before IAbove, clockwise: Peter, Grace and Marcus Bleasdale publications: Frank, The Face, Wish and Nova all finally succumb and head up to the fifth-floor barenjoy the snow in Oslo; party dances get under way at gone. It’s poignant tipping them into recycle. in Waterstone’s Bookstore. If I ever have athe swimming pool, Club Med, Kemer, Turkey; catching Today what were probably my last editorial lover of advanced years who enjoys thethe sun in Carnaby Street, London; the first foam party mail-outs will reach their destination. From habit Daily Express and a good royal wedding this isof the week in full swing, Club Med, Kemer, Turkey;two male visitors to the CLA Game Fair lie down for a I ordered 200 postcards. Three immediate the ideal venue to take them. Looks like many ofrest in front of Blenheim Palace, Oxfordshire. commissions would usually follow, plus another the men at the tables agree. The walls are36 www.professionalphotographer.co.uk
  • 32. decorated with the covers of 40 years of Pulitzer Prize winners. I scribble some down. The woman next to me asks if I’m a writer. I snort derisively. Then say yes. For a second I think she wants to caress my head in her leathery nape; her friends turn up and the moment fades. It’s opening time at Chris Beetles and I jittery-flit moth-like towards the gallery door, swerve sharply and compose myself around the corner. My legs bow, the table I glanced inside was groaning with fizz. Breathe, skip back round and nip through the door. No name or invite check, they let anyone in these days. A man views the work seated, by scooting round in a desk chair. Another prods me out the way with his walking stick. The bubbles are introduced to my palate and I acquaint myself with the work,PETER DENCH some of it familiar, some not. In a fantasy moment I rehearse purchasing Bar Girl in a Brothel in the Red Light District, Havana, www.professionalphotographer.co.uk 37
  • 33. “It’s the director of the 2011 Visa pour l’Image festival of photojournalism, Jean-François Leroy,with confirmation that they would like to exhibit England Uncensored. This is big news.” Peter DenchCuba, 1954 and check the price, £2,800. It’s one Soho of former Home Secretary and MP The ladies call him Mr Darcy. Many callof the cheaper prints. Marilyn Monroe During the Jacqui Smith. I breeze past presenter Clare him Captain Congo. Others call him friend.Filming of The Misfits, Nevada, 1960 is a Balding and into the BBC’s Henry Wood House I simply call him Bleasdale. Marcus Bleasdale.busty £17,500. Most I talk with think them a fair where we are to meet. While Jacqui is having I first met Bleasdale when he joined the IPGprice. The red dots are out and at least four her make-up done I get a call delivering news agency, of which I was already a member, inhave stuck. I check my lapel for a scarlet disc. that is as significant as winning a World Press 2002. I think he will concur that he benefitedI decide to leave when my camera bag dominoes Photo Award. I’ve only ever spontaneously from my tutelage. It’s satisfying to see him doingan empty glass into a terracotta army of others. shouted out loud for joy three times in adult life so well and progress to a point where I was onlyI momentarily detect the spirit of Roy Castle and and, to the surprise of the office, release a on the subs’ bench at his wedding. Winner ofNorris McWhirter chortling their approval. shattering fourth. It’s the director of the 2011 World Press Photo of the Year 2005 FinbarrI hold my nerve and let the lady trying to stand Visa pour l’Image festival of photojournalism, O’Reilly shot the stills. Current Magnumthem up take the blame, doff an imaginary Jean-François Leroy, with confirmation president Jonas Bendiksen was on video duty.cap to the £8,000 Barmaid, New York City, 1950s, that they would like to exhibit England Now with the VII photographic agency,grab my coat and burp into the evening. Uncensored. This is big news. Leroy ends Bleasdale has got me a gig teaching a workshop the call with those magic words, “Welcome at the Bilder Nordic School of Photography in12th Attend the first anniversary party of the to the club.” Oslo, where he lives. Realising that I’m headingThird Floor Gallery in Cardiff – turn to to one of the most expensive cities in thethe six-page feature in this issue to read of the 18th TAXVAT-Man has cleaned me out and is world I log on to www.wonga.com to see if Iexperience. Wait! Finish the diary first. still squeezing. I check my Air Miles from more can raise enough for a round and head off prolific times and book an escape. It is time to the airport. I arrive bearing the requested17th The editorial mail-out has tweaked the to go on a journey to see a man. Not just any maximum quota of duty free and series eightinterest of Stylist magazine; a portrait in man, but a man with a fine head of hair. and nine of Silent Witness.38 www.professionalphotographer.co.uk
  • 34. the “The theme of the workshop is Irony and Humour in Norwegian Life dench and Society. I show them a cross-section from my work on England... and end by reading a few extracts from the Diary to see if it translates and am pleased the laughs are loud.” Peter Dench diary their stride. I check the slow-blinking lids of 10 days in Uganda. After ice-skating, hot ice-cool Catrine on the front row for a written chocolate and waffles we move on to the message. Nothing. She just seems tired and International Museum of Children’s Art; I pick up idly jabs at her phone. The theme of the workshop the entrance fee and make a donation. is Irony and Humour in Norwegian Life and Under the Chinese masks Bleasdale talks about Society. I show them a cross-section from my an orphanage he and a bunch of Congo-conscious work on England, from Dagenham estates journalists have set up (www.congochildren.com) to Blackpool hen parties, country house events to feeding, medicating and educating around Banbury Hobby Horse Festival, and end by 134 kids from past or current conflicts. He had reading a few extracts from the Diary to see if it started to regale me with a story of shooting translates and am pleased the laughs are loud. backstage at Marc Jacobs during New York Skidding round to the Dubliner Pub on a high Fashion Week when a nun called from Congo; I get the drinks in. Two pints of Guinness and she was having difficulty raising the $65 tax two packets of crisps please, £22.59. My legs start required to get six cows across a lake intended doing an involuntary charleston. I’ve never taken to provide milk for the orphanage. Before he so long to finish a pint. can finish he beats off to catch the start of an African drum lesson, you can take Bleasdale FREDRIK STABENFELDT out of Africa... 22nd Today I’m back at the Bilder Nordic School to assess the work of the students. I kick off the morning with a YouTube video of Jahn Teigen’s 1978 Eurovision Song Contest nul pointer Above: Jonas Meek Strømman receives Mil Etter Mil (Mile After Mile) just to show that a signed Dench for the best workshop project at the Norwegians are capable of being hilarious. Of the Bilder Nordic School of Photography in Oslo. 40 students who attended my presentation, 20 Right: One of the images shown to the students at the School of Photography, Oslo. have returned and 17 produced work. I ask Opposite page: A father holds his son’s hand while Sebastian what’s his excuse and float the carrying a gun in the other as they walk through the idea of getting the non-shooters to sing a chorus grounds at the War & Peace Show, Kent. This image will 20th The family have joined me for a mini-break along with Jahn: “My best friend’s brother took be on show at Visa pour l’Image, Perpignan. and while we watch the girls ice skate I an overdose and his wife hanged herself.” complain to Bleasdale about having to pick up the I let thoughts of punishment pass. Later, while 19th Arriving at the £8,000-a-year School of cab fare on my Jacqui Smith all-in-fee reflecting on the quality of work from the Bilder Photography the nerves aren’t bad but I postpone commission and ask him about his recent 21-day Nordic School I find myself once again out in the breakfast just in case. Last night, over venison at trip to north-east Congo on assignment for cold world surrounded by students who will the Crown Prince’s favourite restaurant (I was Human Rights Watch and the Pulitzer Center on probably leave me standing; I assume an attitude tempted by the braised ox cheek in beer) Crisis Reporting. He flatly explains spending of indifference, flippancy and at times Bleasdale had warned me: “Dench, you’d better $17,000 on flights and only eight of those days complacency, board the plane, sit back and suck be funny.” This morning I don’t feel funny. being shoot days. Of having to fly with back the British Airways Malbec, Mil Etter Mil Breakfast with Bleasdale is not always an motorcycles and a generator before seven-hour Etter Mil... PP amusing start to the day. All the hope and light rides through the bush. On one ride an from this dawn is juiced into a tale of Congo accident smashed his knee and chewed the skin rape and child soldiers. I stare out the window at off his elbow down to the bone. Two days the residence across the road and applaud the from decent medical care he patched himself up Norwegians’ aversion to net curtains. It’s a and finished the job. Not wanting to alarm www.peterdench.com Peeping Peter paradise. “Are you a nation of tall, his wife, the first she learned of his ordeal was as blond, fluffy-jumper wearing, whale-killing, he crawled the stairs to his apartment 10kg You can hear Peter in person each month on the Professional Photographer podcast,PETER DENCH pillaging sea warriors?” may not be the most lighter and urinating blood. Three trips to A&E conventional question to kick off a presentation followed before he headed off on a three-week available on iTunes or on our website at but most of the ensemble seem to take it in trip to the Central African Republic and www.professionalphotographer.co.uk www.professionalphotographer.co.uk 39
  • 35. Follow the light. You need a website Zenfolio is the most comprehensive hosting and selling solution for photographers like you. Your own design with no coding From a beautiful portfolio Home page to the final checkout pages – everything can be fully customized with simple point-and-click tools. There’s never a need to code anything to create a site that is truly unique. Present photos professionally Unlimited uploads and galleries From elegant page layouts to stunning full There are never any limits on the number of files you screen slideshows and free music soundtracks, upload or events you create. Your photos are stored everything you need to present your photos securely with no expiration dates or restrictions… professionally is at your fingertips. And when ever. And you can download them back at any time your photos look better, your clients buy more. exactly the way they were uploaded.Track Visitors Ship to Your Studio First Review & Approve Orders Licensed Downloads Image SecurityBatch Downloads Capture Emails VAT & Reporting Smart Coupons Package SalesFeatured Products Unrestricted Payouts Your Own Domain Name Professional Email Invitations SEO Tools
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  • 37. [ THE WORLD OF CONVERGENCETo make sure you don’t get left behind in the rapidly changing world of DSLRfilm making, John Campbell brings you the latest news, the most exciting filmsand the best kit from this brave new world that is transforming our industry. ]ONES TO WATCH find disturbing. It is a stark reminder of the world we live in, and how most of us areTILT-SHIFT-TASTIC sheltered from this desperate and awful side of Sometimes being a film maker means society, leaving the victims ignored. It alsoyou must think on your feet; having to turn bad shows how DSLR film making is changing thecircumstances into beneficial ones is all too way we make films, mixing green screen,common an occurrence. After turning up at the animation, photography and live action toFormula DRIFT motorsport competition create a truly thought-provoking piece.at a racing circuit in Sonoma, California, www.professionalphotographer.co.uk/photographer Joe Ayala discovered that he was 0434not on the media guest list. Not wanting to THE POWER OF THE MEDIUMwaste his trip, Joe decided that instead of The Journey is a film by Scottish film makerclose-up action shots he would try a differentperspective and make a film of the cars from Richard Jobson, narrated by the actress Emma Thompson, and shot on a Canon EOS 5D ON THE GRAPEVINE///////////a distance. This, coupled with his recent MkII. Watching it will reaffirm the reasonsinterest in tilt-shift lenses, has produced why most of us get into film and its power is Rumour has it that Canon isa stunning and unique film. The way the obvious to any viewer. The film tells the story about to launch a new camera,tilt-shift lenses make everything look like toysworks amazingly well in this particular of a woman who has been trafficked from eastern Europe and forced to become a the much-anticipated EOS 5Dcircumstance. I think the film will inspire a lot prostitute in a north London basement room. MkIII or 6D. Suggestions are itof DSLR users to experiment. Be warned – this film contains strong violent may offer a 24-megapixelhttp://vimeo.com/15045149 and sexual scenes that some people may sensor and a dual DIGIC 4 processor as well as anSOFTWARE software called DualEyes is now available. It uses technologies to articulated LCD screen withA GLANCE AT DUALEYES automatically sync and cut the audio 1.04 million dots. This mayEven though the images created recording into clips that match the also have the advantage ofwhen using a DSLR are stunning, the video. The beauty of this software isfact the audio is somewhat lacking that it is standalone and can be used being a touch screen, whichbecomes pretty evident when you in conjuction with any NLE would make it the firststart working with it. The preferred (non-linear editing) system fromsolution is to record on a separate consumer level to professional. full frame camera to have suchaudio recorder, but this creates the At $149 (£93) this could speed up technology. The word is itproblem of having to sync the audio your workflow instantly. will be released by the middleand image in the edit suite. To make www.singularsoftware.com/this process simpler, downloadable dualeyes.html of the year. Watch this space.42 www.professionalphotographer.co.uk
  • 38. NEWS EOS 5D MKII ON THE FRONTLINE During the protests in Egypt, we saw CREDIT WHERE IT’S DUE Opening the door for all DSLR filmFROM MODEST BEGINNINGS again how in places where political unrest makers, Danfung Dennis, a photojournalist Shot on a Canon EOS 7D, the indie movie harbours fears of outside interference, the turned film maker, has won the grandLike Crazy, directed by Drake Doremus, was ability to shoot covertly and discreetly on a jury prize in the documentary category atgiven the US dramatic competition grand jury DSLR comes in handy. Sky News shooters the Sundance Film Festival.prize at the Sundance Film Festival, and used the Canon EOS 5D MkII again to film His film, Hell and Back Again, whichEnglish lead actress Felicity Jones won the remarkable footage of the unfolding violence. was shot on a Canon EOS 5D MkII, alsospecial jury prize for her performance. Apparently, the cameraman just used the EF picked up the world cinematographyThe film has since been sold to Paramount 24-105mm IS kit lens with no rig or Z-finder, award for documentary film making.Pictures for a massive $4 million. and the audio was recorded on a Tascam This documentary follows a US marineInspiring stuff for us DSLR film makers. DR-100 recorder and a Sennheiser mic. fighting in Afghanistan and his subsequentwww.professionalphotographer.co.uk/ www.professionalphotographer.co.uk/ rehabilitation at home after being injured.0488 0401 www.danfungdennis.comEQUIPMENTPLEXTOR’S BLU-RAY WRITER VIEWFINDER Plextor has launched a super-speedy 12x Having the ability to monitor externally from HDSLRs isexternal Blu-ray writer with USB 3.0. essential. The VFM-056W/WP from TVLogic is a light (300g) andThe PX-LB950UE’s advanced software compact (156mm x 103mm x 26.5mm) viewfinder monitorapplications and external chassis design specially designed for HDSLR and small camcorder shooters.provide reliability and low noise for the The monitor’s 5.6in LCD panel has a resolution of 1,280p x 800prelatively low cost of £179. The PX-LB950UE and a wide viewing angle of 170º. The VFM-056W/WP is perfect for both indoor andis aimed at both home and business users, with outdoor shooting with an HDSLR camera. It has an ergonomic design and comes with aa design that makes it easy to back up large solid and light magnesium case which provides stability and outstanding ventilation.amounts of data. www.tvlogic.co.krThis versatile piece ofkit is ideal for quicklyburning and viewing out of the league of film makers on a budget. by two PP3 batteries, plus you use the 12v DCrushes. However, these two mixers both cost less than supply that comes with the mixer.KEY FEATURES: £500 and come with a carry-case. The MX422 (centre left) is its big brother. Exceptionally fast The smaller of the two, the MX410 (below Again, you get four XLR inputs, but both 12x Blu-ray writing speed left), priced £350, is brilliant for students and phantom power and low bass cut are now via Portable and stylish external design first-time film makers wanting to attain good-sized push buttons on the rear, and an USB 3.0 for faster data transfers high-quality audio recording. It has input level trim is added instead Advanced software, including four XLR inputs, both line and of the line/mic switch. PlexUTILITIES microphone level, with switchable Each channel has a pan pot [dial] LightScribe disc labelling technology phantom power and low bass cut. instead of a straight switch and Two-year on-site warranty You have the four-channel volume there is a mixer master fader.www.plextor-digital.com faders and a pan switch on the front and you Meters are now analogue VU and you get can literally switch each channel left, to the a battery test button. The headphone sectionMIXERS centre or to the right side of the stereo output. gains a full ¼in (6.35mm) headphone jack and Designed for those on a budget, the Rolls There is a 3.5mm headphone jack, the ability to switch the monitoring from theMX410 and MX422 location mixers are headphone volume and a small LED stereo mixer output to a return input on the back ofoutstanding for new film makers as well meter. On the back you have the balanced XLR the mixer; if this is plugged to the headphoneas established camera operators outputs and a 3.5mm stereo jack output on your camera, it gives you confidencewho need to be able to shoot output, both of which can be that the audio is actually reaching thewhile monitoring sound switched to mic or line level. recording. These two mixers are excellentsinglehanded. Second-hand The 3.5mm jack makes it value for money and using them willSQN mixers, which are the industry perfect for use with a DSLR as undoubtedly improve your audio recording.standard, can cost thousands and are generally well as a video camera. It’s powered www.rolls.com www.professionalphotographer.co.uk 43
  • 39. IMAGE: KEVIN WILSON FRPS award winning Wedding Photographer WITH THE ROYAL PHOTOGRAPHIC SOCIETY ACHIEVE the LRPS, ARPS or the coveted FRPS (LRPS/ARPS available by exemption to those holding the relevant qualifications including LBIPP/ABIPP members) PROMOTE yourself and your business on The RPS Website NETWORK via the members’ forum, facebook and specialist/regional groupsPROGRESS by uploading your images for exclusive expert advice* BELONG to a Special Interest Group free in your first year of Membership ENJOY The Society’s acclaimed journal (10 issues per year) packed with news, reviews, in-depth articles and inspirational photography AFFILIATE with The Society through exclusive use of our crest on your website** SAVE exclusive member discounts on selected photographic workshops, entry to Society competitions and associated offersWith Membership at just £8.50 per month*** invest in yourselfand join a growing community of professional photographersGO TO WWW.RPS.ORG OR CALL 01225 325 733* Only applies to members working towards a Society Distinction ** The Society crest must be used as a hyperlink to www.rps.org*** By direct debit only, monthly payments will be less for student, disabled, over 65 and overseas subscriptions
  • 40. frontline from theNeed to put a face to a name, get the background story, the right advice and the insidetrack on how to get commissioned? This month we hear from Roger Tooth, head of photographyat The Guardian and The Observer to hear his thoughts on what it takes tobecome a photojournalist in 2011 and how the platforms of news delivery are changing.Roger ToothHead of photography: The Guardian, THE GUARDIANThe Observer and guardian.co.ukCareer history: How have things changed since you joined Is that because more people are nowPhotographer: Hackney Gazette The Guardian? photographers?Photographer: IPC magazines Well, the number of products that we do has Yes it is, but also because there are more ways forFreelance photographer grown. When I came here there were three picture people to get pictures to us. It is a good thing toAssistant picture editor: The Guardian editors, a researcher and a secretary, and now have more choice, although we do wade throughPicture editor: The Guardian between the two newspapers there are about 30 such a lot of images we’re not interested in.Head of photography: The Guardian, of us working on desks. That was before For example, if you’re working on news you’reThe Observer and guardian.co.uk The Guardian had a weekend magazine and not interested in a sports picture but first thing in before they bought The Observer. It was a simpler the morning you might find yourself ploughing place although, of course, the communications through American baseball pictures. It’s more were worse. If we wanted a picture taken in time-consuming but actually the standards have Manchester we used to have to get it wired down gone up hugely in those years. “..it’s simpler to tweak a and then film was sent down on a Red Star train. photograph in Photoshop In a way things were more difficult then, because Why do you think that the standard of of bad communications. Now, with FTP and photography you are seeing has risen? than it was to tweak it in the photographers shooting on digital cameras with I think it’s due to the fact that these days many darkroom – so everything is Apple Macs in the back of their cars, in a way it’s easier. In terms of images there’s a big difference people go to college and study. They might have gone to study art or graphics but they take time so much more accessible to in numbers so if you worked over a weekend in out to study the art of photography, the aesthetics photographers.” Roger Tooth the late 1980s you might get 200 pictures to look at; we’re now getting around 15,000 to 20,000 of it. Possibly it’s also because the craft side is easier – it’s simpler to tweak a photograph in pictures a day. Photoshop than it was to tweak it in the www.professionalphotographer.co.uk 45
  • 41. frontlinedarkroom – so everything is so much moreaccessible to photographers. We’ve got someonein the office who trained on a regional paper inScotland – a snapper – but the work he does nowis of magazine quality. That’s what we now expectin news on a daily basis as well as in editorial.Do you think education is preparingphotographers for the real world?No, I think students have unrealistic expectationswhen they leave college. I think people are doingthe wrong courses. I recently gave a talk ata careers event and my take was that people THE GUARDIANshouldn’t do photographic courses. Instead theyshould be studying, for example, fine art whenthey leave school. Someone asked if that’s whateveryone in the industry thought and I replied thatno, it was probably just me and Lord Snowdon! are contracted up to four days a week. When we would have [formally] converged more quicklyI definitely think a first degree should be an art need a bit more help we’ll go out looking for here than it has done, but both myself and thedegree rather than a photographic one. [Taking a photographers or I’ll remember people I’ve seen, multi-media editor are busy in our own areas, sophotography degree] is too narrow and I suspect but we haven’t done that for a while. I get it hasn’t happened yet. I lend him photographersthat students are spending too much time doing photographers contacting me every two hours! when he needs people.projects rather than the groundwork. I thinkthere are two problems: one is that people aren’t What do you look for when you see new work? Do you have any other advice for prospectivetrained in the basics of photography; the other I like clean, graphic, simple pictures because I photojournalists?is that they aren’t trained graphically, so they look at it from a newspaper point of view. I think they have to be prepared to work arounddon’t understand how their photography might be The other thing I look for in photographers is the clock and not be looking for a nine-to-fiveused, which leads to a bit of naivety. Also, you politeness, because if we do commission someone job. They must be fairly self-starting; for examplecan’t just go to college for three years and come they are representing the newspaper. We’re very if they go abroad we can’t really help from theout and say you’re a photojournalist. You need to keen on The Guardian’s reputation being held in office but, actually, I think most photojournalistsget more experience. fairly high esteem, so I’m quite careful about who like that independence. We tend to rely on them to I might send on a particular job. We’ve got a organise themselves and just get on with it.Which courses do you think those hoping couple of women on contract, which I think isto become photojournalists should study? really important. You could be sending a Do you think there are any misconceptionsI think people should probably do a general art photographer round to shoot a female in her home about photojournalism?course and think about looking at things, how and perhaps she’s not comfortable with a male, so The thing I’m slightly cynical about, after allthey look and how they translate on to pieces of it’s good to have that option. Some people these years, is when people say, “I want to coverpaper or computer screens. You need a general telephone us and say they are very nervous about this in this part of the world.” Sometimes I think,feeling for imagery. If photographers really want having their picture taken, so sometimes it is best “Are we just buying you an air ticket to go offto do photojournalism I think they should do a to send a female photographer. It sounds sexist to complete your gap year?” I’ve always beenone or two-year postgraduate course, possibly but I think it’s the way things are. The personality keen on people documenting Britain. With all thewith a bit of photography in between. of a photographer is important, things can go cuts, it’s a really good time to turn round and wrong very quickly on a shoot. It’s horses for document what’s happening in this country, onDo you build relationships with courses really. Of course on the news side we’re your own doorstep. Why don’t we look at ourphotojournalists or rely on submitted images? so rushed it’s almost a taxi rank service. It’s more own country for a bit? Although we have foreignOn a daily basis, just to get the website out every a case of who is available. coverage we’re a UK paper. For example, ifday, we rely on our staff people and the wire we want a picture of a closed factory it’s actuallyagencies. The Gettys, Reuters and APs of the How is convergence affecting the way quite hard to find a picture like that.world drive the news side of things now, they you work? People don’t turn the camera on their ownproduce the work we need to get the newspapers I think photographers have to understand that they communities enough.out. Most of the commissioning that we do now is must embrace it. For me the question is whetherfor portraiture, which we do a lot, given that we photographers end up doing video driven by So it’s not necessary to take a gap year andare a features and arts newspaper. a photographer’s eye or producing more inspired travel the globe to become a photojournalist? video; I think there’s a difference between the Certainly not, quite the opposite really. I’m sureGiven that you have staff photographers do two but I don’t know if that’s been worked out yet. the French are doing it in their own country.you build relationships with freelancers? At the moment we have a separate video The current climate feels very 1980s to me,We have five photographers on staff full-time and department but I don’t know if it will stay like it’s like we’re in a Thatcher era. Now is the timewe have another set of regular freelancers who that forever; I suspect it won’t. I thought we to document Britain. PP46 www.professionalphotographer.co.uk
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  • 43. feedback.tell us what you think at feedback@professionalphotographer.co.ukDear Professional Photographer, was (and always is) great. The NewI enjoyed your article on personal Kid in Town was especially relevantprojects [March issue], we’ve all for me as I have really started toseen them and some certainly have embrace the idea of blogging as amore success than others – generally form of personally promotingspeaking, deservedly so. However, I myself. Also the idea of showingwanted to ask you to consider a hundreds of people my workfollow-up article highlighting the through a blog rather than it sittingimportance of the ‘other’ sort of in a folder on my hard drive ispersonal project. Dewi Lewis picked making me a better photographer.up on it [“A lot of photographers I found this month’s issuewill consider the term ‘personal extremely relevant; your publicationwork’ simply as the work they do for is providing me monthly withnon-commercial reasons.”] I was insightful information about thesurprised you didn’t include more state of the industry. Im alsoon that in the article, but understand enjoying the little gems Grant Scottspace is limited and ideas flow I know it inside out now. I use the another part of the photography writes up on his tumblr blogaplenty! I was expecting more work for marketing, promotion, industry. Best of luck with the [http://aneditorsview.tumblr.com].because I’ve been doing the same networking, exhibitions etc and I’ve magazine, it’s an enjoyable read and They make me consider things dailysubject (around professional work) even been approached by a publisher is a useful tool for someone like me about the industry and my work thatsince 2004 and, for me, it’s been the about getting it published. One of who is trying to find his feet as a I might not have done otherwise.most positive thing I could have the biggest benefits I see that could professional photographer. James Whitty, via emaildone. And now, because of it, I’ve come out of it is that if you can Darran Armstrong, via emailbeen asked to quote for a massive justify it in print, the families of Correctioninternational advertising campaign people who undertake such projects Dear Professional Photographer, In the Professional Photographer offor a well-known company. are likely to be a little more Just wanted to say I really enjoyed the Year Awards 2010 feature in I think this would be a fantastic understanding and supportive. I have the article The New Kid in Town in the January issue, we incorrectlyidea as a follow-up: with a positive, struggled and fought with my wife the March issue along with Clive stated that Irene Frowley wasencouraging tone and first-hand for the time it’s taken me to do this Booth’s article about establishing commended in the still-life sectionbeneficial advice; all of the work; she could never understand and maintaining your online when, in fact, it was Irene van derphotographers you speak to month the point of doing something that identity. In fact the whole magazine Meijs. We apologise for the error. PPon month will have some degree of didn’t pay – speculative work, evenexperience in this (like your banger though I had a clear idea of how In February we ran an onlineracing project, February issue). useful it could be. Now, after seven competition in association withWe all need an arena to test years, she is starting to get it, Canon to give away 20 uniqueourselves in; as professionals we but we still fight over it occasionally. accreditation passes to shoot awant to keep our eye in, our skills Help us out sir! Jaeger show at London Fashioncurrent and ask ourselves important Bill Bradshaw, via email Week at Somerset House.questions. You can’t ‘play’ in the We asked you to show us how yousame way within the boundaries of Dear Professional Photographer, saw the world and more thancommercial work (well, you can but I just wanted to drop you a quick 150 of you responded, uploading February our winners came toit’s risky!) I was advised in my final email to say thank you for the online your images to the competition London from as far as Belgiumyear of college that ‘it’s a good idea Shoot the Catwalk competition gallery on our website. and Romania. All the winnersto have something to keep going [to shoot a show at London Fashion Passes for London Fashion Week got the chance to shoot theback to’ – a personal project of your Week]. It was my first time are highly prized with only 200 rehearsal as well as the showchoosing that you do in your spare shooting a fashion show, so it was photographers granted access itself and you can see some SEAN SAMUELStime and is always on the back an interesting experience to shoot to the catwalk pit, so it was a of their images in our fashionburner. When I finished, I found something different to what I am fantastic opportunity. On 20 gallery on the PP website.something that interested me and used to and get a small taste of www.professionalphotographer.co.uk 49
  • 44. 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 - www.forwardevents.co.uk 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 www.forwardevents.co.uk or call 01634 296 001 LONDON Royal Horticultural HallsSPONSORED BY: 15th November 2011 Follow us on Twitter www.twitter.com/photovisionnews
  • 45. GUESSLIGHTINGProfessional photographer Ted Sabaresepublishes a blog in which he tries to workout how other photographers’ images were THElit and offers his own theory on how theshoot went. This month he brings his lightingexperience and limited drawingskills to Rhianna and Michael Thompson. MICHAEL THOMPSON / GQ USAMICHAEL THOMPSON/RIHANNA COVER, GQ USA, JAN 2010 camera right. A medium soft box at f/5.6 (-1 stop) sits 4ft to cameraRihanna may currently be entangled in a dab of plagiarism controversy left and 8ft high. Two white umbrellas at f/11 (+1 stop) light the whiteover her latest video, but that doesn’t take away from the utter background from both camera right and left, in the rear. PPsexiness seeping from this January 2010 GQ USA cover. Michael’s softbacklighting paints a glamorous yet angelic picture of this rock www.guessthelighting.comand roll siren. Five strobes did the trick. Turn to page 54 for our interview with Michael Thompson.Camera: Hasselblad H3D-39 and 100mm lens, handheld 10ft back.Shot at 1/125sec, f/8, ISO 50. Remember, this is called ‘Guess’ the Lighting. Therefore, all lighting,Lighting: The main light sources come from the sides and behind. camera, lens, grip, f-stop, shutter speed etc information may notA large soft box at f/16 ½ (+2½ stops) is positioned behind a framed, hold up in a court of law. There is a lot of guesswork in guessing.one-stop diffusion silk to camera left and behind Rihanna.Another large softbox at f/8 ½ (+ ½ stop) with framed silk sits similarly to www.professionalphotographer.co.uk 51
  • 46. LOOKING FOR MUSIC? Amazing music to give your images an extra dimension www.akmmusic.co.uk Our music is pre-cleared and can be used on ALL your commercial photographic projects/slideshows and websites. Premium Photobooks Not premium prices www.photoproductions.com Listen Purchase Download The UKs No 1 producer of Royalty Free Music Professional Photobook design and printing The highest quality at unbeatable prices 01926 864068 Easy online ordering and online proofing** Special Offer For Pro Photographer Readers ** Free Pocket Book with your first order, ROYALTY FREE MUSIC just email us quoting promo code PP8 FOR PHOTOGRAPHERS Tel 01926 864068
  • 47. exposure Images that have us thinking, talking and debating... We spend a lot of our time here at Professional Photographer suggesting to wedding photographers that they shouldn’t be looking at wedding photography for inspiration but at the best of the world’s fashion photography. It’s not always met with understanding, but to help us in our quest comes one of the world’s leading fashion photographers, Ellen Von Unwerth (and PP bad girl – you can see our November 2010 issue to find out why!), shooting the Spring/Summer 2011 campaign for leading wedding dress designer Jenny Packham. We applaud the collaboration and can’t wait to see similar partnerships. Anyone ready for Peter Dench shooting weddings? Visit www.jennypackham.com to see all the images. PPELLEN VON UNWERTH / JENNY PACKHAM www.professionalphotographer.co.uk 53
  • 48. 54 www.professionalphotographer.co.uk
  • 49. {ICON} GOD IS IN THE DETAILS He shoots beauty, fashion and portraits for the world’s most prestigious magazines and commercial clients, learnt his craft assisting Irving Penn and has just released the second monograph of his work but, as Michael Thompson tellsMICHAEL THOMPSON PP Editor Grant Scott, he has paid his dues getting to the top. Singer Joss Stone. www.professionalphotographer.co.uk 55
  • 50. {ICON}Grant: Michael, I first became aware of things were done a little differently. He took on my own and branched out into my own styleyour work in the early 1990s when it was a lot of chances and went outside the box, so it as the years went on.a major factor in the re-launch of American was very interesting to be part of that group of GS: Was Penn a great influence before youHarper’s Bazaar under the art direction movers and shakers. I was part of a group went to work for him?of the great Fabien Baron. How did that of new, young photographers there, kids in their MT: Yes, I had his books, along with Richardcome about? 20s who caused a big shake-up. Avedon’s and all the other big guys, like HelmutMichael: I started in 1991 doing beauty images GS: Your work at that time and ever since Newton. But I was just dreaming, you know,for Allure magazine in New York and then I has had a very clean and precise aesthetic living on the west coast looking at these images.started doing the same for Bazaar. I was known to it. It felt fresh. So when I knocked on his door in New York andas a beauty photographer and I didn’t do any MT: Yeah, coming out after three-and-a-half years he answered the door, not an assistant, I almostfashion or celebrity images, because celebrity at Penn’s studio I was obviously very influenced fell on the floor. Every day I worked with himwork wasn’t that big a deal then. So I was by his work and initially mine was very similar to and saw him I would have to pinch myself and go,shooting beauty for them but with Fabien there Penn’s. I kind of stuck with that, then went off “Oh my God, that’s Irving Penn.” GS: That’s an incredible start to a career, from working with Penn to working for Harper’s Bazaar and Fabien Baron. MT: It was amazing; I’d driven all of my belongings from the west coast in a rented truck to New York with my girlfriend who is now my wife. When I’d arrived I didn’t have any leads or contacts so I just started doing what everybody does and began making calls. Penn was someone who agreed to give me an interview. GS: David Bailey once said to me the most valuable Avedon book was the one he hadn’t signed, because he was very much on the scene and available but Penn was reclusive. MT: I had an interview with Avedon too and they couldn’t have been more polar opposites in personality. They were both geniuses but they went about it in such different ways. GS: After your work appeared in Bazaar you had a pretty meteoric rise, because it was so influential internationally at the time. MT: I think it was just the clean and chic look of Bazaar at the time that people liked. Fashion is very much like that, you know, there are always things that shake it up. In fashion everyone is so blasé about everything, they’ve seen everything a million times, so they need to be shocked now and then. Bazaar was a great shock back then. In the early 1990s the economy in the States was not unlike how it is now in the sense that people were not willing to take chances and it wasn’t until later on in that decade that things started to pick up financially; when that happens people love to take risks because they have a lot of money to take them. Now people are holding on to their wallets. It was a great time to start in the early 1990s, however, because I was going MICHAEL THOMPSON Left: Actress Gwyneth Paltrow. Opposite page: Actress Milla Jovovich.
  • 51. “In fashion everyoneis so blasé abouteverything, they’veseen everything amillion times, so theyneed to be shockednow and then.Bazaar was a greatshock back then.”Michael Thompson
  • 52. I have always found it hard as a photographer to stay with one style, because I think I would get bored working in one way every day. I try to move around, I just think there are different lightings, feelings, stories and locations that I want to do. GS: For me your work is defined by the attention you give to the shapes that you make with your subjects. You always seem to be searching for absolute perfection. MT: Right, that’s the nice thing about doing a book, you get the chance to critique your own work. You can see threads running through the work and growth. GS: Why was this the right time to produce your second book? MT: I knew that when I did my first book in ’05 that I didn’t want to do a celebrity book, I wanted to do an all-encompassing book, but as time went on I thought I should do a portrait book. I actually decided to do one four years ago but by the time you get things together – a publisher, everybody to sign for picture usage – before you know it, it’s three-and-a-half years later. But during that time I’ve shot a lot of images, so the book has changed its look from my initial concept. GS: Pretty much every photographer wants to see their work in book form but it can be hard to judge when it is the right time to actually begin to compile one. MT: For me it’s become more important than ever to see my work in book form. I used to go into Rizzoli in New York or any bookstore and spend hours looking at the images. That’s how I fell infrom an assistant’s salary I didn’t see that grainy picture, so many amazing images are just love with photography and I wanted to come backthings were at an economic low. If I made $1,000 that. I always say you can’t duplicate a moment. to that. There are a lot of great things about thefor the day then I was happy, whereas the You can have a beautifully lit, beautifully digital age but there is nothing like holding andphotographers who had been around for a while technical photo but if it doesn’t have that feeling turning a page in a book. Also, as photographersthought that was nothing and were all upset. behind it, then it’s really nothing. So I always all the things we work for and our images appear In the beginning people were hiring me like try to marry the two together. It takes a little bit in are disposable, so it’s nice to have the imagethey do now, on the basis of what they see in the of planning but I try to leave myself open. In the the way you envisioned it with no type all over it;magazines. I’m fine with that. I worked a lot for very beginning everything was very controlled, I’m sure every photographer feels that way.the beauty houses in the beginning, which was I was so nervous about getting the image I had GS: It also proves that we actually existed!great for me financially so I was able to pay my everything planned out. Now I do the opposite. MT: Exactly.rent. There weren’t a heck of a lot of beauty I have great assistants and equipment, and GS: Your career was well-establishedphotographers so it was a nice place to step in and have enough confidence now after 20 years to before the advent of digital capture but a lotsay, “Hey, maybe I can be important in this area” just let things roll. of the beauty work created today reliesand then move on into fashion. There were so GS: But there is a Michael Thompson eye; heavily on post-production manipulation.many people doing it and there still are. I can always spot one of your pictures, they How do you feel about that?GS: Your work is very controlled and always are so resolved and have such an incredible MT: I think in my group of photographers I wasinvolves a very high level of technical ability, attention to detail. one of the last to start working with a digital MICHAEL THOMPSONwhich you seem to bring to all of the areas MT: Thank you, that’s a nice compliment. In theyou work in, even the ‘caught’ moment. 1960s and 1970s Penn was known for his whiteMT: Yes, yes, I guess that’s me being a Virgo. backgrounds and in the 1970s and 1980s Bill Above: Actress Kate Hudson.There’s nothing wrong with an out-of-focus, King was known for working with movement but Opposite page: Actress Selma Blair.58 www.professionalphotographer.co.uk
  • 53. {ICON}
  • 54. {ICON} MICHAEL THOMPSON60 www.professionalphotographer.co.uk
  • 55. “...I have always found it hard as a photographer to stay with one style, because I think I would get bored working in one way every day. I try to move around, I just think there are different lightings, feelings, stories andlocations that I want to do.” Michael Thompson Actress Julianne Moore. www.professionalphotographer.co.uk 61
  • 56. {ICON}camera. I didn’t want to move over just to say I lets them have access to the screen, they become instantly; if they haven’t been published in thewas shooting digitally but also because I didn’t knowledgeable on what is possible and realise first two years they’re ready to give up. You canthink it had the qualities of film. So I waited and they can see the images as they are shot. But I ask anybody in any profession who’s successfulwaited and hung on and hung on. People were used to work the same way with Polaroids. and you’ll find out that they’ve been workingcoming to the studio and going, “Oh, you’re still I would look at them with my assistant behind at it for a long time. When I started assisting, if Ishooting film and Polaroids, oh okay.” I’d been a curtain and only show the celebrity one if had to polish shoes I would do it, I didn’t reallyretouching digitally for a long time, but on I was happy with it. But I would never pull it out care. Just being around a photographic studioscanned negatives; it wasn’t until three or four of the camera and show them it. was enough for me. I worked for a catalogueyears ago that I started capturing in digital format. GS: You were slow moving into digital but photographer for three years in Los AngelesI’m fine with it now, it’s just like having a new are you going to be as slow to move into before I had even set foot in Penn’s studio.camera. But the one thing that will never change creating moving images? He was very busy and I was able to cut my teethis the way in which you look at light and how MT: Past history would suggest that I will be, but in the industry, and because of the knowledgeyou find light. That’s not going to change, no if you look at the iPad, where you have the mini I gained from him I was able to get the Penn job.matter how many bells and whistles you have. snippet movies of a photo shoot, that’s going to You wouldn’t think that a catalogue photographerGS: Your way of seeing. have to be done by the photographer along with would relate to a Penn job but that’s how I got thatMT: Yes. Your way of seeing. It’s great that it the stills. I think that photographers are going to job, because when I met Penn he asked me aboutallows you to work quickly, but there are have to become cinematographers, directors of all of the technical things that I knew and I wasdrawbacks also. Everybody wants you to work photography and stills photographers all rolled up able to answer comfortably and became his firstfaster and faster and then when you’re on the set into one. The client is not going to hire someone assistant. If I had come straight out of collegewith a celebrity they want to see the screen. to come in and do that part of the photo session; wanting to work for Penn, he wouldn’t have hiredIt takes the mystery out of the process a little bit. they’ll rely on the photographer to do everything. me and I know that for a fact.GS: That’s an interesting point. I would GS: You often reference great paintings Even when I was assisting I would donever show the subject the Polaroid when or classic photographic images in your work architecture photography just to find out how toI was shooting celebrities and I won’t shoot and use them as inspiration. write an invoice and how to work with a client.tethered for the same reason. I don’t MT: I’ve always looked to art for inspiration but I didn’t say, “I’m not interested in doing that.”want the session to be judged on one frame. I think it started when I began working for I just said, “Hey, I could learn from this.” I wasHow do you deal with that situation? French Vogue in the mid-1990s. That audience still lighting and composing things, it was relatedMT: The good thing about having worked for a is very open to referencing images because they to what I wanted to do and I got a paycheck for it.while is that you can pretty much say, “This is know the originals. You never know where things will lead so I wouldhow I work” and people respect that. You can tell GS: It’s a sophisticated readership. say, leave things open, don’t close that door,the publicist to stay outside the shooting area and MT: Very and that was a big education for me. because you never know where that door leads.I can tell the celebrity that I will show them GS: A lot of other photographers will look It’s easy to say what I do is easy, you knowsomething when I’m ready and they respect that. at your career and the work you get what I mean. In the beginning nobody knew whoI shoot with the monitor next to me because commissioned to do and think, “It’s okay for Michael Thompson was and even today thatI like to know what’s going on and one of the first him but that’s got no relevance to my life as happens. I shoot young actors and actresses whothings I did was to make a cardboard hood for a photographer.” Your position and work haven’t even heard of Penn or Avedon. You justthe screen that has a hole for me to look through can seem like an untouchable ivory tower to have to swallow your pride, be patient and haveand a little window at the side for my assistant to many photographers, with little relevance to the drive to keep close to what you believe in.look through. Then when we’re ready and feel we the real world. How would you respond? You’re only as good as your last photograph.have a nice image to show them that we want MT: There are so many photographers out there GS: I always say that after that last shot wefeedback on, we take the cover off the screen. that you should only do it if you really love it and are always unemployed.It just pops off, then goes right back on again. put the effort into it. I can’t tell you how many MT: Right, maybe that’s why I’m doing thisGS: That sounds like a gadget you should times I’ve worked late into the night while I was book, so I can show it to people and say,be copyrighting and selling as just plugging away but I never thought, “This is “Here, I’ve done this before, so please trust me.”Michael Thompson approved kit. bullshit, this is not working.” I was enjoying it. GS: Professional photography is not a greatMT: Exactly, because without the cover everybody I was happy to do just one job and paying my rent place to have a big ego.just looks at the screen and it becomes like was always my first goal. The next was to try to MT: Exactly. PPwatching TV; then the person being photographed get something published and it was thesestarts thinking, “What are you looking at?” mini-goals leading up to the bigger picture which www.michaelthompsonstudio.comand then they go to see and the shoot falls apart. made it seem possible. It’s like going on a trip.The hood solves all of this. You have to look at the whole map to see your MICHAEL THOMPSONGS: I think you’re outlining a problem that final destination, but the towns on the way are thea lot of photographers will be familiar with. mini-goals to that destination. That’s important. FOR MORE INTERVIEWS WITH THE WORLD’SMT: The thing is that when the celebrity goes on Over the years I have never been afraid to work LEADING PHOTOGRAPHERSanother set with a different photographer who hard. Too many photographers want things WWW.PROFESSIONALPHOTOGRAPHER.CO.UK62 www.professionalphotographer.co.uk
  • 57. Model Heidi Klum.
  • 58. THE YEAROF LIVINGDANGEROUSLYAn independent gallery located at the topof a period building in Cardiff is showcasingsome of the most exciting contemporaryphotography in the UK. On its first birthdayPeter Dench catches up with the ownersof the Third Floor Gallery to discover if itreally is tough at the top.
  • 59. MACIEJ DAKOWICZ {THE BUSINESS} An image from Maciej Dakowicz’s Cardiff After Dark project.
  • 60. {THE BUSINESS}Maciej Dakowicz is not comfortable. to be realised. Around £700 a month comes because of his matter-of-fact way of explainingHe presses a splayed hand hard into his face from donations, any shortfall is made up from how and when things should be done. There is noand rubs. It’s not the disco ball lights the pockets of each proprietor. There is an nickname for the open-faced Bartosz; ‘Thepeppering his face that is causing distress, Amazon wishlist that to date has provided an Smiler’ wouldn’t be inappropriate. Each teamit’s the questions. Maciej doesn’t like A4 multifunction mono laser printer, TV , member has no specific role. Tasks are taken asquestions and doesn’t like to answer them; professional trimmer, pair of scissors, tape and when by who has the time or most suitablein fact he doesn’t like to talk much at all. dispenser, screwdriver set and some White Tack allegiance. Joni and Bartosz are perhaps betterWe are at the Third Floor Gallery in Cardiff thathe launched with Joni Karanka (Bartosz Nowickijoined some months later). Today is thegallery’s first anniversary party. I ask Maciej(pronounced mach-ic) what he enjoys aboutrunning the TFG. He rubs harder: “Ask Joni.”I’d arrived a few hours earlier. As I approachedthe gallery, Joni and Maciej had parked upoutside with a car boot full of beer. It had takenthem three hours to choose it, checking forthe best deals. “Give us a hand, Peter.” No one isbeyond being asked to help and we take turnsto deliver the crates up 60 stairs past a taxi rankand Indian dance class to the top-floor premises. On 22 December 2009 I received an email fromJoni that said: “Dear Peter, I wonder if you’dbe interested in exhibiting loveUK in Cardiff.Maciej Dakowicz and I are opening asmall photography gallery in February, and wewanted something with a bit of a nice bang MACIEJ DAKOWICZto open up. Any reply is good for me, rangingfrom interest to rejection with alternativesuggestions.” Feeling festive I answered in theaffirmative. A call from the considered andunassuming Joni followed and the details requiredsoftly spoken through a hybrid Finnish-Spanish (the sandwich board was a wishlist gift). with the PR and communication side of it,accent. The gallery and exhibition opened on In the initial business plan, it was hoped the rent Maciej with the details, or as he would describe12 February 2010 to a warm welcome from the would largely be funded by print sales from each it, “Dealing with the shit.”Cardiff media and community. Located in exhibition. Collective sales so far fall short of Thirty-five people visited the exhibition on thethe Bay area of the city, a short bus ride from the double figures, which is surprising, because since first anniversary day, taking the estimated annualcentre, TFG sits comfortably opposite the the loveUK launch the list of exhibitors has number over 4,000. More than 50 guests areMillennium Centre and the developing Mermaid been impressive, including David Solomons, jostling for position in the 60ft² gallery spaceQuay. A sandwich board at the door of the Jocelyn Bain Hogg, Carolyn Drake, and Magnum tonight. It’s an open-door policy, invitationsperiod building, padlocked to the railings, quietly royalty David Hurn and Chris Steele-Perkins. were sent via social networks and word of mouth.introduces the venue. To exhibit, the photographer is approached The crowd is eclectic, with Poland heavily One year on I am back visiting the gallery to and direct submissions discouraged. The three represented courtesy of Maciej and Bartosz.find out how the first year has progressed for the gallerists chat informally, usually in the £2-a-pint The mood is friendly and familiar. Also wellteam and what is involved in running a successful Captain Scott pub nearby, about what work they represented is the University of Wales, Newport.exhibition space. A theme quickly dominates, want to see and what photographers they Students from the prestigious documentarymoneymoneymoneymoneymoneymoney. would like to work with. Rob Hornstra is photography – BA (Hons) course gobble beer andNo one has any and how to get it is a constant scheduled to exhibit next and there is a peer at the pinned Laura Pannack prints.time consumer. Joni heads down to Iceland to get workshop by Joseph Rodriguez in the diary. The university is very important to TFG due to itssome nibbles for the evening bash. The budget Marcus Bleasdale is being pursued. proximity, as well as providing a ready andis £7-£8 but he splurges: 75-piece Tex Mex Volunteers lubricate the gallery, a central pool of willing rotation of visitors and printing some ofPlatter, £4.36; chocolate strawberries, £2.14; around a dozen help with the day-to-day running. the exhibition leaflets in return for having itsfilo wrapped prawns, £2; Blackforest gateau, This allows Joni, Maciej and Bartosz to name on the fliers and in the gallery space.£3. I throw in some crisps and buy a couple of concentrate on off-site matters. The volunteers Photographers often consult the course leaderpasties to keep us going. TFG has achieved call ponytailed Joni ‘The Thinker’ for his at Newport, Ken Grant, for his opinion beforecharitable status but the benefits are yet Zen-like presence and Maciej ‘The Director’, deciding to exhibit at the gallery.66 www.professionalphotographer.co.uk
  • 61. “One year on I am back visiting the gallery to find out how the first year has progressed for the team and what is involved in running a successful exhibition space. A theme quickly dominates, moneymoneymoney moneymoneymoney.” Peter Dench Joni, Bartosz and Maciej are all keen and recent graduate from Newport, is quickly findingMACIEJ DAKOWICZ / productive photographers as well as appreciators his voice. Maciej has already pinched the Top: Maciej Dakowicz (left), Joni Karanka (front) andMARTIN HANNA of photography. However, Joni is in a hiatus industry’s consciousness with his pictures and has Bartosz Nowicki of the Third Floor Gallery with exhibitor Carolyn Drake; above left: An exhibition at the from taking his own photographs, too busy with his 5,000 or so Flickr followers anticipating gallery. Opposite page: An image from Dakowicz’s his paid day job and the gallery. Bartosz, a each update. Cardiff After Dark, his burgeoning Cardiff After Dark project. www.professionalphotographer.co.uk 67
  • 62. project on the city’s nightlife, is where he thrives. At the party I see an ejected fist from the Also, good to know you’re not only alive butFive images from the project were included in opening show event that one year ago put a hole vital.” I sniff the 50% proof Finnish vodkathe Street Photography Now book and the work in the wall so big that it could have been and down a toast to the Third Floor Gallery beinghelped him to achieve an honourable mention in appropriated for use on TV by Anton Du Beke: alive and vital in another year. PPthe reportage competition category for National “Bring on the wall!” www.thirdfloorgallery.comGeographic Polska magazine. His work hasappeared in many national and internationalpublications, The Guardian, Independent,American Photo and Der Spiegel among them. I have walked with Maciej along St MaryStreet where the bulk of his project is shot.The spectacle of the street has held his attentionsince the Pole moved to Wales from Hong Kongin 2004. I’ve seen my fair share of Britain’s badbehaviour and St Mary Street is top ten. A nightlyproduction penned by the devil himself,choreographed girls shiver, totter and titterthrough the litter, warmed only by the click-flickof cigarette lighters – the police and the bloodiednever far away. On this occasion Maciej wasfidgety in his skin. He admits to a lull in creativelibido, researching too many pictures on theinternet to be interested in taking them. I’m sureit will pass. He usually shoots in tandem withanother snapper for safety, each watching theother’s back, the imbibing stars of Cardiff AfterDark haven’t relished the attention (although thecouncil did deliver a yellow skip to the street tohelp with the mess after seeing some of thework). Certain bars are out of bounds, the securityrecognises him, his name is down and he’s notcoming in. I left Maciej at 3am; he stuck aroundfor a while, just in case. In the Claude Hotel over lunch the followingday I asked him how his night had gone.Clicking through the results I spot some keepers.What Maciej enjoys about photographing hewon’t say. What inspires him to take photographshe doesn’t quite know. What’s the best thingabout running a gallery? It’s difficult to explain.Is he happy with his situation? Stopping ona frame of a couple kissing in the rain undera black leather jacket, I would suggest that –for 1/200th of a second each night spent on thestreet in Cardiff – he is. At a recently attended private view in the WestEnd of London, the glass-fronted and lighthousebright interior felt intimidating, the £1,000 printsinhibiting and the bar staff prickly on repeatreturns to refill. There wasn’t a Tex Mex Platterin sight. Bounding up to the Third Floor Galleryyou know you’ll be welcome, to have a drinkand a chat or just to look through the donatedbooks. There’s an adjoining artist’s studio, where As the anniversary hour approaches,Ian Smith is currently resident, that gives the shots are distributed and speeches delivered.place the feel of a work in progress and one you A comment in the visitors’ book catches the eye, MACIEJ DAKOWICZare encouraged to take part in. Exhibitions come “With all the technologicel (sic) advances,and go every four to six weeks. TFG is your people don’t change that much. Loved the show. FOR THE LATEST PHOTOGRAPHYfriend, an arm around the shoulder, a social club Came with my daughter Amy who is studying EXHIBITIONS VISITfor the creative and surprisingly forgiving. photography in college, and is a big fan. WWW.PROFESSIONALPHOTOGRAPHER.CO.UK68 www.professionalphotographer.co.uk
  • 63. {THE BUSINESS}This page and opposite page:Scenes from Cardiff After Dark,the project by Maciej Dakowicz.
  • 64. It’s onlyROCK itN ROLLbut I like You may not have heard of Michael Ochs but, as Paul Middleton discovered when he spoke to him, he is the saviour of the history of music photography.For 35 years, Michael Ochs was the only name an art from making sure the writer stayed in touch with me, which made my jobdirector needed to know to get images of musicians easier, it meant I could push the past, to give music some kind of perspective.and singers. His work in the music industry led him to With the job at Columbia, and the fledgling archive, how deeplystart the Michael Ochs Archive, which grew to contain involved were you in the music industry itself?about 3 million items and was dubbed “the premier Oh, I was right in the middle of it. In those days, the record companies hadsource of musician photography in the world” by the what they called house hippies and, as publicists, it meant we could deal withNew York Times. He sold the archive to Getty in 2007. both the artists themselves and the corporate side of the business. The artists loved us, because we loved the music, and it meant we got to hang out withHow did a non-photographer come to assemble what became, the likes of the James Taylors or the Carole Kings or the Rod Stewarts.according to the New York Times, the world’s pre-eminent rock There was a camaraderie. The ‘star system’ didn’t exist yet, which meant Iimage archive? did get to know Jimi Hendrix, I did go out drinking with Jim Morrison andI actually was a photographer, very briefly. I came to Los Angeles in 1966 Janis Joplin did come on to me [laughs].with a useless degree from Ohio State University, but I was pretty good witha camera. I was at a concert where the photographer didn’t show up, and So when did the archive take over, in terms of actually being athey asked me to shoot it. I said, “How much? He said, “15 bucks” and I moneymaking career?thought, “This is it, this is what I’m going to do”, and I did work for a full It was in 1975, and Dick Clark [the TV producer and show host] was doingyear as a professional photographer. another TV retrospective. He called, because he knew I had the images, and I Then, at the beginning of ’67, Phil (the folk singer, and Michael’s brother) supplied what he needed for the show. A few days later, a cheque arrived forcalled, wanting me to go back to New York and manage him, and that was a thousand dollars, totally unsolicited, and it occurred to me that maybethe end of my photography career. I could make money from this. I had never previously thought about making money from the archive, but this made me realise that maybe thereSo when did the archival process begin? was a career in it and maybe I should take it just a little more seriously!I started working at Columbia Records in 1969 and, one day, I saw themthrowing out all these boxes of old photographs of artists who had left the Was this the point when you left the music industry?label. I thought, “This is criminal, this stuff should be documented.” Not quite. I lost my job at ABC Records at the end of ’75 then, three monthsI’d always been an avid collector of records so I figured, why not collect later, my brother killed himself. I had another job lined up, but was in thephotos as well? This led to collecting sheet music, programme books, middle of organising a tribute to Phil. My new employer assured me theyeverything I could find to document my fanatical love of popular music. understood and told me to take the time to organise the tribute. It seems they changed their minds because, whilst I was organising the concert, they wentWhen you got the first lot of pictures from Columbia, did you have any ahead and gave the job to somebody else. Through the rest of 1976, I triedidea where it would end up? different things, but knew that I would never work for corporate AmericaNot at all. I’ve always said if I’d planned to do this I would have failed. again and decided, at the beginning of ’77, to make the archive work.It was basically a hobby which got way out of control, because I was reallyjust getting stuff for my own private collection. It was whilst I was working Nowadays, of course, copyright is a big issue. Did it ever occur to you inas head of west coast publicity for Columbia, that I started saying to writers those early days when, for instance, you were selling the use of imagesI was dealing with, and who were working on historical or retrospective to Dick Clark, that you might be breaking the law?pieces, “Y’know, I have pictures of Carl Perkins (for example) when he was As it happens, I got lucky. Although, unbeknownst to me, what I was doingat Sun Records, which you can have for free.” This was great because, apart at the time was legal, I was always terrified that I was breaking the law.70 www.professionalphotographer.co.uk
  • 65. { WORKING PRO}It wasn’t actually until 1978, 12 months after I started doing the archive Anyway, about a year later, Michael had just performed at the [Americanfull-time, that a law came into effect giving photographers more rights over football] Super Bowl and his career was really on the up. I called him andtheir images. What they didn’t do though, was apply the law retrospectively. said, “Hey, why don’t we do a book? We could use all the images I’ve got,The law stated that any photographs, taken prior to the new legislation being and get comments from you and Janet and everybody else.” He agreed and Ipassed, and created for publicity or mass production or that ran without knew I was on the verge of something big. As luck would have it, the wholea copyright line, became public domain property regardless of who owned sex thing then broke, killing the project stone dead and that was the end ofthe original negative. Overnight, it turned out that all the stuff I was worried that! The collection, when I bought it in the publisher’s bankruptcy sale, hadabout was perfectly legal. an exaggerated appraisal put on it of $3million. I bid just $30,000, mainly as a token effort and not dreaming I might be successful, but it turned outDid you ever consider commissioning photographers to shoot a I was the only serious bidder. Sometimes you get lucky.particular artist who you were interested in holding images of?No, but I knew that I had to make the archive completely legal if I wanted to So which collection would you consider the best you ever got?progress. Rather than commission photographers, I started to represent them, Oh boy, well, I’d probably have to say the James Kriegsmann collection,and started to buy collections where I could get complete rights. which I got due to a complete fluke. Kriegsmann probably photographed more musicians than anybody else, ever. I mean, he went way back to theHave you had photographers who objected to you holding on to images likes of Cab Calloway, did the first publicity shots of Sinatra, and was theof theirs when you were dealing directly with them? first person ever to photograph black people properly, instead of trying toI got calls from some photographers who threatened legal action over some anglicise them. He loved the texture of the black skin, and concentrated onof the publicity photos I had, saying I had no right to use them. I did have the capturing the shot properly. Because of that, he became known as the manright but, rather than fight them, I would ask if I could represent them. for black singers and musicians to go to, if they needed photographs taking.I wanted to become a kind of one-stop shop for anybody who was looking Motown and Stax both used Kriegsmann exclusively.for photographs of musicians. I wanted to become the biggest and best in theworld. If there were images I didn’t have, I would find a photographer who And how did you come to own the collection?had them, and offer to represent that photographer. What I offered, that Actually, it comes out of another story. I had a single image of a singernobody else did, was non-exclusivity. This gave the photographer the called Ersel Hickey, who’d had a one-hit wonder a few years earlier withfreedom to put images anywhere they wished and so they had nothing to Bluebirds Over the Mountain. Hickey, I thought, looked like a genericlose from coming with me. Elvis Presley, the same hair, same stance, everything. I knew the image would sell, and I was right, eventually leasing it over a hundred times,Was it ever a burden for you, knowing the responsibility you had in culminating in its use at the front of the Rolling Stone History of Rock andkeeping the archive safe and what a loss it would be if the archive were Roll book. Anyway, one day, the phone rings and it’s Ersel Hickey. My firstever destroyed? thought was that I was about to be sued for something, but he actuallyI spent a lot of money ensuring that we never had to loan out an original. thanked me for giving him a second career! We arranged to meet next time IWe housed the archive in a building that was bombproof, fireproof, was in New York, and it turned out he was due in James Kriegsmann’s studioearthquake proof, the lot. I knew that what we had was irreplaceable and, on the day I was available.by the end, the cost of simply looking after the archive and preserving It was ideal for me, as I really wanted to meet Kriegsmann. We went in,it was approaching half a million dollars a year. and it was like going back in time. The studio looked likeI also knew that the archive could only ever be it had never changed since the day it first opened.a single collection and, although I’ve had offers “I got calls from There were boxes of images everywhere, and I askedover the years for people to buy certain sections of Kriegsmann if he realised what a fortune he was sittingthe archive, I always refused. some photographers on. His answer was, “Yeah? Prove it kid,” and IOffers such as? who threatened represented him from that point on. The collection had shots of The Band, when they were still Levon and theWhen one publishing company went bankrupt, legal action over Hawks, and Simon and Garfunkel when they were stillI bought their entire image collection, which ran to Tom and Jerry. I mean it was amazing, the stuff he hadabout 100 filing cabinets. They were the some of the and, actually, didn’t know he had. There was even aoriginal publishers of Right On! magazine, andone of these cabinets had all the images from the publicity photos I picture of Joan Rivers as a member of a folk trio! When Kriegsmann turned 80, he called and asked if Imagazine. What this meant, basically, was that had, saying I had no wanted to buy the collection. Of course, I didn’t hesitatealmost every image ever taken of the Jackson 5 at all in agreeing.to that point was in this one filing cabinet. I was right to use them.friends with Michael Jackson, and Miko Brando(Marlon’s son), was acting as Michael’s runner at the I did have the right How much competition, typically, would you have when trying to buy a collection?time. Miko knew I had the collection and, but, rather than fight It depended on the collection. One I was thrilled to getwithin the hour, I had a call from Michael asking was from the photographer Earl Leaf. I called the guyme to name my price. Now, it may be the most them, I would ask if who had the collection, and made an offer, but he said hestupid decision that I ever made, but I told him itwasn’t for sale for any amount. I was always more I could represent wanted to think about it. As it was, I was the only bidder for it. The guy selling it only contacted one other party,of a hoarder than a seller. them.” Michael Ochs and that was the National Enquirer. I asked if they were www.professionalphotographer.co.uk 71
  • 66. { WORKING PRO}interested, and he said their reply was just, “Ah, sell it toOchs, we use him anyway”. “As the world’s unusual for me to buy an entire collection just so I could get a single negative of, say, Leadbelly or Charlie Parker.Was there a collection you regret missing out on? attitude towards What that meant was that I ended up with an archive full of images which were important to me, but whichYes, but not because I didn’t bid enough. In the mid-’80s, certain things would never generate any money. Of course, what II got word that there was a massive collection of imagesin a room in the back of the newly re-opened Apollo changed, we were didn’t realise at the time was that someone would be good enough to invent CDs! In the ’80s, all the recordtheatre, in Harlem. I called the guy who was running theplace and, although he wasn’t keen on me turning up on asked to Photoshop companies started re-releasing entire back catalogues, and suddenly they were desperate for images that hadhis doorstep, we eventually made an appointment. So, I out things like been sitting in the archive, unsold, for years. From ago along to the theatre for a 10 o’clock appointment,bearing in mind that racial tensions were still very high cigarettes or other small percentage of the archive being used regularly, it suddenly went to 100% of the archive being useful.in all the major cities, and I’m just about the only whiteface for miles. The guy didn’t show at 10, and still hadn’t increasingly Of course, the downside of that meant that other collections suddenly became prohibitively expensive.arrived at 11 o’clock, but I bumped into someone there undesirable You sold the archive to Getty in 2007. You were 63who was an original member of the Famous Flames, whoplayed with James Brown. I told him why I was there, elements – with years old, at the time. But was there a reason otherand managed to persuade him to let me see thephotographs, as long as I was out before the main guy Photoshop, even the than age, which prompted your retirement? What really made my mind up was that I hadn’t actuallyarrived, and that I didn’t take any originals, only doubles. past is changing!” been able to buy a decent collection in five years, for I worked frantically, getting armfuls of doubles and a one reason or another. I was getting requests for imageswhole load of originals. I promised to send the originals Michael Ochs from the early ’90s, and looking through collections ofback as soon as I’d copied them and, incredibly, he Britney Spears and so on, and I just thought, “I’m notagreed. I managed to get them into my bag just as the interested in this shit”. The fun, for me, was takingowner arrived and threw me into the street. Once I’d copied the originals, I months to sift through thousands of negatives and that aspect had gone.did as I had promised and sent them back. I learned later that those originals, I was really at the point where I didn’t want to, nor could I, play that gamealong with the rest of that magnificent collection, simply got thrown into the properly anymore. Nostalgia, as they say, isn’t what it used to be.trash. At least I got to preserve some of it. Had you been a younger man, say in your 40s, would you haveAs time went on, and artists became more image-rights aware, did you persevered?see a change in attitude from them, regarding images you held? Very possibly. I probably would have still had the enthusiasm and slightWell, yes and no. Personally, I wasn’t that affected by the new awareness naivety of youth to at least try to continue. But, y’know, even then I hadn’tamongst artists, and it was the photographers who bore the brunt of it. thought about actually retiring until someone asked me how much I thoughtThere was a photographer called Michael Montfort, who used to shoot for all the archive was worth. I didn’t have a clue, as money had never been thethe big German magazines. He had terrific access to everybody and anybody driving force behind what I did. It was suggested to me that we run it up theand then, almost overnight, he had no access at all. Eventually, he lost flagpole to see what response we got, so I saw my lawyer and we did justinterest in the business and sold his collection to me. That’s how quickly that. I’d really assumed that I’d be doing it for the rest of my life.things changed for those guys. A bigger change for me, actually, was the increased demand for editing How did Getty come to be the successful purchasers? Did you intend forwork on the images. As the world’s attitude towards certain things changed, a bidding war to dictate the sale price?we were asked to Photoshop out things like cigarettes or other increasingly It was a combination of price and finding the right home. We approached aundesirable elements – with Photoshop, even the past is changing! few people, but it was my desire that the archive should go to either Getty or Corbis, and I hoped for a bit of a bidding war between those two. The reasonHow do you feel if you see websites using images from the archive they were my preferred choices was simply because they offered the bestwhich you just know won’t have been licensed? chance of keeping the entire collection together, which was important to me.Well, the world has just changed so much. A lot of the older images, which The archive was my baby, and I didn’t want to see it broken up.pre-dated the 1978 law change, were already in the public domain, so the Another reason why Getty were a good choice was that they also hired mything that had benefited me in the early days now came back to hurt me. entire staff after the purchase, which was great. Here were people who knewAdd to that Getty dropping their licence rates and it all made life very that archive better than anybody else and Getty did exactly the right thing bydifficult. I got to the point where Getty were offering images for website use them. That was great for me, to see that.for just $49. Our price point wasn’t exorbitant, but nor was it $49, and thatreally hurt my business. When you sold the archive to Getty, did you keep any back for yourself? Apart from a few art prints, all I kept were the images of Phil that were inDo you think we’ll ever again see a library of the magnitude of the the collection. I allowed Getty to take all the digitised copies of the images,Michael Ochs Archive being assembled by an individual? for leasing, but I kept the originals. PPI don’t think so, I think I was just in the right place at the right time. In thelate ’60s, archival images were considered worthless, so I was able to pick To view the Michael Ochs Archive visitup whole collections for a song, because nobody else wanted them. It wasn’t www.professionalphotographer.co.uk/ochs www.professionalphotographer.co.uk 73
  • 67. Artist Damien Hirst.
  • 68. { WORKING PRO} What lies beneath Compassion and a genuine interest in his subjects have helped Pål Hansen to carve out a successful career in portraiture. Julia Molony meets the Norwegian photographer who sees beyond the glamour of the celebrities he shoots. “I like to pick subjects for personal stories to offer. It’s easier to get in the door. And it’s that don’t have a voice or that I can be the easier to be used again because you are basically voice for,” says the Norwegian-born giving them (editors) something and then they photographer Pål Hansen. It was in this way want to try to see if you can do a similar thing that, as a young assistant looking to navigate again, with a commission after that.” his way to a career as a freelance And for Pål, the commissions do indeed photographer, Pål went after his first break. keep on coming. He managed to parlay that first, It was 2001, towards the end of the UK’s self-initiated story into an incremental, but foot-and-mouth crisis (a time when almost steady career trajectory, and has since made everyone thought that the issue, as a subject for portraiture something of a specialism. features and photo-essays, had been well and truly Photographing the rock, sports and movie stars exhausted) when Pål rolled up at some of the who litter his portfolio might not seem most badly affected farms with camera in hand. an obvious development for a man who admits With a bit of lateral thinking, Pål managed to to being preoccupied by social issues in his uncover an as-yet-unseen angle behind all the personal work. But after deeper inquiry, the endless images of carcasses to which the public link is clear. had become inured. His report on the human side “I would definitely say the interest in people of the crisis, and the losses suffered by farmers, maybe almost came first for me,” he says. earned him his first major commission, from “Often when I pick subjects they are socially the Telegraph, and a place on the short list of the based and they are based on social issues, and it’s Observer Hodge Award. often about people who maybe don’t have a His journalistic nose had won him his first voice at the time. Teenage parents,” he says, break and taught him the immediate selling power citing a picture essay from 2005 short-listed of a newsy, noisy concept. It set him apart from for the National Portrait Gallery Portrait Prize, his peers in photography, because he was able “they’re getting slaughtered in the newspapers, to offer more than his skills as a photographer. but hold on, they’re teenagers; they don’tPÅL HANSEN The strength of his ideas became his currency. have a voice themselves. It’s easy to pick on “By having a story, I think you have a lot more people who can’t stand up for themselves, www.professionalphotographer.co.uk 75
  • 69. { WORKING PRO}“I think if you impose toomuch that isn’t naturalto them, then you’re notreally photographingthe subject. It becomesmore about you.”Pål HansenSinger Bryan Ferry.76 www.professionalphotographer.co.uk
  • 70. especially teenage parents, they’re new parents, “What I find important now is to have a very they’re vulnerable.” good assistant who knows exactly how you Perhaps it’s his compassion as a photographer work and you really just have to turn your head that has made him such an expert at portraits. a little and everything is there – to keep Certainly, there’s an ease to his manner which everything running smoothly in the backdrop.” must smooth the way with people he photographs Pål grew up in Norway, but his mother comes – a gentleness, or not being judgmental. He is tall, from Yorkshire, so he has always had a strong with a strong, Nordic face and fair, waist-length affinity with the UK. It was during his short dreadlocks. This warrior look might seem career in the army (“something I fell into”) that imposing if it wasn’t offset by his open face and he first picked up a camera. In the last of his the soft Scandinavian lilt to his voice. He’s utterly three years doing national service he “stumbled unthreatening, which may go some way towards upon photography” almost by accident. accounting for his talent for getting his subjects “I found a camera and started taking pictures to open up, to reveal something new or previously here and there of army life and I thought, unseen about themselves to him. ‘Ah, this is great. I’m going to have to do “I like to involve my subjects as much as something about this.’ In Norway there was only possible in the ideas and the thinking behind them,” one course where you could do photography – he says of the way he works on an editorial shoot. nothing like a proper university degree.” “I meet someone before the shoot, run through He can’t identify exactly where the impulse the ideas and see if they’ve got any. Often the came from to take pictures, or to pursue the best shoots are when you get a lot of input from taking of them as a career. “Maybe it was a vague the subjects, when they think of something connection to a boyfriend of my mum’s who was on the spot or they do things that are natural to into photography and I thought, ‘Ah, wow, that’s themselves. I think if you impose too much actually a job. I could do something with that,’ ” that isn’t natural to them, then you’re not he says lightly. Whatever the reason, he was soon really photographing the subject. It becomes on a plane to the UK and to a degree at more about you.” Nottingham Trent University. Initially, he had his Beyond that, he says, the key is preparation sights set on fashion, with its obvious draw of and the contribution of a practised, efficient glamour and, well, models, but by the time of his assistant. “At the time of shooting, it’s good to graduation, he had discovered where his real have the technical part running as machinery interests lay, putting the diversion down to being in the background, while the communication is in his 20s. “You realise there’s more to life than what you are focusing on: how you talk, how that. It was never really me, looking back at it. It’s you make them relax, how you see if you can not in me to be in that world. They often talk get emotions out of them just by being yourself about how the world is very different for fashion. and talking to them normally. I definitely ended up in the right place.” Singer and songwriter David Gray.PÅL HANSEN
  • 71. Sculptor Antony Gormley. Pål has recently signed up to an agency with that’s the whole idea. You never know what youra view to taking on more commercial work. neighbour is up to; these houses with very greenWhen we meet, he is about to become a father for lawns, American dream homes.” The title of eachthe first time and is clearly preoccupied more picture is the name of the inhabitant’s offence.than ever with the importance of having financial “The idea is that a house offers protection fromsecurity. But in his personal work he remains the outside and this becomes their waypreoccupied with photography’s potential to of protecting themselves from the outside.”interrogate moral issues and to provide a bridge to It’s an incendiary topic, and although plenty ofthe fringes of human experience. One such magazines have expressed interest in his story,project he took part in recently brought him into it doesn’t come as a surprise to learn that hethe world of Tim Andrews, an ex-solicitor who, hasn’t yet been able to get it placed, mostlywhen diagnosed with Parkinson’s disease in 2005, because of legal constraints. But you get thegave up his job and decided to turn his life into an sense that for Pål that’s not the point. It is theart project. Pål is one of the 128 (and counting) neatness of the concept that has becomephotographers invited to document Andrews’s life something of a trademark of his – an unflinchingand the progression of his disease through a series approach that seeks to lift the lid on otherwiseof photographs. The project was recently the hidden lives. Through these thoughtful studiessubject of a feature in the Guardian Magazine, that reveal something of the experience of thoseand an exhibition at the Lightbox Gallery in who are outcast, ignored, unrepresented andWoking, Surrey. even reviled, Pål seeks to expose, it seems, For his latest self-initiated venture, Pål has something about us all collectively. About whotackled one of the most controversial and what, as a society, we really are. PPcontemporary issues head on. Making use ofMegan’s Law, instituted in the USA to allow the www.palhansen.compublic access to the names and addresses ofconvicted sex offenders, Pål went around LosAngeles and took portrait images of the houseswhere those people identified by the law lived. FOR MORE GREAT INTERVIEWS WITH PÅL HANSEN“They are these very suburban American houses,” PROFESSIONAL PHOTOGRAPHERS VISIThe says. “It could be anyone’s neighbour – and WWW.PROFESSIONALPHOTOGRAPHER.CO.UK Sir Bob Geldof.78 www.professionalphotographer.co.uk
  • 72. { WORKING PRO} “I found a camera and started taking pictures here and there of army life and I thought, ‘Ah, this is great. I’m going tohave to do something about this.’ ” Pål Hansen
  • 73. AUGUST SANDERis important and this is why... Self-portrait, 1928. © DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV, COLOGNE; DACS, LONDON, 2011. He was an undoubted influence on Arbus, Penn and Avedon, the ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. LENT BY ANTHONY DOFFAY 2010 inspiration for many Düsseldorf School portraitists today and a scourge of the Nazis. Here, Robin Gillanders takes a backward look at the iconic German photographer whose influence is still strong nearly a century after he created his most important works. Self-Portrait, 1925.80 www.professionalphotographer.co.uk
  • 74. {ICON}Bricklayer, 1928.
  • 75. {ICON}“I hate nothing more than sugary photographs with tricks, poses and effects.” August SanderA few weeks ago I attended the specialising in portraiture. So far then, nothing The Artists, The City, and The Last People opening of an exhibition of unusual and perhaps even today, many reading (which was to represent those on the fringes of photographs by the German this will identify with Sander’s rather society: the blind, disadvantaged, homeless and photographer August Sander at unremarkable early career progression. destitute). Sander photographed professionals,the Scottish National Gallery of Modern Art He was, however, an extraordinary man. middle-class families, farmers, students, warin Edinburgh. Besides the usual artists, Although having relatively little formal education, veterans, circus artists, beggars... and Nazis.academics, gallerists and glitterati who Sander immersed himself in literature and This astonishing project was entitled People ofattend these events, I met two friends, art, and quickly made friends and contacts within the Twentieth Century and would result inboth highly respected professional the cultural scene of Cologne, occasionally more than 600 photographs. It was neverphotographers, there to pay enthusiastic exhibiting his work in international salons (small completely finished, nor were all the pictureshomage to this remarkable man whose group exhibitions) and winning numerous prizes. published in his lifetime.most important work began a century ago; But it was while engaged in the day-to-day In each photograph Sander had his subjectsbut who is August Sander, why should activities of his studio that, in around 1911, he simply look into the lens of his plate camera.we be interested in him and what relevance began to plan a major project that was to become He allowed his subjects to ‘speak’ for themselves,does he have to us today? his life’s work. with quiet dignity. He didn’t impose an opinion, and in this respect, his work may be termed ‘objective’; everybody, whether aristocrat or Soldier, c 1940. beggar, was accorded the same respect. He neither elevated his subjects, as Yousuf Karsh did in the 1950s, nor did he denigrate them as Martin Parr sometimes appeared to do in the 1980s and 1990s. When his photographs were first displayed at the Cologne Art Union in 1927, he said this: “Nothing seemed more appropriate to me than to render through photography a picture of our times which is absolutely true to nature... In order to see truth we must be able to tolerate it... whether it is in our favour or not... So allow me to be honest and tell the truth about our age and its people.” © DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV, COLOGNE; DACS, LONDON, 2011. Sander’s work had no sponsors; he had to endure the privations of recession during the 1920s and extreme hostility from the Nazis. They destroyed the printing plates of his book Face of Our Time, published in 1929, and which ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. LENT BY ANTHONY DOFFAY 2010 comprised 60 photographs from what was to be the final project, because they felt hisPolitical Prisoner, 1943. ‘objective’ approach did not represent the German people as the master race that the Nazis were trying to promote. Sander’s origins were humble. He was born in Many professional photographers like to set Today, much is made of Sander’s ‘objective’1876 and his father was a carpenter working in themselves personal projects. For some, approach. His magnum opus was a typologythe mining industry. There was no private wealth photography is in the blood – it’s a lifestyle and according to the original meaning of the word – inin the Sander family. Leaving school at 14, not just a career – and to produce work only to the that it is a process of cataloguing ‘types’.August worked at a local mining waste tip, where requirements of clients, editors or art directors Sometimes we are told the name of his subjecthe became enthralled by a photographer working has the potential to be enervating. However, no and other times merely their societal position:at the mine. Sander’s future direction and career photographer had conceived a project of the secretary, coal heaver etc, so they arewere established and he spent his two years of scale and scope of Sander’s. His plan was to depersonalised. However, it could not be termedmilitary service, from 1897 to 1899, working as document, catalogue and photograph the entire a ‘photographic typology’ in the sense thata photographer’s assistant and doing various other German population by type and trade. This he we have come to understand the term from thephotographic jobs. He was then employed to would do by dividing his immense project into more recent Düsseldorf School. This beganrun a general commercial studio in Austria and seven distinct sections: The Farmer, The Skilled with Bernd and Hilla Becher cataloguingthen, in 1909, a studio in Cologne, Germany, Tradesman, The Woman, Classes and Professions, gasometers, winding engines and so on, and82 www.professionalphotographer.co.uk
  • 76. Pastrycook, 1928.
  • 77. Farm Children,c 1913.
  • 78. {ICON} “By means of seeing, observing and thinking... we can capture world history... by means of the expressive potential of photography.” August Sander was extended to portraiture by artists including a complex to a consummate composition... huge impact of digital, where it is possible to Thomas Ruff and Rineke Dijkstra, whose By means of seeing, observing and thinking... take hundreds of images of one subject with postmodern, deadpan, anaesthetic head studies we can capture world history... by means of the the possibility that without serious prior have had a remarkably enduring influence on expressive potential of photography.” What would ‘contemplation’ none of them will be any artist photographers today. Sander think now, 47 years after his death, of the good? Surely it is better to take one image In many cases, Sander’s subjects are placed serially against similar plain backgrounds and these images seem coldly dispassionate; however, a considerable proportion of his work demonstrates a subtlety and sophistication of picture-making, and a finely tuned humanist sensitivity. In public conversation with Keith Hartley, chief curator at the Scottish National Gallery of Modern Art, Sander’s grandson Gerd commented: “It’s not about photography, it’s about the idea... and Sander’s work is not about making beautiful photographs, it’s about documenting an idea. And stylistically if anyone influenced him it was Rembrandt for the lighting.” In other words, and as Keith Hartley pointed out, the implication is that Sander’s was one of the first conceptual photographic works. And yet the visual evidence of the work itself does not suggest this. Aren’t all projects initially the result of an idea – a concept? Having said that, Sander rejected pictorialist ‘fuzzygraphs’ and championed ‘straight’ photography, much as Paul Strand did© DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV, COLOGNE; DACS, LONDON, 2011. in the USA in the 1920s. As Sander said himself: “I hate nothing more than sugary photographs with tricks, poses and effects.” Sander worked with 5x4 and 5x7 cameras and most of his images were made on locationARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. LENT BY ANTHONY DOFFAY 2010 rather than in the studio. Generally he made only one or two exposures of each subject – perhaps understandable given the weight of the glass plates that he used. So why is it that despite huge advances in technology over the past century, the standard of picture making has not necessarily improved? It is so much easier to produce technically proficient images – anybody can do it now to a certain standard – and yet we still look in awe at the intensity, intelligence, vision and beauty of some of these early photographers. It’s logistically much easier to take pictures, but... Here’s Sander again in a radio lecture in 1931: “One can snap a shot or take a photograph; to ‘snap a shot’ means reckoning with chance, and to ‘take a photograph’ Raoul Hausmann means working with contemplation – that is to as Dancer, 1929. comprehend something, or to bring an idea from www.professionalphotographer.co.uk 85
  • 79. Girl in a FairgroundCaravan, 1926-1932.
  • 80. {ICON} “It’s not about photography, it’s about the idea... and Sander’s work is not about making beautiful photographs, it’s about documenting an idea.” Gerd Sander as a result of “seeing, observing and thinking” than a hundred without. Sander had an immense influence on most of the major portrait photographers of the last century, especially photographers such as Irving Penn, Richard Avedon and Diane Arbus. Each of them worked commercially while following Sander’s example and engaged in ‘personal projects’ – for example, Penn’s Small Trades, Avedon’s In the American West and Arbus’s portraits of people on the margins of society. None of these projects, however, had the scale and ambition of Sander’s. Avedon for example, must have been aware of – and been influenced by – Sander’s portrait of Bricklayer, especially since it was one of several of his pictures selected by Edward Steichen for the New York City Museum of Modern Art’s seminal, blockbuster show The Family of Man in 1955. A portrait of dignity and strength, not least because one can only imagine the weight of those bricks as the bricklayer waited, apparently effortlessly with hand casually on hip (so essential for the composition), while Sander composed, focused and exposed.© DIE PHOTOGRAPHISCHE SAMMLUNG/SK STIFTUNG KULTUR – AUGUST SANDER ARCHIV, COLOGNE; DACS, LONDON, 2011. And what about the portrait of Girl in a Fairground Caravan? If it wasn’t for the precision of the crop and composition, it could be an Arbus. Most of Sander’s subjects appear to have an air of melancholy – and tension –ARTIST ROOMS NATIONAL GALLERIES OF SCOTLAND AND TATE. LENT BY ANTHONY DOFFAY 2010 as if they are presaging or reflecting on the tragedy of the German people in that period. The conscious positioning of the girl’s hand on the key in the lock looks at first glance as if she is bleeding on to the door... If Avedon and Arbus, among many, were influenced by Sander, in turn each of these influenced countless later generations of photographers. Some, like my two friends at the Sander exhibition opening, drew their inspiration directly from the instigator of it all. PP Painter’s Wife [Helene Abelen], c1926. August Sander: People of the To read our feature on the Düsseldorf School from the October issue go to the magazine Twentieth Century is at the Scottish National section on www.professionalphotographer.co.uk Gallery of Modern Art, Edinburgh, until 10 July 2011; admission free. www.nationalgalleries.org FOR THE LATEST PHOTOGRAPHY EXHIBITIONS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 87
  • 81. Liz and Max, the duo behind photography company Haarala Hamilton, have two very different lives as photographers. One exists on the commercial What happens when a leisurely side, involving client commissions from engineers to government quangos. Then there are the personal projects they undertake, all a far cry, both cycle ride through London turns into a creatively and aesthetically, from the bread-and-butter work they refer to, that “pays for life”. A couple both personally and professionally, Liz and personal project that becomes an Max do what few achieve: to work and live together as a happily married couple. Max laughs: “Of course there are disagreements along the way, as international commercial campaign? with all things, but if you have someone else there you have another set of Cass Chapman talks to photographer eyes. One person sees something and the other sees something else, so it works really well for us to work together.” Liz adds that working by yourself team Max and Liz Haarala Hamilton to find out. can be a lonely existence but in their experience it is a lot of fun. Their professional collaboration began before they became a couple and eventually married. Having met on their first day at Camberwell College of Arts in London, they started working together five years ago. Before that, SUPERMARKET SWEEP This image: Arthur Potts Dawson, co-founder of The People’s Supermarket. Opposite page: Some of the facilities and produce on offer at the store and (below, far right) Kate, one of the members. they worked independently but travelled together, their unity as photographers metamorphosing along the way. “We weren’t a couple at college or afterwards for quite a while,” Max tells me. “We graduated in 2000 so we’re going back a way, but we always worked together when we were printing and we also did a few projects together so knew we could work as a team. It just happened organically because we were both interested in the same things. We always went to the same places and got excited about the same things we saw.” Since then they have successfully established their own company, Haarala Hamilton Photography, which has a varied client list, but their really attention-grabbing work stems from personal projects, one of which has been garnering a lot of attention lately. The People’s Supermarket, an eco-ethical co-op in Lamb’s Conduit Street in central London, is the latest focus of Liz and Max. Promoting itself as a grocery store “for the people, by the people”, it sparked their interest just before opening last year, began as a personal project and quickly developed into something far more commercial. Started by Arthur Potts Dawson, one of the players behind theHAARALA HAMILTON PHOTOGRAPHY capital’s eco-friendly restaurant Acorn House, The People’s Supermarket is a not-for-profit organisation; members pay an annual £25 membership fee and sign up to work a four-hour shift in the supermarket every four weeks, becoming part-owners in the process.This gives them a say in key decisions involving the business and also a 10% discount on their shopping. The idea is that shoppers have a choice beyond the large supermarket conglomerates, that the produce is all sourced from sustainable outlets and that volunteers 88 www.professionalphotographer.co.uk
  • 82. { WORKING PRO}“...we’dnever heardof anythinglike it in theUK, so itseemed likea uniquething atthe time.”Max Hamilton
  • 83. { WORKING PRO} have a say in how and where their itself as the exhibition space.” The buzz around The People’s Supermarket“It was both the food is sourced, while giving will only increase with the television exposure and a book isn’t out of theethical cause something back to the local community by working on the question if the business increases in popularity and scope.“It would be lovely to do something with them when the time comes to do an exhibit,” offers Liz.and the premises for a few hours a month. This system of ethical shopping and Aside from this unique, worthwhile, and now successful commercial project, Liz and Max have other plans under way. They are starting acommercial supplying was such an inspiration that Channel 4 quickly came on board photographic series on female footballers, Max mentions a project about Skype and they have been working in Finland on a project “about a traditionalpossibility that and started filming events within the premises for a television series that Finnish knife-maker which is going to be published into a book. The series looks at dying traditions. The puukko is a traditional Finnish knife originallydrew us in...” first aired in February. Liz and Max crafted for hunters and everyday use. Once widely seen, these knives are were impressed from the outset and now used mainly for show and the practice of making them is dying out.Max Hamilton contacted Potts Dawson about This is a project on Matti Hesitance (Masa), a traditional Finnish knife-maker, shooting portraits of the volunteers at a ‘puukko mestari’ [champion].” Interwoven with visits to Finland are the work. Cycling around London, as they commercial projects that enable such private ventures to occur in the firstoften do together, the couple noticed the new development and peeked inside place. I imagine it must be hard to change hats in this way, but, chatting withas the interior was being completed. “We saw Arthur [Potts Dawson],” Liz and Max, it clearly comes easily. “We do a lot of corporate work forexplains Liz, “and he explained the concept of the shop to us. We thought it engineers, architects and others – obviously you need corporate work to paywas a really interesting idea and that maybe we could start working on a for life, but then we do other projects as well, so we’ll work on a personallittle project or something. We had a few magazines and editors in mind, project always with the aim of having it published and used for somethingthinking it might be something that would fit in with what they publish, so we else. It’s those personal projects that, we find, take us on to something else,”thought, ‘Why don’t we start a project?’ The following week we went back says Max. “We don’t show our commercial work as much because it’s not asand just did loads of photos. It built up from there, though we originally interesting to us as the personal work which definitely tends to generateimagined it would be only a few days of shooting.” That said, since starting further stuff.”in June last year, they have been photographing regularly on the premises. Neither had any formal training in photography. After graduating from“Now the organisers at the supermarket know us and, indirectly, we Camberwell, Max worked in a studio, “doing retouching and a bit ofseem to have become their official photographers.” assisting,” but admits to being “pretty much all self-taught. We both The philosophy behind The People’s Supermarket impressed Liz and Max graduated and just started working straight away.” Liz did an MA atwho instantly recognised a fantastic concept. “I think someone mentioned Goldsmiths, University of London, a few years ago, studying photography andone in New York,” explains Max, “but we’d never heard of anything like it in agriculture, “but that wasn’t technical photography as such,” she explains.the UK, so it seemed like a unique thing at the time.” Not to mention “It was more a sort of ‘theory behind the photography’ course.worthwhile. Of course, they instantly recognised the commercial viability in I shot a lot and learnt from other people and learnt by accident.” What theyshooting the project, believing it was something that could grow, but the share, aside from an obvious love of photography and a talent in thatcause itself was what drew them in and, from there, everything flourished. medium, is a confidence with their equipment and courage when it comesAs a result, The Observer Food Monthly ran some of their shots alongside an to exploring new personal projects. Liz says they shoot with digital forarticle about the supermarket, as did The Guardian, and no doubt the commercial projects because they have to, but a lot of their personal workChannel 4 television series will encourage others to follow suit. “The way we is, interestingly, still shot using film. As Matt explains: “We either usework, we have to be interested in what we’re photographing, so if there is no medium format or large format. We just prefer it as a medium. It’s a differentpersonal interest, then why do it? It was both the ethical cause and the way of working because when we use a large format camera it’s obviously acommercial possibility that drew us in – it is really interesting to us and it’s much slower process and you have to think about composition andsuch a great concept.” As Liz notes, the personal relationships that have everything and for two people to work with large format cameras is actuallyblossomed as a result have added a new layer to their involvement: “We meet easier than one of us having a digital camera.” Their equipment of choice isso many people there to shoot portraits. They’ve all got stories to tell and it’s “an old Linhof Color Monorail 5x4 and then for The People’s Supermarketbeen really enjoyable. There is such a mixture of people: actors, barristers, project we used a Mamiya RB67.” Liz likes the Mamiya 7II when they travelpeople from the local estates.” Max adds: “We also got interested in the but the couple always take the Linhof as well when they are away. Max andpeople who supplied the supermarket, so once we’d done the original shoot Liz agree virtually all the time about equipment and subject matter. Such awe started talking with the people who worked there about their suppliers unified approach to work makes this happy collaboration possible and results HAARALA HAMILTON PHOTOGRAPHYand they opened up a whole new area of interest for us. We saw it as an in innovative creative photography. The People’s Supermarket project mayopportunity to go to some of the farms to shoot and do something different.” have attracted great interest in this couple, but it is clear that there is far The resulting images are wonderful, stark, honest portraits of a variety of more to come. PPcharacters and faces; simple and honest but vivid as a collection. Liz admitsthey would “ideally like to get them in some sort of book for The People’sSupermarket, though it would be nice to hang the portraits as an exhibition www.haaralahamilton.comas well; there was talk of some sort of exhibit at the shop, using the shop www.thepeoplessupermarket.org90 www.professionalphotographer.co.uk
  • 84. Tom – a member ofThe People’s Supermarket.
  • 85. Don’t expose yourself. Get covered!Aaduki Multimedia is one of the leading insurance providers for photographers, video makers and journalists in the U.K.01837 658880 | www.aaduki.com | info@aaduki.comGot a comment on this ad? Then please email us on advertising@aaduki.com Authorised and regulated by the Financial Services Authority
  • 86. TALKIN’PHOTOGRAPHYBLUES photographed challenging to many and deeply personal to her, and the manner of her death was almost an inevitable conclusion to a life devoted to creating images of such personal introspection. A sad end was almost preordained. It is easy to romanticise such a life but the stark reality is that Arbus was a tortured soul who chose photography as a form of emotional communication. She didn’t choose to take photographs – she needed to take photographs. But she also suffered from depression, as had her mother, and hepatitis, which worsened the symptoms of her depression. The same could be said of the tragically short life and career of FrancescaOver the past year we have tried to Woodman, a photographer whose work received critical acclaim after her death. She ended her life aged just 22 (Arbus was 48), distraught that herraise awareness of the pressures and delicate, highly personal and ethereal images were not being given the commercial recognition she wanted and expected. But personal turmoil alsostresses that professional haunted her work and life, and she had been receiving therapy for depression. In retrospect her images are often explained and discussed inphotographers face, through a series these terms and as visual representations of her delicate mental state. When an important relationship ended and combined with the way in whichof articles in the magazine and online. she felt ignored by the photographic world, she stepped out of the window of her New York loft apartment. With her sad demise came the photographicHowever, with the recent sad death recognition she had so needed. Both Arbus and Woodman were photographers on a personal photographicof photojournalist Penny Tweedie and journey largely unconcerned with bending to commercial requirements when creating their images. Donovan, Carlos Clarke and Tweedie were allthe arrival of a reader’s email, travelling very different roads. Terry Donovan’s story is well known. Many of his images have gone on toPP Editor Grant Scott decided to become iconic statements of their time. Huge financial success through the 1960s and 1970s saw him living an enviable lifestyle, getting involved withre-visit the issues previously raised film making and counting both Margaret Thatcher and Princess Diana as friends. He was a photographer who had achieved celebrity status.and attempt to put them into But creatively he had become confused and found himself out of step with the times by the beginning of the 1990s with his celebrated work ofa photographic, historical context. the previous three decades largely forgotten (I wrote about my personal experience of this in Being There in the February issue of PP). That confusion led to him not being able to understand why he was noDiane Arbus, Terence Donovan, Francesca Woodman, Bob Carlos longer getting as many commissions as he had done in the past and why heClarke and now Penny Tweedie. What do they all have in common? was no longer able to achieve the level of fees which had previouslyWell, apart from all being photographers who made their personal marks funded the lifestyle he so enjoyed. Like a pop star who gets to Number Onethrough the images they created, they all decided to end their own lives. but soon finds himself replaced by the next best thing, it is hard to goThese are photographers whose names most of us know, who varied in age, from Number One to Two, Three, Four or worse. Despite a late revival ofwork and approach. They also span decades in the history of photography. fortune, thanks to an excellent agent who managed to make Donovan’s For many years Diane Arbus was seen as the archetype of a tortured work seem more relevant to a younger market, the photographer endedartist/photographer. Her life was complex, the subject matter that she his life aged 60. www.professionalphotographer.co.uk 93
  • 87. { YOUR COMMUNITY } The following blog entry was sent to us by a reader as a direct response to an article I wrote in the August 2010 issue of PP on the loneliness of being a professional photographer. It is an honest and touching account, which I hope you will find moving, honest and, most importantly, appropriate for a magazine with the title Professional Photographer to feature. We publish it in the spirit of sharing experiences and to show that we are willing to speak about the realities of the profession that we are passionate about. It’s good to talk. A similar tale could be told about the life and career of Bob Carlos Loneliness (Depression) and PhotographyClarke. Like Donovan he had achieved celebrity status through his by Andy Craddockphotography. His work changed hands for high prices and was widely I read an article written by Grant Scott in the August 2010 edition ofexhibited. He also lived a celebrity lifestyle hanging out on the Fulham Professional Photographer magazine. It was about the loneliness ofRoad with many of the celebrities he photographed and counted as being a freelance professional photographer.friends. But there was a dark side to Carlos Clarke’s life and As photographers, we do sit in front of our computers staring at thephotography. His approach to photography was singular and driven with screen wondering who to contact next looking for work and how.a sexual edge similar to that of Robert Mapplethorpe’s, except Carlos We do wonder why nobody replies to our emails, returns our telephoneClarke was obsessed with the female form and not the male. He also calls or rings us with the perfect job. We do look at other photographers’suffered from clinical depression for many years. sites, compare our work to theirs and wonder “why are they busy Like Donovan his work suffered from the vagaries of fashion and by and I am not, what do they have that I have not?”2006 his powerful women and sexual aesthetic defined the 1980s, not Without the social elements of an office or studio full of people it is hardthe ‘new woman’ advertising that editorial clients were looking for. to get up every day and motivate yourself to create new reasons forDespite the strong market for his work within galleries, Carlos Clarke people to come and see you, it is hard to find new clients and it is hard tofound himself checked into that last refuge for many celebrities, remain creative and continue the daily slog of self-promotion.The Priory, but sadly didn’t stay for long. After checking himself out It requires a huge amount of determination, self-belief and stamina tohe threw himself under a train – a terrible end for someone whose keep going. A photographer works in a profession that requires hugephotographic life had been so obsessed with perfection. He was 55. self-belief in one’s work and oneself. We have nothing to sell other than I first met Penny Tweedie in the late 1980s. She was complaining even our personality and creativity. When either or both are rejectedthen about the difficulty of making a living as a photographer but she our self-belief takes a battering and the more it happens the more ourwas a fighter and was not going to accept the reduction in fees as she self-belief declines dramatically. Few of us have anybody close to us thatsaw it. Of course, looking back, those fees look like the golden days but understands the pressures of being a professional photographer.the benefit of hindsight is a rare gift. Tweedie had paid her dues as a We try, we desperately want, to give out a successful, positive personaphotojournalist through the 1960s and 1970s shooting in Bangladesh, to persuade our prospective clients they are buying into a success story.East Timor, Vietnam and Uganda. She covered the plight of the Thus we lie.Aboriginal people in Australia, the war in Lebanon and the devastation When we are asked how we are doing, how the recession is affecting uscaused by the tsunami in the East Indian Ocean. Tweedie was a serious and how we are enjoying things at the moment, we lie. We try to jugglephotographer who took seriously her responsibilities to record man’s the truth; we create two versions of ourselves, the real one and the publicinhumanity to man. She was also a single mother and often took her son face that meets with the client and exudes success wherever andwith her on assignments. Finally, everything became too much for her. whenever one advertises.After what she had seen and the lack of commercial recognition for her It is a hard act to maintain when you read the photographic press andwork, she chose to end her life aged 70. see the success others are having. It is a hard act to maintain when Five very different stories about five very different photographers you see the success your peers are purportedly having. It is a hard act towho all chose to end their own lives. The same end but for many maintain when in moments of ego and extreme self-belief youdifferent reasons and that is my reason for looking behind the headlines. compare yourself to the truly successful in the world of photography andThe response we have had to the articles we have run over the last year know, “I could have done that.”on the pressures professional photographers face has been both There is a subtle difference to the paragraph above and the old jokeencouraging and enlightening. The main theme to all of the responses about photographers: How many photographers does it takewe have received has been one of thanks. Thanks for speaking out to change a light bulb? Fifty, one to change the bulb and 49 to say,about the subject and thanks for giving photographers the opportunity to “I could have done that!”speak about their experiences. That’s why I wanted to talk about these Sometimes, if budget and equipment were not an issue some of usfive photographers; to show that we all have shared experiences really could “have done that.”(however successful we are) and to help photographers not to feel so Sometimes, the editors and creative directors that we as photographersalone or frightened to speak out. are applying to for work forget that the Crewdsons, the LaChapelles I hope that any photographer reading this article will understand and the Leibovitzes of the industry are teams of other creatives, includingwhy we have published it and applaud Andy Craddock for getting in assistants, lighting assistants, make-up artists, stylists, post-productiontouch with us to share his story and feelings in the blog entry that teams and marketing assistants. They are not freelancers working alone.follows. Sometimes it is hard to step out from the crowd and make In fact, Annie Leibovitz tells a story in her book, At Work, where Dorothya stand. It may be hard but we think it’s the right thing to do. Wilding was employed to photograph the Queen and wasn’t even in the94 www.professionalphotographer.co.uk
  • 88. room when the photograph was taken! Apparently Wilding’s assistants, dreams to come true. So far I have failed and am crushed by depressionwho were trained in her style, often went out and took photographs wondering, like Sally Brampton did, if I am not a professionalfor her. Often, she wasn’t in the same country. At one time she employed photographer then who am I?around 37 people in her studio. I know I am not a corporate slave. I am not a member of the service In his Professional Photographer article, coincidentally, Grant Scott industry, neither am I a cook or a mechanic or a lorry driver. I am not amentioned a book called Shoot the Damn Dog. It was written by wedding photographer and neither am I a photographer that sellsSally Brampton, the woman who launched the magazine ELLE and then shoddy ‘portfolio’ photo-shoots to ill-informed want-to-be models forsuffered a clinical depression. She recovered (or so she’d thought) 30 quid a time.and became the editor of Red magazine, a position she was fired from due I want to be a PROFESSIONAL, PUBLISHED, WORKING, ARTISTIC,to ongoing depression. I’ve just finished reading the same book. photographer/artist. But. I sit here at the computer, lonely and depressedOn page 62 Sally describes how she felt after being fired: She felt that wondering who to contact next and how. I have the weight of fear, anxiety,her self, her sense of worth and her calling was that of a successful procrastination and depression crushing me every day and I have no onemagazine editor. By being fired, by losing her job as an editor of a to turn to for help.mainstream magazine she felt that she’d failed at being herself. If she My counsellor is only words in my ear once a week. My closest friendswas no longer fit to be an editor then what was her worth? By failing don’t have the experience to help me and as yet, even though I’d be loathin the role of an editor she herself had failed. What did she have to share my plans with peers, I don’t even have the peers with enoughleft if her self had been taken away and she had no way forward or experience to help me. I am the one they often turn to for advice!way to regain that self? So. I sit here at the computer, lonely and depressed with a plan to turn That struck a chord with me too… If I fail at being a photographer then everything around. A plan that I know will work, wondering who towhat do I have left? I define myself as a photographer. I live to be a contact next and how. Knowing that when I do know the right person tophotographer. If I cannot be a photographer then what do I, myself, have contact, I’ll have to put on my public face full of lies and stories of“Motivation and creativity are all but impossible when you’re this lonely and depressed.” Andy Craddockleft? I cannot answer the question. I have no answers. I do not see myself success when, underneath, my current defeated self is cowering withas anything but a professional and successful photographer. fear, procrastination and depression. For one moment in time, I’m going to refuse to lie. The public face is I have spent hours on my plan. It is a story, in itself, of self-discovery.going to be the real face. The real face is going public. Maintaining a show It is biographical. It is life changing. It is my dream, it is my dreams comeof success where there is none is laborious and wearisome. Trying to true. It is altruistic in parts, it is self-serving in parts. It is a wondermentmaintain momentum and enthusiasm in the midst of a clinical depression and an abhorrence. It is a thank you and a fuck you. It is charity and it isis nigh on impossible. Motivation and creativity are all but impossible greed.when you’re this lonely and depressed. I sit here at the computer, lonely and depressed, with a plan to turn Within the past month I could have and was more than prepared to die, everything around…which I would have were it not for a sentence spoken to me. I can truly I need encouragement when my motivation fails. I need someone tounderstand why photographers and other creatives commit suicide. have belief in me when I fail to have belief in myself. I need someone to I did not know them or could ever purport to know what they were help financially support my plan for the next three months.thinking at the time but I can sympathise with Diane Arbus, Bob Carlos Who the hell do I turn to? PPClarke, Warren Bolster, Terence Donovan, Pierre Molinier, FrancescaWoodman and the many other not-so-famous unnamed photographerswho have committed suicide. We established The United States of Photography as a direct result I will leave the last words on suicide to Kevin Carter, a Pulitzer Prize of the response we received to Grant’s original article inwinner. Part of his suicide note read: “I am depressed… without phone… Professional Photographer (now available on our website). Youmoney for rent… money for child support… money for debts… money!!! can find out more about this free-to-join photographic help groupI am haunted by the vivid memories of killings and corpses and anger and by visiting our website www.professionalphotographer.co.ukpain… of starving or wounded children, of trigger-happy madmen, oftenpolice, of killer executioners… I have gone to join Ken (his recently To share your personal experiences of being a professionaldeceased colleague, Ken Oosterbroek) if I am that lucky.” photographer, please email us at Since I took up photography as a profession I have failed (by the feedback@professionalphotographer.co.ukdefinition of being a ‘professional’) and have therefore failed to be theessence of who I perceive myself to be. If I am not a professional You can read Andy’s blog at http://blog.neolestat.comphotographer then I am just a photographer, a hobbyist. Yet, in times of clarity I know I have the talent. I can be a professional If you recognise some of the points Andy raises and would like tophotographer. I can be a great professional photographer. speak to someone, you can find a counsellor in your area by When I need reminding why I do this I try to read the compliments on contacting the British Association for Counselling & Psychotherapymy website and take them on board; unlike the testament from Mrs Smith (BACP) on 01455 883300 or visiting http://www.bacp.co.ukin Blackpool on how Union Meerkat Insurance provided her with the bestservice ever, the testaments on my website are real and verifiable. Shoot the Damn Dog: A Memoir of Depression, by Sally Brampton, I became a professional photographer because that was my dream job. is published by Bloomsbury at £15.99Being a professional photographer would also pave the way for my other www.professionalphotographer.co.uk 95
  • 89. 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 www.subscriptionsave.co.uk/digital 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.
  • 90. 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 www.professionalphotographer.co.uk/fotonewsnow www.professionalphotographer.co.uk/fotomagsnow 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 www.professionalphotographer.co.uk/world 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 www.subscriptionsave.co.uk/imaging FOLLOW US on Facebook and Twitter (@prophotomag and @photomonthly) VISIT OUR WEBSITES www.professionalphotographer.co.uk and www.photographymonthly.com
  • 91. Working the System
  • 92. review I picked up my first Hasselblad in 1998 andHasselblad’s latest system immediately fell in love. Everything about it get to the price. The CFV-50 may bring all of your Hasselblad kit back into operation but it’s going was right for me. The build quality wasupdates are specifically impeccable, the sense of tradition was to cost you £13,194 to do so. And therein lies the rub. There is no doubt that it’s a great piecedesigned to tempt unbeatable, the lenses were beautiful, and easily available. I was hooked. I bought four of kit but that kind of investment requires some serious thought.pros back to the Swedish bodies, a bag of lenses, countless film backs and I started shooting. The square format worked for The quality of the images the CFV-50 delivered was exceptional but at that price I am afraid that Ibrand but, as PP Editor me, as did holding the camera at waist level. expected it to. What I think is more relevant is to I created my way of seeing with those cameras, consider what you are going to do with theseand longtime Hasselblad won some awards, and built a portfolio of images images. How are they going to be reproduced anduser Grant Scott and clients. I even had my work published in a square book so the images didn’t need to be how? This is when we get down to the nitty-gritty of the CFV-50. If you’re shooting billboards, fordiscovers, going back to cropped. Then everything changed. With the advent of digital capture my head large format printing, ad campaigns, complicated set builds or if you need a large file for extensiveHasselblad is all about was turned by a new mistress and my Hasselblad marriage was over. I had to start from the post-production, then the CFV-50 makes complete sense. If the Hasselblad format fits yourasking yourself questions. beginning again, re-learn to see with a DSLR and, truth be told, even though I love the cameras way of seeing and defines the way in which you create images, and you have been waiting for the I now work with, I’ve always had a very soft spot moment to return to it or move finally into digital for my first love. capture, then it also makes sense. Now as I sit at my desk and look at the pile of I would love to make this my everyday camera Hasselblad kit that has just been delivered for me solution for all of my commercial shoots and to review I can’t help but feel the same as when as I have the bodies and lenses already it would you see an ex after years apart. There is a sense of make sense for me to do so. I could trawl the what could have been. If Hasselblad had given internet and eBay for rare and interesting lenses me a realistic digital option in those early digital to add to my system and go back to being a days would I have remained faithful? Hasselblad photographer. But before doing so I This feeling of regret leads me straight to the would have to seriously consider where that CFV-50, the 50-megapixel digital back that is leaves the digital investment in my DSLR system sitting tidily behind the oh-so-familiar traditional over the past five years. Of course, every pro Hasselblad body of the 503CW. The back has the needs a backup so I’m going to have to buy same quality of build and familiar feel of a two and that’s now become a £26,388 investment. traditional film back; it clicks on to the body in And that’s the problem. the same way as a film back and suddenly I’m a If I were starting from scratch my decision Hasselblad photographer again. It just feels right would be based on image usage and available in the palm of my hand and allows me to start budget as much as anything else, plus, of course, taking pictures in the way I so loved back in the choosing to make a commitment to the analogue days. It’s exactly the solution I wanted Hasselblad brand. In short the CFV-50 is a great six years ago and the right solution for me now. piece of kit which answers many problems for The CFV-50 is designed to match the current and lapsed Hasselblad photographers and appearance and functionality of the Hasselblad V possibly new members of the Swedish System and does it perfectly. With the CFV-50 strapped on I was back and shooting square format 38-megapixel images – or 50-megapixel in full rectangular format. That’s all I wanted to do “The CFV-50 is designed to or know but if you want the headline specs and facts, here they are: it delivers 16-bit colour, ISO match the appearance and from 50 to 800, a longest shutter speed of 64 seconds, writes on to a CF card and stores 60 functionality of the images on average on to a 4GB card. Which is all Hasselblad V System and fine with me. Hasselblad seemed to have got everything right with the CFV-50, but then we does it perfectly.” Grant Scott www.professionalphotographer.co.uk 99
  • 93. Hasselblad H4D-60 TECH SPEC Hasselblad CFV-50 TECH SPECI Sensor size: Dalsa 60.1 megapixels I Sensor size: 50 megapixels (8,956 x 6,708 pixels) (6,132 x 8,176 pixels)I Sensor dimensions: 40.2mm x 53.7mm I Sensor dimensions: 36.7mm x 49.0mmI Image size: RAW 3FR capture, 80MB on (lens factor 1.1) and 36.7mm x 36.7mm average. TIFF 8-bit: 180MB (lens factor 1.5)I File format: Lossless compressed I Single shot Hasselblad RAW 3FR I 16-bit colourI Lenses: Hasselblad HC/HCD lens line I ISO 50, 100, 200, 400 and 800 with integral central lens shutter I Longest shutter speed: 64secI Shutter speed range: 32sec to I Image storage: CF card type II (write 1/800sec speed >20MB/sec) or tethered to MacI ISO speed range: ISO 50,100, 200, 400 or PC and 800 I Colour management: Hasselblad NaturalI Colour definition: 16-bit Colour Solution – one generic profileI Colour management: Hasselblad Natural I Storage capacity: 4GB CF card holds Colour Solution 60 images on averageI Focusing: Autofocus metering with I Battery type: Sony InfoLITHIUM community, but it is an investment which passive central cross-type sensor; L NP-F series comes with a lot of questions before a decision Ultra focus digital feedback; I Colour display: 2.5in TFT type, can be made – all of which are about you and Instant manual focus override; 24-bit colour your photography and not the CFV-50. Metering range EV 1 to 19 at ISO 100 I Histogram feedback So the CFV-50 claimed my heart but sittingI Viewfinder options: HVD 90x: 90° I IR filter: Multi-coated, mounted on next to it like a grey super-sleek intruder in the eye-level viewfinder with diopter CCD sensor classic Hasselblad world is the H4D-60. This is adjustment (-5 to +3.5D), I Feedback: IAA – Instant Approval the flagship model in the Hasselblad range and image magnification 3.1 times Architecture; provides acoustic and with a 60-megapixel 40mm x 54mm sensor it’sI HV 90x: 90° eye-level viewfinder with visual feedback the mother of pro cameras. The H4D-60 is less diopter adjustment (-4 to +2.5D), I File format: Lossless compressed about heart and more about mind. All of the image magnification 2.7 times Hasselblad 3F RAW H system cameras are built using solidI HVM: Waist-level viewfinder, image I Software: Phocus for Mac and PC stainless steel housings and a high-strength magnification 3.2 times I 3FR files are also supported directly in aluminium for the inner core, so despite theirI IR filter: Mounted on CCD sensor Apple and Adobe environments ergonomic, smooth styling they are toughI Exposure metering, metering options: I Camera support: Hasselblad V System pieces of kit. But these are Hasselblads for Spot, Centre Weighted and CentreSpot. cameras manufactured since 1957 (not photographers who don’t want waist-level Metering range – Spot: EV2 to 21; Centre recommended for critical work together viewing and a connection with the past; these Weighted: EV1 to 21; CentreSpot: with SWC models and ArcBody due to are very much for photographers wanting to EV1 to 21 optical incompatibility. Some earlier SWC step up to medium format quality fromI Power supply: Rechargeable Li-ion models need slight modification for DSLRs. Based on the H3D platform the H4D battery (7.2 VDC/1850 mAh) battery mounting reasons). 2000 series system features Hasselblad’s True FocusI Storage options: CF card type U-DMA or cameras and 201F with C lenses only. Technology. Most DSLRs are equipped with a tethered to Mac or PC 202FA, 203FE and 205FCC models needI Storage capacity: 8GB CF card holds a minor camera modification to use 100 images on average F/FE lenses. All other cameras withI Capture rate: 1.4 seconds per capture, Hasselblad V interface “But these are Hasselblads 31 captures per minute I Digital lens correction supports theI Colour display: Yes, 3in TFT type, following lenses: CF/CFE 40 FLE, for photographers who 24-bit colour, 460,320 pixelsI Histogram feedback: Yes CFE 40 IF, CFi 50 FLE, CFi/CFE 80, CFi/CFE 120, CFi 150, CFE/CFE 180, don’t want waist-levelI Software: Phocus for Mac and Windows CFi 250, CFE 250 Sa and CFE 350 Sa viewing and a connectionI Host connection type: FireWire 800 I Host connection type: FireWire 800 (IEEE-1394b) (IEEE-1394b) with the past; these areI Operating temperature: 0-45˚C / 32-113˚F I Battery capacity: Sony InfoLITHIUM L, up to eight hours of shooting capacity very much forI Dimensions complete camera: with HC80mm lens: 153mm x 131mm I Operating temperature: 0-45°C / photographers wanting to 32-113°F x 213mm (W x H x D) I Dimensions: 91mm x 90mm x 61mm step up to medium formatI Weight: 2,290g (complete camera with HC80mm lens, Li-ion battery and [W x H x D] I Weight: 530g (excluding battery and quality from DSLRs.” CF card) CF card) Grant Scott100 www.professionalphotographer.co.uk
  • 94. review “It was just a shame that the battery charger and battery were third-party pieces of kit without Hasselblad’s customary attention to detail and build.” Grant Scottmulti-point AF sensor which allows the advanced positional algorithms and carries out manipulate to my own way of working on thatphotographer to fix an off-centre focus point on the required focus corrections swiftly so that no basis. Again I was impressed by how easilyan off-centre subject, which is then focused shutter lag occurs. The H4D’s firmware then I found myself feeling completely at home with it.correctly. Due to the physics of an SLR camera, further corrects the focus using the precise data The only negative I found was with the overallthe off-centre focus points that are offered are all retrieval system found on all of the appropriate aesthetic of the back screen area, which had theclustered relatively close to the centre of the lenses. That’s all a long way from my first feel and look of an in-flight back-of-the-seat filmimage. To set focus outside of this centre area, the experience of the H system with the H1 way back console. I know this has nothing to do with howphotographer is still forced to focus first, and in 2001, of which the less said the better. the camera performs but it didn’t have thatthen shift the camera to reframe, with the The H4D range seems then to be a Hasselblad touch of class I expect from thisresulting loss of focus as a result. To overcome well-conceived and well-resolved option for manufacturer. Of course, the true test as tothis, Hasselblad has used modern yaw rate sensor those wanting to step up to medium format. whether this is the camera for you is exactly thetechnology to measure angular velocity in an The H4D-60 I was sent came in a kind of kit form same as I outlined with the CFV-50: how are youinnovative way. The result is the new Absolute with a removable back, handle, battery and, of going to use the images you create? For me thePosition Lock (APL) processor, which is the basis course, lens, all of which are easy to work out same rules apply to the H4D range, andof Hasselblad’s True Focus. The APL processor and put together (even without a manual!). particularly to the 60, as I outlined earlier.logs camera movement during any recomposing, Once together it’s a sturdy piece of kit which has For many both of these Hasselblad options arethen uses these exact measurements to calculate a real weight about it. It was just a shame that the going to overdeliver but if you need the quality,the necessary focus adjustment, and issues the battery charger and battery were third-party they provide the solution, especially the H4D,proper commands to the lens’s focus motor so it pieces of kit without Hasselblad’s customary which gives you the option of an entry-level pricecan compensate. The APL processor computes the attention to detail and build. The menu system of £10,794 with the H4D-31 (which, not and controls are easy to use and obvious in their surprisingly, features a 31-megapixel sensor). functionality; surprisingly so actually as it would It’s still a lot of money but it may well be the be easy to think that a camera at this price right tool for the job and in conclusion that is (£31,800) would be intimidating, but it is one of where I think I find myself at the end of four the easiest cameras to work out that I have used days spent with well over £50,000 worth of for some time. So easy in fact that I challenged Hasselblad photographic kit. some of the PP team who had never been I love the CFV-50 and if funds allowed I would anywhere near a medium format camera to go out and buy myself one, two or three and start shoot with it, which they did with ease. using my Hasselblad kit again. If I were being Image quality in general use was commissioned to shoot the kind of work that everything I would requires Hasselblad’s quality I would invest in the expect of a camera of H4D at whatever level I could afford. As neither this quality and of these things is currently true I will stick with cost. My way of my DSLRs because they do the job I need them to testing this was do. As professional photographers we need our kit to use it as I to do a job, and there is no doubt that Hasselblad would on a has now got a range of systems that do exactly shoot, not in a that. You’ve just got to decide if you are doing laboratory that job. PP environment, and I found it responsive on focus and easy to www.hasselblad.co.uk www.professionalphotographer.co.uk 101
  • 95. stop press...We’re always keeping our eyes open and our earsto the ground to make sure we bring you the latest news, LATELY WE’VE BEENindustry rumours and kit from around the world... HEARING... G At a recent performance, Lady Gaga’s people issued a release form forVANGUARD PROFOTO photographers to sign stipulating notNIVELO TRIPOD PRODAYLIGHT 800 only where and how the image couldn’tIncredibly lightweight and The Profoto ProDaylight 800 Air is a appear but also demanding that thecompact, the Nivelo 204 has new continuous light source aimed at photographer transfer “all right, titlebeen designed specifically to photographers entering the world of and interest (including copyright) inaccommodate the latest DSLR film making. Designed for use and to the Photograph(s)” to the artistcompact system cameras. with some (but not all) of Profoto’s Light Shaping known for dressing in meat.Small enough to tuck Tools, the 800W metal halide base (HMI) lamp Now that’s hard to swallow…into a rucksack, provides daylight colour temperature, ideal for proits substantial HD video shooting as well as stills photography.features include Built-in radio remote capability allows you toshock-absorbing switch the unit on and off as well as increase andrubber feet, decrease light output from 50% through to 100%,Twist-n-Lock from up to 300m. To find out which Profoto Lightlegs and a spirit Shaping Tools the ProDaylight 800 Air is G Apple’s iPad2 is out, bringing a sinkinglevel on the compatible with visit www.profoto.com feeling in the stomachs of those whopan head. have yet to pay off their credit card bill forThe 20mm-diameter legs provide the first-generation version. While itsupport at 23 degrees, bringing stability to “It’s fantastic; it’s a does contain cameras both back andthis little tripod. The 360-degree rotating front, tech pundits on the internet arehead allows panoramic shots while great ride to be on.” underwhelmed due to the fact thatside-to-side tilting means you can get a HDSLR hero Philip Bloom on the growth screen resolution hasn’t improved andunique take on the world. The Nivelo 204 is of film making with DSLR cameras, you still need the clunky white cable toavailable in black and silver. RRP is £59.99 during a talk at the Convergence Festival connect it to your computer…(including VAT). www.vanguardworld.com held at the British Film Institute, in G There’s a strange and London, in March. mesmerising beauty to the image of a PentaxLENSPEN SIDEKICK camera taken apart andWe first spotted the LensPen people at Photokina LOWEPRO COMPUDAY in bits posted by camera-friendly website PHOTO RANGEin Germany last September and featured theirhandy camera lens cleaning pens in our Photojojo on itsNovember 2010 issue. This month they were back Lowepro’s latest Tumblr blog recently.at Focus on Imaging at Birmingham NEC with range is www.professionalphotographer.co.uk/a nifty new product, the LensPen SideKick. designed for sp04...Designed to remove those unsightly marks from photographers G Every revolutionthe iPad’s supposedly fingerprint-resistant screen, on the move, to deserves ait uses the same carbon-based cleaning compound accommodate a soundtrack andas the award-winning LensPen. The SideKick laptop and a the HD videocomes with one replaceable cleaning head that single camera. revolution is nolasts for 150 to 200 uses and costs £14.95; it costs The CompuDay Photo range has a messenger different. The laureate of convergence£10 for two replacement bag and backpack, both of which will hold a might well be Romanian Cosmin Serban,heads. Available from DSLR, laptop up to 15.6in and other pieces of who has recorded DSLR Song – a tributeApril in the UK from kit such as a portable hard drive. The bag and to all the DSLR film makers out there.Jessops and independent backpack are aimed at photographers who Listen, if you can bear to, atretailers, see need to get around and upload images on the http://vimeo.com/19327519www.lenspen.com go. For more details visit www.lowepro.com www.professionalphotographer.co.uk 103
  • 96. professional inkjet mediaAND THEWINNER IS...Pigment Friendly LustreFotospeed are proud to winthe SWPP Best Inkjet Paper forthe third year running. A flatstiff heavyweight paper witha bright white base and a realphotographic lustre finish.Read a full review in this issue.Image: Leo Palmer - FRPS, EFIAP, APSA “comparisons with the legendary Fuji Crystal Archive papers are not misplaced” Tony Worobiec, FRPSFor more information or to find your nearest stockist, please call uson 01249 714 555 or email sales@fotospeed.com www.fotospeed.com Prints Order online today! From 12p Visit www.simlab.co.uk Orders received before 1pm will be dispatched the same day. Prices exc. VAT and P&P In association with A Pro lab division of T: +44 (0) 1707 27 37 47 | info@simlab.co.uk | www.simlab.co.uk
  • 97. PRICES INC VAT. UK STOCK - NO GREY HERE 4.3.11 www.dalephotographic.co.uk 60-62 The Balcony, The Merrion Centre, Leeds, LS2 8NG. VISA, MASTERCARD, Maestro, DELTA, 2 or 3 Year LEASING and PART EXCHANGE. TEL 0113 2454256 email dalephotographic@btconnect.com (Prices subject to change) USED EQUIPMENT MORE LISTED ON OUR WEB SITE LIGHT METERS UK STOCK Canon UK Stock NIKON Professional Dealer Nikon D200 body £399 Gossen Sixtomat Digital £ 188 UK STOCK- FROM CANON UK ALL UK STOCK FROM - NIKON UK Nikon MB-D200 Grip £75 PRICES INCLUDE VAT Gossen Digi Pro F £ 152 Hasselblad 35mm HC Lens £1495 7D Body £ 1189 D300S Body £ 999 Hasselblad HM 16/32 Film back £ 295 Nikon D60 + 18-55 VR £329 H4D - 31 + 80mm HC lens KIT Gossen Starlite 2 £ 458 7D + 18 - 135mm IS £ 1479 Nikon D80 body £295 Sekonic L 308S £148 D300S + MB-D10 Grip £ 1195 Hasselblad HM 16/32 Film back £ 395 special offer £ 9499 7D + 15 - 85 IS £ 1672 D300S + 17-55 f2.8 D £ 2099 Hasselblad C 50mm f2.8 Lens £350 Nikon D2X body £599 Sekonic L358 £ 224 5D MKII Body £ 1699 Nikon F3HP Body £395 H4D - 31 + CF Adapter £ 9499 Sekonic L 758D £ 392 D300S + 10 - 24mm DX £ 1579 Hasselblad 50mm C Chrome £ 350 5D MKII Body + 24-105L IS £ 2344 D300S + 18-200 VRII £ 1529 Hasselblad 120mm CFE Macro £995 Nikon F3/T HP body £395 H4D - 40 + 80mm £13933 Sekonic L758 DR £ 432 5D MKII Body + 24-70 f2.8L £ 2575 D300S + 16-85mm VR £ 1459 Hasselblad 150mm CT* Lens £ 195 Nikon F5 body £449 H4D- 40 + 35-90mm kit £17730 Sekonic C 500 £ 799 5D MKII + 16-35 f2.8L MK2 £ 2719 Nikkor 10.5mm DX Fisheye £395 D700 Body £ 1699 Hasselblad 150mm CF Lens £450 H4D - 40 Body set £12877 60D Body £ 839 Nikkor 17 - 55mm f2.8G AFS £675 H4D - 50 Body set £19536 POCKETWIZARD 60D + 17/85 IS Lens £1079 D700 + 24 - 70mm f2.8 AFS £ 2960 Hasselblad 160mm CB Lens £595 Nikkor AFS 24- 85mm £250 Mini TT1 CE NIKON IN STOCK £199 D700 + 14 - 24mm f2.8 AFS £ 3049 Hasselblad A12 - Latest type £295 H4D- 50 + 35 - 90mm kit £24388 FLEX TT5 CE NIKON IN STOCK £216 2 Free sensor cleans worth D700 + 24-120mm f4 VR £ 2599 Proshade 6093T + 060 adapter £150 Nikkor 14mm f2.8 ED AFD £695 BUNDLE 1 x Mini 2 x Flex NIKON £549 Bronica RF645 + 65mm Lens £595 Nikkor AFS 18-70mm G Lens £145 NEW H4D- 60 Body KIT £27984 Mini TT1 CE Canon IN STOCK £197 £90 when you buy a Canon D700 + 28-300mm AFS VR £ 2499 FLEX TT5 CE Canon IN STOCK £216 D3S Body £ 3599 Bronica 40mm PE Lens £295 Nikkor 18 - 35mm AFD £295“Contact us to arrange a Demo” 5D II, 1DS MkIII or 1D Mk4 Bronica 40mm E Lens £195 Sigma 18 - 50mm f2.8 DC - Nikon £229 BUNDLE 1 x Mini 2 x Flex Canon £520 EOS 1 D Mk4 £ 3679 D 3S + 24 - 70mm f2.8 AFS Lens £ 4849 CFV - 39 £ 9709 PLUS II TWIN Pack £249 D 3S + 14 - 24mm f2.8 AFS Lens £ 4899 Bronica 50mm PE Lens ETRS / i £ 250 Nikkor 24 - 85mm f3.5-4.5G IF £250 EOS 1 DS Mk III £ 5399 Bronica 150mm E lens £ 125 Sigma 28mm f1.8 AF - Nikon £130 New CFV - 50 £11336 1 Free sensor cleans worth D 3S + 70 - 200mm f2.8 VRII £ 5248 SIGMA D3X Body £ 5199 Bronica 150mm MC Lens £125 Nikkor AFS 24-120mm f3.5-5.6G VR £325 HC LENSES 8 - 16mm f4 - 5.6 DC £ 529 £45 when you buy a Canon D 3X + 24-70mm f2.8 AFS Lens £ 6199 Bronica 250mm E lens £ 195 Nikkor AFS 70 - 300mm VR £29928mm Lens HCD £ 3126 10 - 20 mm f 4 / 5.6 EX DC. £ 410 7D / 550D /600D/60D camera D 3X + 14-24mm f2.8 AFS Lens £ 6299 Bronica 50mm f3.5 PS Lens £ 195 Nikkor 50mm f1.2 AIS £49535 mm Lens HC £ 2662 10 - 20mm f3.5 EX DC HSM £ 479 600D +18 -55 IS £ 749 D 3X + 70-200mm f2.8 VRII Lens £ 6649 Bronica 65mm PS Lens £ 195 Nikkor 300mm f2.8 ED AIS £59535 - 90 HCD £ 4962 12 - 24 mm f 4.5 / 5.6 EX DG£ 642 600D Body £ 659 D7000 + 18-105 VR II £ 1149 Bronica 150mm PS Lens £125 - £195 PCE Micro Nikkor 45mm f2.8 £109950 - 110 mm zoom HC £ 3191 10mm f 2.8 EX DC Fisheye £ 487 550D +18 -55 IS £ 619 D7000 £ 969 Bronica 250mm PS Lens £ 195 Nikkor AFS 24-120mm f3.5-5.6 VR £32550 mm MK II Lens HC £ 2910 24 - 70 mm f 2.8 EX DG £ 447 550D Body £ 549 14 - 24mm f2.8G AFS £ 1367 Bronica S-36 Tube £ 75 Canon EOS 1D MKIV body £149580mm Lens HC £ 1711 24 - 70mm f 2.8 EX DG HSM £610 Powershot G12 £ 419 16 - 35 mm f4G AFS VR £ 877 Bronica E-42 Tube £ 125 Canon EOS 60D + 18-55 IS £750100mm Lens HC £ 2370 85mm f1.4 EX DG HSM £669 16 - 35 f 2.8L MK2 £1122 17 - 35mm f2.8D AFS £1581 Mamiya 645 AF 55-110mm New £ 695 Canon BG-E4 Grip £99120mm Macro Lens HC £ 2694 70 - 200mm f2.8 DG OS £979 17 - 40 f 4 L USM £ 609 24mm f1.4G AFS £1735 Mamiya 645 AF Polaroid Back NEW £95 Canon TSE-24mm £695120mm Macro MK II HC £ 3310 120 - 400mm Apo DG OS £689 17 - 55 f 2.8 EFS £ 829 24 - 70 f2.8G AFS £ 1282 Mamiya 645 110mm f2.8 Lens £ 179 Canon TSE 45mm £ 695150 mm Lens HCN Lens £ 2478 150 - 500mm Apo OS £ 795 10 - 22 EFS USM £ 633 New 24 - 120mm f4G AFS VR £899 Mamiya 645 210mm f4 Lens £ 105 Sigma EX DC 17-50mm f2.8 OS £395210 mm Lens HC £ 2586 50 - 500mm Apo OS £1197 17 - 85 EFS IS USM £ 385 10 - 24mm f3.5/4.5 DX £ 589 Mamiya 645 210mm f4 Lens £195 Canon EF 24-85 f3.5-4.5 USM £139300mm Lens HC £ 3083 TOKINA 18 - 200mm EFS IS USM £ 429 12 - 24mm f4 DX £ 855 Mamiya 645 300mm f5.6 Lens £ 199 Canon EF 20 - 35mm f3.5/4.5 £ 250HTS Tilt + Shift adapter £ 3774 10 -17mm f 3.5/4.5 ATX Pro £ 509 60 mm EFS Macro £ 347 16 -85mm f 3.5/ 5.6 DX VR £ 469 Mamiya 7 - 43mm Lens + finder £995 Canon EF 28 - 135mm IS £1991.7 X Teleconverter £ 1139 11 - 16mm f 2.8 ATX Pro £ 560 24 - 70 f2.8 L USM £987 17 - 55 mm f 2.8 DX £1109 Mamiya 7 - 50mm Lens Ex Demo £995 Canon EF 28 - 200mm f3.5-5.6 £250GIL - GPS £ 523 16 - 28mm f2.8 ATX Pro DX £ 849 24 - 105mm f 4 L IS £ 899 18 - 200mm DX VR II £ 539 Mamiya 7 - 65mm Lens £709 Canon EF 50mm f1.4 USM £245Battery Grip 7.2V £183 16 - 50mm f2.8 ATXPro £ 621 24 - 105mm f 4L IS White Box £799 NEW 28 - 300mm AFS VR £ 779 Mamiya 7 - 150mm Lens £505 Canon EF 100mm f2.8 Macro USM £299X1 Scanner £ 9499 100mm Macro f2.8 £ 407 TSE 17mm f4L £1999 PC-E 24mm f3.5 Tilt +Shift £1449 Mamiya 7 - 150mm Lens + finder £695 Sigma 28 - 300mm Macro EOS £149X5 Scanner £ 15095 TSE 24 mm f 3.5 L II £1749 35mm f1.8 G AFS DX £ 175 Mamiya 7 - 210mm Lens + finder £607 Sigma 105mm f2.8 Macro EOS £299 BOWENS Lighting 24mmf1.4 L II USM £ 1375 50mm f1.4G AFS £ 307 Mamiya 7 - 35mm Panoramic kit £78 SEE OUR WEB SITE FOR LATEST USEDColorMunki Photo £299 500R/500R Kit £887 50mm f1.8 II £101 70 - 300 mm AFS VR £ 389 Mamiya 120 back 645 Super £ 50 LISTINGSX-Rite Eye 1 Display 2 £139 50 mm f 1.4 USM £ 322 70 - 200 mm f 2.8 AFS VR II £ 1689 Mamiya RZ 180mm Lens £ 125X-Rite ColorChecker Passport £79 500/500 Classic kit £730 50mm f1.2 L USM £1310 80 - 400 mm f 4.5 / 5.6 VR £ 1149 Mamiya RZ Polaroid back NEW £ 125 BILLINGHAM STOCKIST 500/500C Pulsar Kit £820 70 - 200 f 4 L USM £ 499 200 -400mm f4 AFS VR II £ 5199 RB67 Pro SD + 50 + 90mm lenses £895 550 £434 445 £237 335 £220 225 £212Spyder 3 Pro £107 555 £268 307 £ 247 207 £229 107 £212 500R/500R Travel Pak£1326 70- 200mm f4 L IS £ 922 200mm f2 AFS VR II £ 4432 RB67 180mm PRO SD Lens NEW £195 500R/500R/500R Kit £1299 Mamiya RB 67 210mm Sekor £ 150 Leica 500/500 PRO Kit £1075 70 - 200 f 2.8 L 70 - 200 f2.8 L IS MKII £ 984 £ 1864 300mm f 2.8 AFS VR II 400mm f2.8 AFS VR £ 4265 £ 6999 Mamiya 6 - 50mm Lens £ 350 Zeiss Lenses - NIKON + CANONM9 STEEL GREY BODY £4899 500/500 PRO Travel £1541 70 - 300mm f 4 / 5.6 IS £ 417 500mm f4 AFS VR £ 6153 Contax 645 Film back + Insert £ 195 18mm f3.5 Distagon - Nikon ZF.2 £ 1098M9 BLACK BODY £4899 70- 300 f 4 5.6 L IS £ 1199 600mm f4 AFS VR £ 7433 Contax TVS £195 18mm f3.5 Distagon - Canon ZE £ 1055 500/500/500 PRO Kit £1741 60 mmf 2.8 AFS Micro £ 408 Pentax 645 - 200mm f4 £ 295M9 demo in stock - take a look 750/750 PRO Kit £1291 85 mm f 1.8 USM £ 319 21mm f2.8 Distagon - 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  • 101. legend James Nachtwey 1948- “I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated.” New Hampshire, where he studied art history exhaust himself, he set about exhausting us. and political science. Then, though, he was swept The idea, I guess, is to go beyond desensitisation, up and away by the radical tenor of the times. to a place where we cannot not look. In particular, he was driven to action by The book is prefaced with a quote from hell’s the Vietnam war. Even more particularly, by the own poet-in-residence, Dante: “There sighs, images of that conflict. As he has said, he and lamentations and loud wailings resounded his generation were presented with a choice through the starless air, so that from the beginning about what to think about the world. They could it made me weep.” believe what they were told or they could He was in New York the day the Twin Towers attend to the evidence they saw in photographs. were hit and fell. He lived nearby. “I heard a Nick Ut’s picture of a naked, running, napalmed sound that was out of the ordinary. I went to the Phan Thi Kim Phúc. Philip Jones Griffiths’s window and saw the tower burning. I made my book, Vietnam, Inc. way there through the smoke. It was virtually He decided to become a war photographer. deserted, and it seemed like a movie set from a Deliberately, he set about learning his trade. science fiction film. Very apocalyptic. In 1976, he took a staff job on the Albuquerque Very strange ambiance of the sunlight filtering Journal. By 1980, he was where he wanted to be: through the dust and the destroyed wreckage of in New York, a freelance photojournalist, ready, the buildings lying in the street.” willing and able to go to war. In 1981, he I’ll pause him there. Because that’sPeter Silverton explores the went to Northern Ireland – the time of the IRA where Nachtwey’s tragic genius lies: his capacitycareer of the American hunger strikes. Since then, there’s barely been for aestheticising conflict and destruction.photojournalist James Nachtwey, a war or conflict he didn’t turn up for. You might Or, at least, to find an aesthetic in them. All kinds even say: It’s not a war until Nachtwey’s there. of war photographers record, vividly, thean unrelenting documentor Rwanda. Chechnya. Bosnia. Famine in destruction of war. The thing about Nachtwey,of human tragedy for more Sudan. Romanian orphanages. Kosovo. though, is when all around is death and horror andthan 30 years. The invasion of Iraq, where a grenade attack confusion and blood and pain, he can make a smashed up his foot. He kept photographing formally composed, resonant image of it.James Nachtwey was born March 14 1948, a medic who was treating the other injured, until Not glamorous but aesthetically saturated,in Syracuse, New York state. As Robert Capa he lost consciousness. By the end of the generally with sorrow – the anguish of thewas to the middle of the 20th century, so following year, he was up and off east, to cover Adagietto in Mahler’s Fifth Symphony.Nachtwey was to its last decades. He is the the aftermath of the 2004 Asian tsunami. Back to 9/11. “As I was photographing thelate 20th-century war photographer – outraged There is rarely a name on a Nachtwey caption. destruction of the first tower, the second towerthat, after the Holocaust and Vietnam, war is His subjects are not people but ‘people’, fell and I was standing right under it. I wasstill, shockingly, an ever-present. He’s won the representatives of human tragedy – and therefore underneath this avalanche of falling debris. I wasRobert Capa Gold Medal five times. of us all. Hence the echoic power of his in a state of disbelief. The scenes were very Like Capa, like Goya, he is powered by the urge images. There is nothing romantic about his wars, familiar. But now, it was literally in my ownto document. “I have been a witness, and these though. He doesn’t share other photographers’ backyard. And I think that one thing thatpictures are my testimony. The events I have admiration for front-line soldiers. Yet nor Americans are learning from this is that we arerecorded should not be forgotten and must not does he share the nagging doubts of the latest now part of the world in a way in which we neverbe repeated.” That’s the opening statement on generation of war photographers – that their have been before.”his website. His is not a world of ironies or images can actually prolong and deepen wars, that So he goes, uncoloured by cynicism, seeminglydoubts; it’s one of rage – an anger that has yet to the relationship between aid-giving rates inexhaustible. Afghanistan. Haiti earthquake.be assuaged or diluted. Never will be, perhaps. and images of hacked-off limbs is all too often Victims of AIDS and drug-resistant TB. So itNever can be, even. a mutual one. goes, perhaps inexhaustibly. PP He grew up in Massachusetts and went to His 1999 book, Inferno, is nearly 500 pagesDartmouth, the small Ivy League college in long and weighs almost 5kg. Unable to www.jamesnachtwey.com GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK114 www.professionalphotographer.co.uk

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