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
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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
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
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
PORTFOLI JOANNA ZYSNARSKA, POLAND JOANNA ZYSNARSKA, POLAND PAUL THURLOW, UK
TEAGHANMcGINNIS,CANADAJOANNA ZYSNARSKA,POLAND SIMON HADLER, UK KRYSTIAN ZIELINSKI, UK www.professionalphotographer.co.uk 11
PORTFOLI MATTHEW PAYNE, UK KRYSTIAN ZIELINSKI, UK JACOB GIBBINS, UK PAUL D SMART, UK SAM COOPER,12 www.professionalphotographer.co.uk UK
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.
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
“She wasabsolutely nobodyat the time, justa 19-year-oldgirl who had juststarted outmodelling a fewweeks beforethat trip. Shewas completelysincere andnatural.”André de Dienes
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
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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
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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
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
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
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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
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
“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.