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Professional photographer uk   2011-06 Professional photographer uk 2011-06 Document Transcript

  • PROFESSIONAL PHOTOGRAPHER JUNE 2011 G BEST OF BRITISH G WHAT IS ART PHOTOGRAPHY? G SEX, FUN & STILL LIFE G BEST WWW.PROFESSIONALPHOTOGRAPHER.CO.UK PROFESSIONAL SINCE 1982 INSPIRING • INFORMATIVE • HONEST • ESSENTIAL THE JUNE 2011 ONLY £4.20 OF BRITISH OURISSUE: IN THIS ESSENTIAL LIST REVEALED PLUS: EXCLUSIVE: WE ASK WHAT SEX, FUN & STILL LIFE, HARRY BENSON IS ART HOLLYWOOD COMES SPEAKS OUT & PHOTOGRAPHY? TO THE WEDDING VIDEO, DON’T MISS & EXPLORE & WE MOURN OUR 8-PAGE BOUTIQUE THE PASSING OF IAN BERRY STOCK IMAGES HARDCORE FUJIFILM FINEPIX PARTY IMAGES X100 PORTFOLIO “I want my photography to be special. I don’t want you to have a free ride thinking it’s anything to do with art, and I don’t want you to turn away from it because it’s horrible. I want you to look at it, get some message out of it and then do as you will.” Don McCullin
  • welcome june The moment we put an image onto a website we become international. The minute we post on Facebook we are global and the second we tweet on Twitter we reach a worldwide audience. I always speak about Professional Photographer being an international magazine, but this month we decided to bring it all back home. Our Best of British is a celebration of those photographers from these shores that have defined history through their images. Of course, many spanned decades and so we chose to include them within those years in which they first made their photographic mark. You can find out who we chose to include from Page 54. Another great of British photography is Harry Benson, a legendary photographer and proud Scotsman who has taken on and captured the New World across the pond over the last 50 years. You can read about his incredible career in our exclusive interview on Page 80 in Can I Get A Witness? Coming very much back to the present day we speak to two photographers who are experiencing very different fortunes. Miles Ladin had a high-flying career shooting the life and times of the rich and famous in the 1990s, but now finds that his graphic work has gone out of favour. You can find out what he has to say about this in Reality Used to be a Friend of Mine on Page 72. Los Angeles-based Kevin Shahinian, however, has fully embraced film making, bringing Hollywood values and concepts to the world of weddings with great commercial and financial reward. You can read his story in Let Me Tell You a Story on Page 84. This month we are also asking What is Fine ArtEDITOR’S IMAGE: MATT HALSTEAD Photography? and profiling photographer Bela BorsodiTHIS IMAGE: BELA BORSODI and his composite fashion images which are bringing his distinctly cheeky, sexy and often bizarre take to that world. A bit like us really – slightly naughty but well worth taking notice of! Grant Scott, Editor
  • The fastest, easiest portrait touch-up software. 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 PRP611 when buying online.
  • NEW PHOTOGRAPHY contents june 8 Portfolio The best of your work posted on to our online portfolio. 53 Exposure Our favourite image from the Sony World Photo Awards and a little insider gossip. NEED TO KNOW 25 Being There PP Editor Grant Scott remembers a shoot with Jarvis Cocker. 30 Dispatches This month Clive is on location around London with a bunch of satin bunnies. 35 The Dench Diary The sometime working pro travels to Jamaica. 44 The World of Convergence Film maker John Campbell’s regular news-packed take on the world of convergence. 47 Pause for Thought PP Editor Grant Scott takes a moment to reflect on the death of Tim Hetherington and the rise in war photojournalism. 51 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 54 The Best of British Our pick of the photographers who have made their international mark. 70 Call it Whatever You Want but 72 Reality Used to be a Friend of Above: Miles Ladin’s image of the grande dame of the Don’t Call it Art! Mine fashion world and American Vogue, Anna Wintour, and singer Alicia Keys. It’s an easy label to use but a difficult concept to New York based party photographer Miles Ladin define. PP Editor Grant Scott has a go. creates images which pull no punches, but the industry is not as keen on his work as they once 84 Let Me Tell You a Story were. We find out why. We speak to Kevin Shahinian about wedding 101 Stop Press... videography as Hollywood blockbusters. The latest essential news, gossip and kit from the 88 Small but Perfectly Formed EXCLUSIVE... pro world. Boutique picture libraries are a breath of fresh air. 80 Can I Get a Witness? We speak to the founder of one, Millennium Images, Legendary Scottish photographer Harry Benson KEEP IN TOUCH to find out more. speaks exclusively to PP about his career, life and recording the history of the 20th century. 28 Podcast 114 Legend Check out our free photographic discussion for the Peter Silverton takes a look at the life and times of masses. Every edition we record a podcast debating the photographic pioneer Roger Fenton. NEWS & REVIEWS the issues affecting professional photographers. 14 Click 42 Subscribe INTERVIEWS WITH... This month’s line-up of the best news, dreams, themes and photographic schemes. Check out our latest subscription offers so that you never miss an issue. This month you can save 33% 64 Material Boy when you subscribe by Direct Debit. 23 DiaryMILES LADIN He’s sexy, funny, talented and successful – we put the spotlight on fashion/still-life photographer Our pick of this month’s most exciting photographic 49 Feedback Bela Borsodi. exhibitions around the UK. Your thoughts, your opinions, your page. www.professionalphotographer.co.uk 5
  • Shoot wide open. So sharp it hurts. X Z -1
  • friends juneHarry Benson Ian Berry Eleanor O’Kane Kevin ShahinianPhotographer Photographer Deputy Editor Film makerHarry Benson is a legend and he This month friend of the magazine Despite her Irish background via There are few photographers whoreturns to the magazine this month and award-winning Magnum north-west London, Eleanor O’Kane can take a genre and make it new,to share his experiences of recording photographer Ian Berry returns to launched herself at the task of exciting and their own, but Kevinsome of the most momentous the East End with the new Fujifilm writing about The Best of British Shahinian is one of those few.moments and people of the 20th FinePix X100 to record the same photographers on page 54 with her We first came across him and hiscentury with Eleanor O’Kane and locations which he famously customary diligence and good Hollywood/Bollywood approach toPP readers. Despite having been photographed for his exhibition This humour. The research and difficult wedding videography at thebased in New York for many years is Whitechapel in 1972. Where that decisions as to who to include did Converge Festival in March andHarry is still very much a proud exhibition was shot on film in black not phase her either. A keen walker instantly knew he had to be in theScotsman, who speaks fondly on and white, for us he has created a and user of social media, Eleanor magazine. You can read what he sayspage 80 of how he got his break portfolio of digital colour images has rapidly become an intrinsic in our interview with him on pageand the importance of his humble which have all of the power of his member of the PP team over the past 84, but to really understand him youbeginnings and training. original work. See page 92. year that she has been with us. need to see his films. 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 Amy Pope ORDER HOTLINE 01858 438840 Professional Photographer is published eleanor.okane@archant.co.uk amy.pope@archant.co.uk, 01242 216054 VISIT www.subscriptionsave.co.uk monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE George Blandford EMAIL professionalphotographer@subscription.co.uk Archant House, Oriel Road, Cheltenham, rebecca.shaw@archant.co.uk george.blandford@archant.co.uk, 01242 265895 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 PUBLISHING PRODUCTION MANAGER CONTRIBUTING EDITORS Kevin Shelcott WHOLESALE AND RETAIL DISTRIBUTION London: Suzanne Hodgart, Geoff Waring, PRODUCTION TEAM LEADER Mikey Godden 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
  • 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.JAMES CALLAGHAN, NEAL REED,UK UK SARAH FALUGO, UK8 www.professionalphotographer.co.uk
  • CONDRY CALVIN MLILO,UK www.professionalphotographer.co.uk 9
  • PORTFOLI SARAH FALUGO, UK SAMANTHA KNIGHT, UK JONATHAN LITTLE, MICHAEL STUART-DALEY, UK UK10 www.professionalphotographer.co.uk
  • CHRIS PATTERSON,UKLUKE HAYDEN,UK www.professionalphotographer.co.uk 11
  • PORTFOLI VSEVOLOD VLASENKO, RUSSIA VICTOR MELO, PORTUGAL DAVID ANDERSON, BARBARA LUKE, UK UK J COLLINGRIDGE, RICHARD HORSFIELD, UK UK12 www.professionalphotographer.co.uk
  • Create a killer web gallery in a flashYour best photos deserve the best possible showcase Web ho sting fr £2.49 om Your photography, your gallery a mon th A free web gallery will never truly be your gallery. So use the free apps that come with 123-reg web hosting. Create your own, unique photo gallery with up to 20GB of web space and unlimited traffic. Great value hosting from just £2.49 a month. Find out more at: www.123-reg.co.uk
  • click Quality street As part of the London Street Photography Festival 2011, the Brixton-based Photofusion gallery has curated an exhibition that brings together five female photographers who shoot on the street. On Street Photography: A Woman’s Perspective features work by an international the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane line-up including Polly Braden. Inspiration comes from the everyday… TIFFANY JONES On Street Photography: A Woman’sFrom the series Perspective at Photofusion, 10 June-Soho Nights. 22 July. www.photofusion.orgDesign for life American beautyA new display at the Victoria & Albert Michael Thompson is one of the world’sMuseum from 4 June will showcase the greatest and most respected beauty,photography of Bedford Lemere & Co, fashion and portrait photographers.a firm that pioneered architectural A former assistant to Irving Penn he isphotography in the late 19th and early 20th renowned for his flawless images andcenturies. Offering a glimpse into lavish late attention to detail. His new book,Victorian interiors, the photographs were Portraits, charts his 20-year careermade from large format negatives and are through images of actors, musicians andtaken from the archives of the V&A, English celebrities. The images featured in theHeritage and the Royal Institute of British book have been curated by photographyArchitects (RIBA). The photographers of critic Vince Aletti, who has contributed toBedford Lemere & Co were known for their publications such as Rolling Stone andsuperior technical ability; the firm’s archive the New Yorker as well as writing ancomprises more than 21,000 glass negatives appraisal of Thompson’s work. There isand approximately 3,000 prints dating from also an afterword from actress Juliannethe 1880s to the 1930s. To accompany the Moore, who has been photographedexhibition, English Heritage is publishing by Thompson. For our exclusive ENGLISH HERITAGEa book, The Photography of Bedford Lemere interview with the photographer, see& Co, which features more than Bedford Lemere & Co’s the April 2011 issue. premises, The Strand,250 photographs from the collection. London, 1907. Michael Thompson Portraits,Recording the New: The Architectural published by Damiani, £45,Photography of Bedford Lemere & Co, V&A/RIBA Architecture Gallery Room 128a at the V&A, ISBN: 978-8862081566.4 June-30 October 2011, London SW7 2RL. www.vam.ac.uk www.damianieditore.comAt a grim time for photojournalism, we were delighted to see that the New York Times has released footage on its Facebook page ofphotojournalist João Silva walking after months of painful rehabilitation. The Portuguese photographer lost both his legs below theknees when he stepped on a land mine while on assignment in Afghanistan in October 2010.14 www.professionalphotographer.co.uk
  • MICHAEL THOMPSON Mischa Barton, New York City, 2004.
  • CALUMET NEW Fujifilm Finepix X100 Inspired by the beauty and form of classic cameras from the past, the new FinePix X100 combines all the latest technical digital innovations in a beautiful, traditional chassis which oozes class and prestige. Echoing the functional aesthetics of analogue film cameras, the ‘manual’ dials have been carefully positioned to give the photographer easy control over creative shooting. Aperture, shutter speed and exposure compensation can be checked even before the camera is turned on. • 12.3MP APS-C CMOS Sensor & EXR Processor • 720p HD Movie Mode & HDMI port • 23mm Fujinon F2 lens (135 equivalent: 35mm) • Motion Panorama Function for 180° and 120° • New unique Hybrid Viewfinder offering both panoramic images optical and electronic VF systems 331-101X £899.00 Epson Stylus Photo R3000 Profoto Pro 7B Battery Generator Achieve outstanding A3+ prints which offers complete image control Purchase a Pro7b generator and receive a ProB Head inc Disc and wide media compatibility. Reflector Free of charge. Studio Quality Light on the go. With high capacity inks ideal for medium • up to 250 full power flashes from a single battery cassette print runs and a small footprint, this A3+ • asymmetrical or symmetrical power distribution printer makes professional-quality prints • motion-freezing flash durations: 1/1400–1/3000 s accessible. Enjoy a smoother, more • full 7 f-stop range in 1/6 step natural-looking tonal range thanks adjustments FREE ProB HEAD to Epsons UltraChrome K3 Ink. • fast recycling, 0.09–2.8 s & DISC • 100 W modeling lamp REFLECTOR 650-335A WORTH £629.00 999-393S £3319.00 £696 Bowens Gemini 500R Includes Cineroid EVF extra softbox Twin Head Kit & remote control The Cineroid EVF-4L is a professional electronic viewfinder with composite and HDMI inputs. This EVF-4L is specially designed The Gemini 500R monolight boasts a range of new features for Video-DSLR Cameras and finished to the highest quality. designed to offer photographers not only ultimate freedom but unmatched power, durability and control too. This • peaking, zebra - pixel to • underscan pixel mapping – flip-up and limited kit offer contains two 500R heads and Gemini • monochrome, image removable loupe Remote Control, bundled together with an flip, auto signal • composite input 80cm x 60cm and 100cm x 100cm detection of the HDMI • HDMI input soft-box, stands and kit bag. input (480p,720p,1080i) • HDMI loop through 500R Kit BW4812UK £969.00 999-776C £599.00 999-776D Articulated Arm £59.99 Calumet 8000 Series Calumet 7” HDMI Tripods LCD Monitor Its 8x technology features eight layers of carbon fiber designed An extremely lightweight and portable to provide maximum strength and stability while keeping the monitor that allows you to enjoy tripods weight to a minimum. broadcast-quality viewing in both color Calumet 8121 4-section Tripod + Ball Head and black-and-white. It can be attached CK8121 £199.99 NEW LOWER directly to your DSLR or camcorder, or be used as a remote viewing monitor when Calumet 8132 3-section Tripod PRICE the situation warrants. CK8132 £149.00 DF0200 £349.99All prices include Vat at 20%. Prices correct at time of going to press. E&OE.Call: 08706 03 03 03Click: www.calumetphoto.co.ukVisit: stores nationwide
  • The outsider The Tate Modern has added a collection of works by Diane Arbus to its Artist Rooms collection. Until the end of March 2012 you can see a collection of works by the influential American photographer who is known for capturing those on the fringes of society with compassion and skill. www.tate.org.ukDIANE ARBUS Above: A young Brooklyn family going for a Sunday outing, New York City, 1966. Right: The king and queen of a senior citizens’ dance, New York City, 1970. The 2011 Kraszna-Krausz Book Following the death of Awards have been announced, with South African photographer David award-winning Getty Images Goldblatt jointly winning the best photographer Chris Hondros, a photography book prize for TJ: Johannesburg Photographs fund has been established by his 1948-2010 along with Ivan Vladislavic, fiancée to assist aspiring whose novel Double Negative describes the experience of living in photojournalists covering conflict the South African city. The Best zones. The American photographer Moving Image Book award went to died in Misrata on 20 April in Disappearing Tricks: Silent Film, Houdini, and the New Magic of the an attack by Libyan Government 20th Century by Matthew Solomon, forces that also killed the British while Gerhard Steidl picked up anDAVID GOLDBLATT award for Outstanding Contribution photographer Tim Hetherington. Concession store interior, Crown Mines, May 1967. to Publishing. www.chrishondros.com www.professionalphotographer.co.uk 17
  • Left: Paul McCartney, Jamaica, 1971.Here, there and everywhereLinda McCartney: Life in Photographs charts the career of one of the most famous rock and roll wives in history. The book shows McCartney as a versatileand prolific photographer who was equally able to shoot music portraits and tender family pictures. Born Linda Eastman in New York, she began to establisha music photography career after taking informal images of the Rolling Stones at a promotional event in 1966. The following year she came to London, LINDA McCARTNEYwhere she met and subsequently married Beatle Paul McCartney. The book also features images shot in more private moments, casting a gentle light on theMcCartneys’ family life. The book is available in both a limited edition in a clamshell box priced at £650 and in a modestly priced trade edition at £44.99.Linda McCartney: Life in Photographs, published by Taschen, £44.99, ISBN: 978-3-8365-2728-6. www.taschen.com Raised in Harlem The new book Harlem: A Century in Images sheds light on a historic district of Manhattan and features the work of 80 photographers, including greats such as Cornell Capa, Bruce Davidson, Gordon Parks and Leonard Freed. The images reflect the changing face of the neighbourhood, which started life as a Dutch village and was annexed to New York City only in 1873. Over the years Harlem has been defined by the economic climate, witnessing waves of immigrants. Its largely black population began arriving in the early 20th century and the area has remained predominantly African-American ever since. The book contains almost 200 images which tell the story of a New York neighbourhood that has been a hotbed for music, literature and social change. GORDON PARKS Black Muslim Harlem: A Century in Images, published by Rizzoli, rally, 1963. £35, ISBN: 978-0-8478-3335-1. www.rizzoliusa.com18 www.professionalphotographer.co.uk
  • AUSTRALIA Camera CANADA Photo Life CHINA Chinese Photography FRANCE Réponses Photo GERMANY digit! • Foto Hits Magazin • Inpho Imaging & Business • Photographie • Photo Presse • ProfiFoto GREECE Photographos • Photobusiness HUNGARY Digitális Fotó ITALY Fotografia Reflex • FotoGraphia NETHERLANDS Fotografie F+D • FotoVisie • P/F POLAND Foto SOUTH AFRICA PiX Magazine SPAIN Arte Fotográfico • Diorama • Foto/Ventas • FV/Foto-Vídeo Actualidad • La Fotografía Actual UNITED KINGDOM Digital Photo • Photography Monthly • Practical Photography • Professional Photographer UNITED STATES of AMERICA Shutterbugthe independent photo and imaging awards you can trust.If you need expert advice on which are the best photographic, video andThe TIPA awards are judged on quality, performance and value, making themthe editors of 30 worldwide leading photography and imaging magazines voteto decide which new products are the very best in their respective categories.imaging products, look out for products with the TIPA Awards logo. Every year
  • iMAC 27” i7 2.93 SUPER POWERED FREE MICROSOFT OFFCIE 2011 WITH ALL ORDERS FROM PRO PHOTOGRAPHER - USE REBATE VOUCHER CODE PP0320OUR UNIQUE FLEXI-LEASERETURN after only 2 years you can return your equipment or...RETAIN your equipment until the end of the 3 year lease and own it for just £39 or...RENEW your lease, get new equipment at NO extra cost PLUS keep original equipment0844 330 8693WWW.HARDSOFT.CO.UK Established for over 25 years
  • If anyone asks:IT’S RESEARCH Lady Milbanke as Penthesilea, Queen of the Amazons.This month we’ve been gettingphotographic inspiration from S Magazine.Bringing fashion, photography and art A life in colour MADAME YEVONDEtogether, it’s a great place to see how Madame Yevonde cut a dash on theother photographers are approaching Mrs Edward British photography scene betweeneditorial shoots. Fashion photography, Mayer as Medusa. the wars and was a pioneer ofit seems, sometimes, doesn’t have to colour photography. Born Yevondeinvolve any clothes at all. Cumbers into a liberal family, shewww.smagazine.com became a suffragette as a teenager Out of but after realising she wasn’t cut THE DEUTSCHE BÖRSE Africa out to be a leading light in women’s rights, decided to pursue a career in PHOTOGRAPHY PRIZE 2011 To coincide with the photography. Setting up her own IN NUMBERS exhibition at the studio aged just 21, she began £30,000 Victoria & Albert photographing well-known society Museum, Steidl has figures and her images were soon published Figures appearing in Tatler and The Sketch. & Fictions: In the early 1930s she began to Contemporary experiment with colour. In contrast The amount awarded to Jim Goldberg South African to the general feeling in the for his Open See exhibition about Photography. industry she was greatly taken by the experiences of immigrants, It features more the phenomenon and in 1932 refugees and trafficked populations. than 250 images by some of South Africa’s most staged her first exhibition to feature15 exciting contemporary photographers, showing her colour photographs. The number of years people at home and in their communities. An exhibition at the PM Gallery & the Prize, which is The book’s author is Tamar Garb, professor in the House in west London highlights organised by The history of art at University College London and her most famous work, Goddesses, Photographers’ Gallery, co-curator of the V&A exhibition. Throwing the which presents mythological has been in existence. spotlight on both established photographers and figures portrayed by 1930s 3 rising stars, the works of South African veterans socialites such as Lady Diana The number of short-listed David Goldblatt and Santu Mofokeng sit with the Mosley. In Role Play, the images photographers who were images of rising stars such as Zanele Muholi. are shown alongside portraits by each awarded £3,000. Figures and Fictions: Contemporary South African contemporary photographer Neeta Photography, published by Steidl & Partners, £40, Madahar, who was inspired by www.photonet.org.uk ISBN: 978-3-86930-266-9. www.steidlville.com Madame Yevonde’s images. Role Play – Madame Yevonde and Neeta Madahar, until 3 July,French photojournalist Agnes Dherbeys has received the Robert Capa Gold Medal award from the PM Gallery & House, PitzhangerOverseas Press Club of America.The prize is presented for the “best published photographic reporting from Manor, Walpole Park, Ealing.abroad requiring exceptional courage and enterprise” and went to Dherbeys for her powerful images for the www.ealing.gov.uk/pmgalleryNew York Times of violent anti-government demonstrations in Thailand. www.opcofamerica.org andhouse www.professionalphotographer.co.uk 21
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  • The D-Lite-it 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.uk The Doors of Perception The Doors. Proud Camden, The Horse Hospital, Stables Market, Chalk Farm Road, London, NW1 8AH 020 7482 3867; www.proud.co.uk 23 June-14 August 2011, admission free Proud Camden presents a photographic portrait of the Doors and their life on and off the stage. The exhibition brings us an exclusive insight into the evolution and final years of the band and their BOBBY KLEIN charismatic front man Jim Morrison. The images by Frank Lisciandro and Bobby Klein create a D-Lite-it Kits candid photo journal taking us through the Doors’ career in the 1960s and 1970s. Lisciandro’s capture the private life of the star. Klein was the band’s from £439 inc vat images have rarely been seen by the public. He met Morrison in 1967 and they became good friends; through this friendship he was able to first official photographer and created early publicity shots in California. Combining work from both photographers makes this show a must for all Doors fans. BXRi 2000 Islington, Peter Marlow: Point of Interest London. The Wapping Project Bankside, 65a Hopton Street, London SE1 9LR 020 7981 9851; www.thewappingprojectbankside.com Until 2 July 2011, admission free The Wapping Project is displaying a collection of Peter Marlow’s thought-provoking work this summer. The Magnum photographer has developed a body of work over 20 years consisting of thousands of contemporary images and this exhibition displays 27 colourful examples. Marlow’s photographs focus on less obvious subjects and ‘non-places’ that he has encountered. He says: “I go for photography that overlaysPETER MARLOW and enhances. By blending observation and wit with reason, I want my work to generate a sense of the BXRi Kits unexpected, the hidden and the seemingly spontaneous.” from £744 Burke + Norfolk: Photographs from the War in Afghanistan inc vat Tate Modern, Level 2, Park Street, Bankside, London SE1 9TG RANGER RX 020 7887 8888; www.tate.org.uk Until 10 July 2011, admission free Q UADRA British photographer Simon Norfolk and 19th-century Irish photographer John Burke are brought together in an exhibition at Tate Modern. Burke was one of the first people to take photographs of Afghanistan, travelling there Above: Afghan police receive shooting training from US during the second Anglo-Afghan Marines, Camp Leatherneck, war between 1878 and 1880 and Helmand, 2010 . capturing landscapes, cities and the inhabitants. The works prompted Norfolk to create a new series of photographs in SIMON NORFOLK 2010 by finding the same locations or modern equivalents. The images, shown alongside each other, draw comparisons about Britain’s involvement in the region over 150 years. Kabul, 2010. Quadra Kits FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk from £1143 inc vat
  • We studied at Saint Martins College, that’s where he caught my eye... When PP Editor Grant Scott was commissioned to shoot Jarvis Cocker for The Guardian Weekend magazine he not only broke his golden rule, but also asked the inevitable question: Who was that girl? It is a reasonably well-known fact that Jarvis Cocker studied film at Saint Martins shoot Jarvis (of whom I was a fan) but also to ask Jarvis Cocker photographed in Barnsbury Wood, Islington, in 2001 for the cover of The Guardian College of Art in Covent about the identity of the girl who had ‘a thirst for Weekend magazine. Garden. (Today the knowledge’ and whose eye he had caught. building, a former Because I thought I knew! banana warehouse, Anyway before the opportunity presented was called The Trees. The combination of this is an H&M store). itself I had to concentrate on the main matter in title and Scott Walker’s involvement led me He sang about it in his paean to posh girl hand and shooting Jarvis. Pulp were just about directly to two concepts for the shoot. love gone bad in Common People, for to release We Love Life and the shoot was to The first was directly influenced by the original goodness sake. But a much lesser-known promote the album. (It proved to be the band’s covers to Scott Walker’s albums of the 1960s fact is that I also studied at the prestigious final album, although this was not known at the on which he was photographed in a series of banana warehouse at the same time that time.) To make the shoot even more exciting for atmospheric close-ups. This was how I wanted to Jarvis and ‘that girl’ were there. me, the album had been produced by a hero shoot Jarvis; close with lots of grain in deep,GRANT SCOTT So when the chance came about to photograph of both mine and Jarvis’s, the legendary and muted colours. But it was at this point that I broke Jarvis thanks to The Guardian Weekend magazine reclusive Scott Walker. The first single from the my golden rule: ‘Never decide on the perfect I saw it as the perfect opportunity not only to album, which I got to hear before its release, shot before you start shooting or arrive at www.professionalphotographer.co.uk 25
  • the location’. To me and many others, Jarvisis known for his heavy rimmed glasses (just like “The afternoon of the shoot In person he was serious, reflective, friendly and intense. There was no hair, make-up or stylist,Eric Morecambe) and for his floppy fringe (justlike the lead singer of 1980s band A Flock was dry with muted light just just someone from the record company, and I suggested to Jarvis that we went for a walk andof Seagulls). It was these aspects that I knew as I like it and Jarvis turned just see what happened. In those days (this was inhad to be the picture. The Guardian wantedone of the images to be a cover so I roughly up on time wearing glasses, 2001) I was shooting on film with Hasselblads and on a Nikon F. Jarvis liked the look of bothsketched my idea. I would shoot Jarvis from thenose up! fringe and an oversized, and our conversation soon turned to influences, film making, our time at Saint Martins, cameras The second concept was for the location and over-loose knitted jumper... and all sorts of related stuff. As we walked andwas a literal representation of the first singleoff the album. I would shoot in a rural location In short he looked great and talked I snapped away. At one point a black cat walked across his pathand surround Jarvis with trees! Not original,clever or unexpected, but there you go. It was perfect for my Scott Walker and he bent down to stroke it while I continued to shoot images as free-flowing and unplanned aswhat I decided upon. The location concept was homage.” Grant Scott our conversation. We must have spent well over an hour together sitting, walking and snapping. He was intense but at the same time easy to photograph, interested in what I was doing but comfortable enough to let me just go about my business. As the time passed I completely forgot about my cover concept; I knew I had more than enough for the feature and the images had occurred naturally without artifice. We both agreed that the shoot and our conversation were over, shook hands and were in the process of saying our goodbyes when I remembered my ‘nose up’ cover concept. So I grabbed a Hasselblad with a 50mm lens on, took a light reading with the other hand and shot one frame. The shoot was over. Film processed and contact sheets edited, I sent off my chosen frames to The Guardian and a few weeks later over Saturday breakfast I was able to see the fruits of my labour. An extreme, high-grain, muted colour 35mm close-up ran across the first spread of the article, the second spread featured an image of Jarvis stroking the lucky black cat and the cover was the grabbed ‘nose up’ portrait. That cover portrait of Jarvis went straight intoapproved by The Guardian’s photo editor A black cat provides an impromptu moment during my portfolio and received more comments thanand the record label, but I kept the first concept the photo shoot with Pulp frontman Jarvis Cocker. any other image I had taken, or have taken since.to myself. Now I had to find the right trees. I cannot tell you how many times people have said: I put forward the idea of Wimbledon Common towards its upkeep saw me secure the location “Oh, you took that picture!” Sadly, the single andin south-west London and that was refused. I tried which finally met with approval. album were not the success Jarvis and Pulp hadHampstead Heath in north-west London and that The afternoon of the shoot was dry with muted hoped for and they broke up shortly afterwards.was also refused and then I had an idea. Just a light just as I like it and Jarvis turned up on time Oh, and the Greek girl? Well I asked thefew houses along from where I lived at the time wearing glasses, fringe and an oversized, question and gave my suggestion but I didn’t getin Barnsbury, Islington, north London, was a over-loose knitted jumper in what can only be an answer, only a rueful look. PPprivate and always locked garden/wood. A few described as an autumnal tone. In short he lookedcalls later and the promise of a cash donation great and perfect for my Scott Walker homage. www.grantscott.com GRANT SCOTT 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 talkaround a subject featured in the magazine. We post them on our website and you can subscribefor free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online.THIS MONTH’S PODCAST April 2011 Issue professional advice could reap rewards and askJune 2011 Issue GETTING YOUR WORK EXHIBITED if current photography students are aware ofTHE BEST OF BRITISH PHOTOGRAPHY The regular PP podcast team discuss the the importance of business skills when choosingPP Editor Grant Scott and deputy editor world of exhibitions. As curator and exhibitor a career as a professional photographer.Eleanor O’Kane are joined by regular columnist respectively, Grant and Peter share theirand photojournalist Peter Dench to discuss experiences and the team discuss the right January 2011 issueour Best of British list which starts on page 54. way to make an exhibition of yourself. ICONS OF PHOTOGRAPHYThe team look at some of the great names of Grant, Eleanor and Peter discuss the importanceBritish photography through the decades, discuss March Issue 2011 of learning from the masters, and debatetheir own personal favourites and ask why THE PERSONAL PROJECT SPECIAL the point at which they believe a photographersome periods have seen a proliferation of great The team grapple with the importance of becomes an icon. They talk about theirBritish photographers. creating personal projects for sustaining and personal favourites and explain why their developing a photographer’s career. Should a choices deserve iconic status.AND THOSE YOU MAY HAVE MISSED… photographer approach the project in theMay 2011 Issue same way as a commission or adopt a different December 2010 IssueCONVERGENCE AND THE FUTURE tack? They look at photographers who PHOTOGRAPHIC COMPETITIONSOF PHOTOGRAPHY have got it right and discuss whether there The regular podcast team discuss the world ofThe team discuss the impact of HD DSLR are too many introspective projects. competitions, the contentious Taylor Wessingfilm making on the world of professional Photographic Portrait Prize and whether there isphotography. With many photographers now February 2011 Issue such a thing as a formula for winning.being asked to shoot video, the team focus THE BUSINESS SPECIALon areas that pose problems for some stills The regular podcast team talk tax, finance and You can subscribe for free and download thephotographers, such as narrative, sound and the marketing. They ponder whether possessing podcasts from iTunes by typing professionalediting process. We also look at how stills business and photography skills go hand in photographer into the search tab or listen viaphotographers are reacting to this new world. hand, discuss potential areas where seeking www.professionalphotographer.co.uk. PP28 www.professionalphotographer.co.uk
  • dispatches Clive Booth tales from the frontline of professional photography “And now for something completely location manager, two unit drivers, two runners, different!” Not Monty Python but something myself and my assistant Roger Richards. equally British and eccentric, my agent Having never shot bunnies before (at least not Mark George. He was on the phone with a camera) I’d deliberately kept the equipment attempting to explain a project for the as manageable as possible: one Canon EOS-1D global fashion brand H&M. “You have two MkIII and an EOS-1D MkIV complete with 14mm days to photograph more than 100 black f/2.8, 24mm f/1.4, 35mm f/1.4, 50mm f/1.2, 85mm satin bunnies with fluffy white tails in a total f/1.2, 135mm f/2L USM and, unusually for me, a of 18 famous landmarks in and around 70-200mm f/2.8 L series telephoto zoom. central London.” I was all ears. One of the joys Thursday 21 October: the light was great; hazy of our profession is not knowing what’s next; sun, not too bright and quite diffused. I couldn’tThis month: the unpredictability, unexpected, the absence of routine, the ever-present feeling of not knowing what’s just around the next corner – and neither of have wished for better. With all this collective experience I chose to jump in and just react to the locations and make very quick choices as to whereA commission to shoot us could have predicted what was around this one. the light would be most interesting while still giving Hennes & Mauritz (H&M) is a Swedish the environmental and architectural clues requiredscores of black satin retail clothing company, known for its to help identify the locations. Trusting this job tobunnies in 18 different fast-fashion clothing for men, women, teenagers and children. Established in 1947, H&M has instinct I was drawing on my years as a graphic designer/art director first and photographer second.London locations grown into a multi-billion dollar global fashion brand with more than 2,000 stores in 38 markets It took exactly 20 minutes to shoot the first two bunnies at the London Eye, hand in hand as therequires teamwork on four continents, and in excess of 80,000 employees. The bunnies’ role was to create early morning sun warmed Europe’s tallest Ferris wheel and symbol of modern Britain.and collective experience, awareness of the launch of H&M’s new London Home store in Oxford Street. The brief was With the first bunnies in the bag (so to speak) we moved onto the Royal Festival Hall. Not myas Clive discovers. simple: photograph them at various London favourite location but there wasn’t time to spend landmarks using unusual angles, depth of field contemplating the finer points of this 1951 and abstraction to give hints as to their location. Grade I listed modernist structure, juxtaposed These pictures were to be published in the fashion with black satin post-modernist bunnies with fluffy press and posted on the H&M Facebook page for white tails. Waterloo Bridge opened up the shoot to members of the public to try and figure out their slightly quirkier and, in some ways, more sinister whereabouts, then rush to find a bunny, complete bunnies; a row all in shadow seen from the with silk bow and £20 H&M Home voucher. ascending stairway under the gaze of a security Our initial reaction was concern as to the camera. Then tragedy struck as first one bunny, sheer number of locations and tightness of time then another, jumped from the bridge. Whether they involved in which to deliver quality pictures. actually jumped or simply hopped off is still open to These concerns were very quickly dispelled by speculation, but I like to think that there’s now a Anna Whiting of Gainsbury & Whiting. Anna and thriving community of black satin bunnies out there Sam Gainsbury represent Ruth Hogben, Nick somewhere in the London boroughs – or should Knight, Steven Klein and Sam Taylor-Wood, that be the London ‘burrows’? whose creative production portfolio includes, The South Bank and the Tate Modern offered among others, Alexander McQueen, Louis opportunities for impromptu bunnies relaxing in Vuitton, Kate Moss for Top Shop, Emporio pairs on the Millennium Bridge and soaking up Armani and Lancôme. The call sheet reads like a the sun, then lining up for group shots in front of Who’s Who of British fashion, film and drama, St Paul’s Cathedral. Two sat outside the Tate including Sam Gainsbury, Emmy award-winning and queued to see the Gauguin: Maker of Myth and Bafta nominated production designer Joseph exhibition. It’s possible that they may have Bennett and location manager Richard Blackburn mistaken this display of work for that of CLIVE BOOTH (Death at a Funeral and The Comic Strip Gauguin’s friend Vincent van Gogh, and were Presents among others). Our team numbered 13 eager to see his notable work Field with TwoAbove: A lone bunny quietly contemplates life. in total – four production, two art department, one Rabbits – presumably members of the30 www.professionalphotographer.co.uk
  • “One of the joys of our profession is not knowing what’s next;the unpredictability, unexpected, the absence of routine, the ever-present feeling of not knowing what’s just around the next corner.” Clive Booth Above: Two bunnies sit hand in hand, watching the sun rise over the London Eye. Left: A group of two-foot tourists form a line-up at Marble Arch. “It took exactly 20 minutes to shoot the first two bunnies at the London Eye, hand in hand as the early morning sun warmed Europe’s tallest Ferris wheel and symbol of modern Britain.” Clive Booth www.professionalphotographer.co.uk 31
  • dispatchesTop: Shadowy figures enjoy a high-rise view of St Paul’sdome. Above: The bunnies stop at the South Bank totake in the sights at Battersea Power Station.contemporary art, thought and discussioncommunity ArtRabbit (dot com). They must havebeen Tate Modern regulars as no one batted aneyelid at their presence in the queue. Still on foot we headed to HMS Belfast, butas guns and bunnies don’t mix we didn’t linger,but kept going until we reached the southembankment walk leading to Tower Bridge.Here we met our first major obstacle in the formof a dark suit, horn-rimmed glasses and a securitypass. I have met many such obstacles whileshooting in London but thanks to Gainsbury andWhiting, this time we had an antidote in theform of location manager Richard Blackburn.Richard’s encyclopaedic brain contains knowledgeof all the places where a photographer or filmmaker can and can’t shoot in and around the Our path now clear we moved onto capture Cards full, we headed to the production andcapital – and quite possibly the rest of the world. probably one of the most spectacular moments of art department vehicle. This long wheelbase For every question he had an answer. He was like the two days as more than 50 bunnies took to the air Mercedes, complete with wardrobe room, privacythe location finder’s equivalent of a TomTom, fully – not towards the Thames this time but skyward, glass, lots of comfortable seats, a table and aloaded with HD Traffic, local Google search and with the aid of the entire crew and the 10 frames per mystical Wi-Fi connection, was like some kind ofspeed camera alerts. The minutiae of Richard’s second motor drive of the Canon EOS-1D MkIV . Harry Potter-style office that was always aroundknowledge was astounding – “You can shoot on that Shooting bursts of nearly 30 frames at a time I the next corner, or wherever you were wheneverblade of grass over there but not this paving slab recorded the black, white and sky blue display as you needed it. With the laptop ever on and CLIVE BOOTHhere.” A fairy godmother in a fleece with only a the bunnies reached incredible heights; all the time Aperture ready to gobble up the cards, I couldMoleskine to defend himself, he was our David to making sure that recognisable landmarks were still edit and perform simple post-production with thethe Goliath of this suited institutional impediment. in frame. help of the Wacom Intuos4 tablet and pen and32 www.professionalphotographer.co.uk
  • “As I shot with an 85mm lens at f/1.2 with an angle finder at foot level, the commuters and bunnies seem to merge into each other with the barely recognisable form of Big Ben in the distance.” Clive Booth Above: Only the abstracted neon signs offer a clue as to the whereabouts of these three weary bunnies. Left: The long-eared sightseers get in amongst it outside the National Gallery. Square while commuters walked among them. As I shot with an 85mm lens at f/1.2 with an angle finder at foot level, the commuters and bunnies seemed to merge into each other with the barely recognisable form of Big Ben in the distance. If day one had seen the bunnies adopt certain human characteristics, day two witnessed their complete transformation, as Joseph Bennet – a modern-day Geppetto – and his assistant Sam Wise breathed not only life but personality into the long-eared, satin-clad, furry-tailed home gifts. They had become bookworms at the British Museum, canoodled in Covent Garden, taken taxis to Notting Hill, perused the Portobello Road and chatted on the Chelsea Embankment.upload my images, via the Apple MobileMe Doctor Who episode, The Order of the Back on the magic bus I uploaded the finalGallery, straight back to Gainsbury and Whiting Lagomorpha maybe? gallery and we pored over the laptop smiling at– and in turn to H&M. Day one finished at Piccadilly Circus, where the results from our fun-filled bunny bonanza. PP Back on the street, and after hordes of our three weary bunnies were photographed sitting onlong-eared visitors had been photographed the steps of the Shaftesbury memorial fountain – To see more bunnies visitmaking a silent vigil outside the Love and Vogue in close-up, with only the abstracted bright www.clivebooth.co.uk/h&mbunniesmagazine offices – and following a pleasant colours of the neon signs in the background tointerlude with a bemused drunk in Soho Square give the necessary clue as to their location.– we headed to Hyde Park Corner. Twenty-five After 12 coffees and 50 carrot juices, day two GO ONLINE FOR MORE DISPATCHEStwo-foot tourists lined up to watch the sun set on started outside the National Gallery where tens of FROM CLIVE BOOTHMarble Arch, looking like a still from some future bunnies sat and patiently watched over Trafalgar www.professionalphotographer.co.uk www.professionalphotographer.co.uk 33
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  • the dench diary Left: A bikini-clad woman drinks a Smirnoff Ice at Hellshire beach, near the Jamaican capital of Kingston. 2nd I’m standing behind the bar at the Red Lion Hotel in This month award-winning Southall, West London. It’s not a change of career, I’m here photojournalist Peter Dench for the One-Day Cricket World Cup final between India and Sri Lanka. The match is being played in Mumbai, finds himself hustling for India. On 24 September 2007 I was in a Mumbai hotel watching the World Twenty20 Cup final between India and drinks on a flight to Jamaica, Pakistan being played in Johannesburg, South Africa. I was on assignment for Telegraph magazine documenting the treads the red carpet at launch of Vogue India. I’d just flown back from Jodhpur and a remarkable night at the golden yellow, Art Deco, the Sony World Photography Taj Umaid Bhawan Palace, home of the current Maharaja. Awards and brushes off his I was originally booked to stay at a more modest venue but was informed that no, I was to stay at the palace itself. suit to shoot a very important En route to relocate, I passed German fashion snapper Juergen Teller. (He didn’t remember me from the two days wedding. It’s all in a day’s cutting up and stacking contact sheets at his studio in 1997). I worked and partied hard under the Rajasthani night work for our sometime sky as the rhythmic sounds of superstar DJ Donna D’Cruz musically massaged the buttocks of the models, Bollywood working pro... stars and fashionistas dancing in the lush 26-acre gardens. The Twenty20 final was won by India and the Mumbai Above: Specially-inscribed bottles streets were rammed with crazed fans delaying my arrival of Moët are served by waiters who at the airport to within a chapati of departure. The 200 or so outnumber the guests at the Indians wedged into the Red Lion are also going crazy after Vogue India launch party, hosted at the Taj Umaid Bhawan Palace in India’s triumph today. I’ve been photographing on and off Jodhpur, Rajasthan. in Southall for years and today was another opportunity to add to the project, where a man with a camera would be welcome. I even got to drink for free. 4th It’s 2pm. Sitting in the lobby of BBC Television Centre I keep an eye on the revolving door for Tanya. Tanya describes herself as blonde and wearing a striped red scarf. She is correct. We are to shadow Newsnight presenter Mishal Husain for eight hours to run as aPETER DENCH feature in Stylist magazine. I’m looking forward to the Left: Sky Sports cameraman Dan next eight hours – a chance to strike up a rapport with Reston and Peter Dench enjoy a Mishal, watch the buzz of a newsroom develop and shoot beer on Hellshire beach. www.professionalphotographer.co.uk 35
  • the dench diary Above left to right: Superstar “I was hoping to get fed and watered sing along with UB40’s Ali Campbell. Plug adapter – check. Bug spray – check. “There are wonders for everyone. DJ Donna DCruz, voted one of Americas 50 most beautiful by the BBC PR so I’m unprepared. The stars shine so bright, but they’re fading after dawn. people, plays to the crowd at the launch of Vogue India on the lawns There is magic in Kingston Town.” Tomorrow I fly out on Tanya suggests a long lunch, which assignment to Kingston for Telegraph magazine to shoot in front of the Taj Umaid Bhawan Palace in Jodhpur; A model in would be nice, but I’ve been let down reportage at the premiere of Fire in Babylon, a documentary on how the West Indies cricket team triumphed over its a striking pink, tight-fitting dress dances to the sounds of on a January invoice and only have colonial masters through the achievements of one of the Donna DCruz. £5.80 in my pocket.” Peter Dench most gifted teams in sporting history. I look forward to receiving my share of the “…wonders for everyone” and tap a quick search for Kingston into Google. “In a holiday idyll, a concise set of images. After a few frames during a coffins are filled faster than they can be buried with the 10-minute interview and a few more during a coffee bodies of young men dragged from their homes and shot by meeting, I find myself back on a wind-whipped street in police. They killed 382 Jamaicans last year alone.” the Westfield Shopping Centre. We’ve been advised that (MailOnline). Ah... combat trousers – check. Non-slip nothing much will happen until around 6pm, so we should running shoes – check. go off and find something to occupy our time. I was hoping to get fed and watered by the BBC PR so I’m unprepared. 8th Flying Economy on a nine-and-a-half-hour flight needs Tanya suggests a long lunch, which would be nice, but I’ve a plan, and the plan is to drink. There’s no photography to do been let down on a January invoice and only have £5.80 in when I land so I initiate a strategy that starts by changing my my pocket. I make my excuses and head into The Defectors seat online to one right at the back of the plane. The back Weld, trade in my cash for a large Tempranillo and a bag of usually has empty rows and is nearest the bar. Upon boarding Mini Cheddars, and sip out the hours in a corner with the newspapers. Back at the BBC I shoot for several minutes in hair and make-up and six on set at rehearsals before the show airs live at 10.30pm, then I’m turned out to catch a late tube home. 6th This morning I’m booked in for a prostate cancer check. I’ve been told this is a simple blood test. I have been grossly misinformed. 7th Linen trousers – check. Sun cream – check.PETER DENCH “Oh Kingston Town. The place I long to be. If I had the Left: The Fire in Babylon premiere whole world, I would give it away, just to see the girls at and party at the Courtleigh play. Ooh, ooh, ooh.” Packing for Jamaica, it’s hard not to Auditorium in Kingston. www.professionalphotographer.co.uk 37
  • the I say hello to the stewardesses; I’m dressed reasonably smartly and show that I’m reading TIME magazine. The disadvantage of sitting at the back is that you’re served the door. It’s Sky Sports cameraman Dan Reston, also in Kingston reporting on the premiere. Dan has befriended a couple of locals who are willing to take us out for the day.dench last, so I stutter a soft request for a few cans before they start service. As the two aisle trolleys back unevenly towards me I shuffle across a row to the one arriving first, then back to Hesitation, a glance at the 30°C sunshine, a quick raid of the fridge and I’m swinging my man bag into the back of our ride. First stop Hellshire – not a county inhabited solely bydiary the other to double my quota, then ask for two drinks with my dinner and anyone not drinking nearby to request a red wine in return for my pudding. Job done I assess the haul and embark on a kind of Gulliver’s Travels through the mini Daily Mail readers, but a gorgeous beach where we feast on freshly-caught fried lobster and watch the locals ride horses and deal with wayward freshwater crocodiles. Thirteen hours after leaving the hotel and a last stop at Club 38, where I’m keen for a nightcap. Cool cut receptionist Stephanie informs me, “The bar’s closed you’ll have to order room service.” Back in my room I dial. “Hello, room service, Stephanie speaking.” “Four Heineken please.” “Would that conclude your order?” “Yes Stephanie, it would.” 20th I’m in my home town of Weymouth on an Easter break with my six-and-a-half-year-old daughter Grace. It’s a glorious day. We paddle in the sea, spend pennies in the arcade, ride on Sparky the donkey, row in a boat and hook for crabs. In the evening I give Grace a bath and wash her hair. She chooses Green Eggs and Ham by Dr Seuss for a bedtime story. Exhausted and content, she slowly fades to sleep. At some point during the day a mortar fired in Misrata, Libya, ended the life of photojournalist Tim Hetherington – a friend of mine, as he was of many. I give Grace an extra cuddle and turn off the light. I’ll miss you Tim. 27th A line of snappers snake past me – some are smirking. At the front of the line are two women in gym wear – one is carrying a Frisbee. It looks promising so I join the end. The line arcs to a halt in front of the magnificent fountains at Somerset House. The ladies stretch and bounce. One does a star jump, then practises yoga. The snapping is frenzied.Above: The gorgeous Digicel cellar while watching The King’s Speech and The Fighter. A reflector is unfolded. Assessing the scene I suspect I’mpromo girls at the Fire in Babylon During the flight I meet Telegraph sportswriter Simon Briggs in the middle of an iRob photo workshop. I retreat topremiere and party. for the first time. We are both horrified to discover that the comfort of Tom’s Kitchen and the sun terrace, where I we’re booked to share a room. Perhaps the PR company cleanse my palate with some Prosecco and munch my organising the trip read the MailOnline article and thought way through a crayfish tail, watermelon, basil and spiced we’d be safer together. In my 13-year career I’ve only had peanut crumb salad. I’m at the new home of the 2011 to share a room with a writer once, and that was one that World Photography Festival which is bustling with portfolio I had worked with on many occasions and with whom I had reviews, seminars, talks and workshops. Tonight is the become friends. Checking in at the hotel, after one effective Sony World Photography Awards presentation at the Odeon tantrum from Simon, I find myself staring at the ceiling from cinema, Leicester Square. Having placed second in the the queen-size bed in a room of my own, and reflect that my advertising category 2010 and treated myself to an last act of intimacy was with the index finger of my GP. eyewitness trip to Cannes, I’m keen to see how successful the relocation to London has been. A ticket was promised 9th The day is spent at Kingston Cricket Club by post for tonight. It didn’t arrive. The PR has assured me photographing West Indies legends Michael Holding and it will be available for collection at the Odeon. It is. I’m not Colin Croft before attending pre-premiere evening drinks where I’m seeing red – lots of red. Scarlet drops of pure Jamaican beauty pulse through the bodies of the Digicel promo girls. Eavesdropping on eager ‘man’ conversations I discover that they all appear to share the same name – ‘Hello I’vegotaboyfriend’. The evening passes in a throb of Caribbean colour and cocktails before heading off to Club Fiction to party alongside sprinter Usain Bolt and former West Indies cricket captain Chris Gayle. 10th After a morning portrait for the Daily Telegraph of PETER DENCH Sadiki Bolt (Usain’s brother) at the Melbourne Cricket Club,Right: A photography workshop atthe World Photography Festival at I return to the hotel to work on the digital files, which areSomerset House in London. required the day I land back in the UK. There’s a knock at38 www.professionalphotographer.co.uk
  • Improve your photography The Original Ringflash Adaptorfor hot-shoe flash unitsThe RAYFLASH Ringflash Adapter is unique! It was designed to create the same lighting effect normally only available from studio flash Only equipment manufacturers. The RayFlash fits onto the front £129 +VAT of Nikon SB600/800/900 & Canon 580EX and EXMKII units, but it is also compatible with many other flash units from Metz, Olympus, Nissin, Sony and Sigma.The RayFlash reduces the light output by only one f-stop! Get the “Fashion Look” without heavy, expensive studio flash units. © Airy Goullet No hard, visible shadows in horizontal or vertical shooting mode. Lightweight and portable for use in studio or on location. Use as main light or fill-in for fashion, beauty, portrait, weddings, glamour. Perfect for Macro photography. More powerful than any macro ringflash. Easy to use in TTL or Manual. Real Battery powerTurn your flashgun into a real pro toolQuantum are the leaders when it comes to powering FOR ORIGINALSportable flash units! These are the latest hi-techmodels to be introduced:TURBO 3 1050 full power flashes at one secondrecycling.* The Turbo 3 can also power many Canon &Nikon DSLRs! 5 hour continuousvideo recording! TURBO SC 400 full power flashes at 1.4 second recycling.* TURBO Blade 400 full power flashes at 1.4 second recycling.* *with 6v flash unit, for example Canon 580EX & Nikon SB800/900.Sensor Cleaning safe & easyContact-free CCD & CMOS sensors in digital camerasVacuum Action with interchangeable lenses need cleaning! GREEN CLEAN has the solution! Safe and contact-free “MiniVac” dust removal vacuum system. Removes dust from sensor without touching the surface. Also removes dust from mirror box and rear lens barrel. Hundreds of cleaning actions. Kits from £27.50 + VATdigiCOVER Protection for your LCD screendigiCOVER make a range of custom-fit, transparentprotectors for LCD screens on DSLR and digitalcompact cameras. They protect your screen fromscratches and abrasions with NO loss of contrastor brightness. They are also Residue Free!Fully compatible with all touch-control screens. Contact the importer for full technical details, prices and AWARD-WINNING MUSEUM QUALITY PAPER list of dealers: info@flaghead.co.uk or tel: 01202 733123 www.flaghead.co.uk
  • thedenchdiaryRight: A man reads his copy ofThe Sun on the day of the RoyalWedding. “I peer blearily into the mirror, remove my grimace and button my Paul Smith suit. Ding dong... today this photographer is going to shine.” Peter Dench VIP enough to qualify for the after-gala dinner at the Jerome Weatherald scans the table plan for the 500-plus InterContinental hotel, Park Lane, honouring Bruce Davidson, guests and checks the company at his allocated number, 52. but ask to attend anyway. The PR must be impressed with the Dissatisfied, he opts instead for table 40 and wedges in for the man I’m standing with and presents me with a ticket for a evening between renowned photojournalist Tom Stoddart guest who’s dropped out. “Tonight Mathew, I’m going to be and image producer Caroline Cortizo. Also at the table are producer of Radio 4’s Front Row show, Jerome Weatherald.” photographer Steve Pyke, his son, journalist Sean O’Hagan, My congratulations to the winners; however, on such a Jon Jones, Monica Allende and Patrick Llewellyn from dappled evening I decide against sitting through a ceremony the Sunday Times, Astrid Meget from the World Photography where I’ve won nothing and reverse up the red carpet towards Organisation and other luminaries. It’s been a culinary day. the Moon Under Water J D Wetherspoon pub. “Hey Mr We elbow clack into plates of Cotswold beef, rolled sirloin Dench!” I turn and pose for the pap. It’s photography student with asparagus and fresh horseradish sauce, Korean spiced and Dench Diary reader Chris Butchart. Chris has been beef tartar and steak bitok. Looking round the table it’s a jolly, drafted in to ‘fake pap’ the guests. His fee is a pass to the if little cramped, affair. festival events. Settling down with a white wine spritzer I’m joined by photography double act Palmer and Pawel who have 29th I begin shooting a two-day assignment for the Telegraph placed third in the sports category – and are also of the magazine – reportage on the Royal Wedding. After an intense opinion that a bit of alfresco drinking is preferable. We sip and and surreal time shooting eclectic characters camped alongBelow: Ben Fowler (left), 26, and chat while the Brent Carpet Company Ltd rolls up the red, the wedding route I meet Simon Roberts for drinks. Simon isWilliam Fox-Staeton, 27, picnic inParliament Square on the day of which is still warm from the soles of world photography’s also contributing to the Telegraph’s Royal Wedding souvenirthe Royal Wedding. VVIPs. Arriving at the InterContinental the hungry and thirsty special. As we catch up, two girls from the suburbs join us at our table. They have been in town trying on wedding dresses and, I suspect, have had a few drinks along the way. Simon is tickled with peacock feathers. I have a mug of salted cashews tipped on my head. It’s been that kind of day. I pop a cashew in my mouth and we say cheerio. 30th OMG!!!!!!! It’s finally here, the big day. What shall I wear? In the dawn light I peer blearily into the mirror, remove my grimace and button my Paul Smith suit. Ding dong... today this photographer is going to shine. PP www.peterdench.com You can hear Peter in person each month on the Professional Photographer podcast, available on iTunes PETER DENCH or on our website at WWW.PROFESSIONALPHOTOGRAPHER.CO.UK40 www.professionalphotographer.co.uk
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  • [ 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 WATCHTHE BICYCLE CITYThe Bicycle City is one of my most excitingfinds this month. This is a trailer of anup-and-coming feature documentary bydirector Greg Sucharew. The film tells thestory of how non-profit Pedals for Progresshas transformed lives in a war-ravagedNicaraguan city. Spending two months inRivas, Greg and his crew were armed with aPanasonic AG-HPX170 (a solid state videocamera) and a Canon EOS Revel T2i EF-S(a DSLR). Although the AG-HPX170 had allthe benefits of a camcorder, the T2i had theadded bonus of being able to change lensesand shoot high-resolution video, as well as The Bicycle City.the ability to capture stills while shooting.The DSLR soon became the primary camera,with the 170 resigned to capturing audioand shooting B-roll. The Bicycle City reallyis a heartwarming story about the people ofRivas and the DSLR. I can’t wait to see thefinished film.www.thebicyclecityfilm.com The Bicycle City.BOXED MANMerlyn Haycraft’s film Boxed Man is a with evidently much effort having gonehigh-concept short piece revolving around into the grading. This is definitely onethe theme of humanity boxing itself in through to watch! Keep an eye out for this Davidtechnology and its man-made environments, Lynch-inspired film maker, as he definitely project to get Palestinian youths who aresuch as office blocks and tenements, as well has what it takes. refugees in Lebanon and Jordan involved inas packaging taking over our personal space. www.vimeo.com/20624813 DJing and rapping, giving them new skills,Shot on DSLRs, technically this film is very a window on the wider world and a chance towell put together. The cutting style adds to TURNTABLES IN THE CAMPS express themselves. The film has some greatthe ‘boxed world’ feel, with a great deal of Much of my work is in community film time-lapse sequences too. Its maker wantsattention paid to symmetry. It’s good to making, so I have a real appreciation for what people to spread the word about the film andsee that this short has focused a lot on Simon Weyhe has done in making Turntables the project, so here goes... Check it out forcomposition. The overall look is perfect, in the Camps; an explanatory short detailing a yourself at www.vimeo.com/1982916644 www.professionalphotographer.co.uk
  • KIT & SOFTWAREA stable tracking system is essential for achieving fluid motion /////////WHAT’S NEWshots. Filming a smooth tracking movement cannot be done using BITE-SIZED FILMhandheld techniques. But depending on what you are trying to track, A five-minute viral ad shot onthere is a wide variety of systems out there. the Canon EOS 5D MkII made by American dental practiceB.HAGUE CSLID CAM-SLIDE software company DentrixThe B.Hague CSLID Cam-Slide linear has proved a hit on YouTubecamera tracking system has a very and a smart publicity move.simple and quick setup – ideal if you This quasi-comedy focuses onhave to be in several locations in a short the assassin-like methods of the Dental Enforcer, whose jobspace of time. Although you can’t make it is to make repeat offending no-shows and reschedulerslong fluid tracking motions due to the see the error of their ways. Over the top in all the best ways,fact that the rail is only 1m long, you can and a lesson for any company in how to harness thecreate small movements that will really accessible and cheap powers of DSLRs and the internet forpush your production values up at very little cost. Excellent for low shots, the far-reaching communications.bonus is that this system can be mounted on any sturdy tripod or (and here it www.youtube.com/watch?feature=player_embedded&v=eesdoes beat conventional tracking systems) you can have it resting on a table or YO06cUKk#at=11lie it in a doorway (the latter generally requires a special tracking systemcalled a doorway dolly). The system is supplied with a ball levelling head, but if WHO’S SHOOTING ON DSLRS?you prefer you can use the one from your own tripod. Both 1/4in and 3/8in There’s so much going on in the world of convergence that it’sthreaded heads can be attached to the carriage, or you can mount the camera worth doing a quick round-up of all the latest exciting news ondirectly to it. As this system weighs only 1.5kg it is light and portable, making it who is using DSLRs to shoot mainstream projects. Fanboy favegreat for moving from location to location and at only £203 is worth every Doctor Who, small-screen sensation Jamie Oliver’s Jamie’spenny. www.professionalphotographer.co.uk/0687 30-Minute Meals and HBO vampire show True Blood have all adopted DSLRs for certain situations and shots, while the station idents on 5USA were shot entirely on Canon EOS 5Ds.WALLY DOLLY With all the new gear and technology coming out of the recentInvented by Australian cameraman Wayne NAB Show in the US, there’s sure to be an explosion of DSLRWaller, Wally Dolly was first introduced by film making in TV and movies this year.PROKIT in 2001. The basic kit has quicklybecome a standard for a lot of cameramen DAN CHUNG’S RESPONSE TO JAPANESE TSUNAMIshooting solo or with a very small crew. Ideal for Last month I highlighteddocumentaries and corporate film making, this kit is Guardian photographerextremely quick to set up and break down and has always and videographer Danperformed well. This is usually my ‘go to’ dolly if I know I’m going to be in Chung’s recent film workseveral locations on the same day, or that I need to be in and out of somewhere from Japan following thefast. Although it only weighs 8kg it is really robust. I have set this track up in less earthquake and tsunami.than two minutes. Unlike aluminium tracks, which take a lot more time and Since then debate hasthought to put together, the Wally Dolly allows for spontaneous setups – great for been raging on thedocumentaries. This package comes with three metres of track, a T-frame dolly internet about the valueand a soft padded bag. Coming in at around £2,000, this dolly is tops. of his film and thewww.professionalphotographer.co.uk/0695 presentation of disasters in the media. Dan has hit back in an open letter to his critics, explaining his standpoint for creating real topical films. “The whole piece is honestly theDIGIDOLLY closest I could bring you to what it felt like standing in thatFor a more traditional tracking system the Digidolly is a great lightweight place. It’s one thing I’ve found hardest to do in video and toportable track dolly. Its design allows you to mount your camera and judge from some of the comments, perhaps I have nottripod onto the dolly, making for smooth fluid movement along its tracks. succeeded. I am not seeking to manipulate the viewer or toThe one-metre lengths of track connect seamlessly, thus alleviating tell them how to feel – I am trying to convey how it feels to bebumps in transit as the dolly crosses the connections. The bonus of this there. Yes, it is uncomfortable looking at the ruins of people’ssystem is that you can make the track as long as you need it by just lives. If a disaster doesn’t make you feel uncomfortable thenadding further sections. Like the Wally Dolly, the system was designed by you are not human… Some of the commenters seem to thinka cameraman; one with 17 years’ experience in filming travel shows and I am using news as an opportunity to make art. It is thedocumentaries. He needed a dolly system that was robust, quick to set up opposite. I have been covering news for a long time and ityet lightweight, so as to facilitate easy transit from location to location. frustrates me that people do not respond to it. I am trying toThe basic kit costs £1,375 but you can also add a Digidolly stand-on plate use cinematic techniques to make people connect to and careand push bar, which allows you to be pushed along the system by an about news, not using news as an opportunity to makeassistant, giving you complete control over focus and camera movement. cinematic pieces.’ To see his full explanation, go towww.professionalphotographer.co.uk/0648 www.dslrnewsshooter.com www.professionalphotographer.co.uk 45
  • O U R Liz O. Baylen: Born in 1979, she graduated from Ohio University’s School of Visual Communications in 2001 and began working for The Washington Times. She has covered assignments around the world and was selected as a finalist for the Pulitzer Prize while with The Washington Times. Most recently, her images have appeared in several major newspapers.W O R L D Photo data: SIGMA 24-70mm F2.8 IF EX DG HSM. 1/800 second exposure at F5.0. LIZ O. BAYLEN SHOOTS THE WORLD WITH A SIGMA LENS.An unusual scene captured by a Sigma lens - croquet in New York’s Central Park!This photograph was captured by a Sigma lens, a large aperture standard zoom lens optimised for full-frame digital Available for Sigma, Canon, Nikon, Sony, and Pentax camerasCompact, large aperture standard zoom lens featuring an HSM system and optimised Matched lens hood and fitted for full-frame digital SLR cameras. padded case included. SIGMA 24-70 m F2.8 IF EX DG HSM m www.sigma-imaging-uk.com E-mail: sales@sigma-imaging-uk.com
  • {PAUSE FOR THOUGHT}“I hope to stay unemployed as a looking to make their mark, to go out and tell stories.war photographer till the end of The commercial worlds of fashion and celebrity had previously been the genres thatmy life...” attracted young photographers like moths to a flame. Now those once-attractive ways to make money seemed shallow and filled withSo said Robert Capa, a man who lived life to compromise to those with a more serious moral intent informed by the images they were seeing. These new photojournalists had their own newthe full and who died when he stepped on heroes; they no longer looked towards Capa, W. Eugene Smith and Don McCullin. Instead theya landmine in 1954. His life and work came looked to Kevin Carter and Tim Hetherington. Tim was born in Liverpool. He studiedto define that of the war zone photojournalist. literature at Oxford. He had paid his dues working in West Africa for eight years. Tim wasAfter Tim Hetherington’s sad death in Libya committed to storytelling, exposing injustice. He was open to new ways of communicating,PP Editor Grant Scott reflects not only on Tim new platforms, new ways of engaging an audience. Tim was a photographer, a cameraman,but also on the growth of this most dangerous a director, but above all he was a storyteller, as was clearly seen in his Oscar-nominated filmarea of photographic storytelling. Restrepo. If you only know him from this and not through his photographic images, bear in mind that as well as that Oscar nomination heI first heard the news as I walked home from saw the world’s photojournalists kept at arm’s won four World Press Photo prizes, including thethe office, via a text from Jon Levy, a close length from the action. Big Brother was making World Press Photo of the Year 2007, and thefriend of Tim’s, an old friend of mine and sure that we only saw what he wanted us to see. Rory Peck Award for Features in 2008. As I said,founder of Foto8 magazine. Back in 2001 Jon The cry was that photojournalism was dead. Tim paid his dues.and I had worked in an office not much wider War was now technological; it was clean, Tim was not a blood and guts, explosionsthan a corridor, in Great Portland Street, in decisive and did not need to be photographed. kind of a photographer. He was considered,the West End. We were trying to produce Foto8 And yet conflicts such as those in Nicaragua, inquisitive, questioning. His images of soldiersand Tim rented the tiny room off of ours. Chechnya and South Africa were producing sleeping are portraits of war, men at war; theyIt contained a desk and a couch; not much more. Pulitzer Prize winning images. These were cross boundaries and categories. They are quietlyTim was rarely there. Tim was on location. dangerous places to be armed only with a camera powerful. Tim wanted to look deeper and yet he The message from Jon said: “Horrible news and a few rolls of film, and photographers were lost his life under fire – a photojournalist amongfrom Libya today. Tim Hetherington reported paying the price for their bravery. Read The his kind sheltering against a wall as mortar firekilled.” It was one of those moments that stops Bang-Bang Club, watch Shooting Robert King came in.you in your tracks. I knew of Jon’s friendship and look at the images created by Tim’s death is news and it should be. His deathwith Tim. They had recently spoken for this Susan Meiselas in Nicaragua to see the proof. is a terrible waste of a life but I also feel for allmagazine about their sense of male camaraderie It was with the invasion of Iraq in 2003 that those photographers who have not won awards,and photographic experience. That was just Gil Scott-Heron’s belief that “the revolution will whose work has not appeared in Vanity Fair, whoseven months ago. It had been a cover line and not be televised” was proven to be an invalid are working in Libya, Syria, Afghanistan and thenow Tim’s name had become a lead news story. prophecy. The world sat and watched as the other war zones of the world without contracts orI went online and tapped ‘Tim Hetherington’ into monolithic statue of Saddam Hussein in representation. I fear for their safety. For ChrisGoogle. The news was not good and as the Baghdad was pulled down and beaten with Hondros, the American photographer killedevening developed it became clear that the initial shoes. Revolution was not only televised, it alongside Tim. For Guy Martin, the Britishreports had been accurate. was being recorded as the photographers and photographer wounded in the same attack. When Tim had rented that room back in 2001 film makers broke loose across Iraq. We were For every photographer leaving college this yearthe internet was in its infancy, digital capture shown horrifying and startling images of with a desire to create images in danger zones.was some way off and film making with SLR burning oil wells in satanic landscapes, of burnt, Photojournalism is alive and kicking; I justcameras had yet to be discovered. They were dehumanised bodies by and in burnt-out vehicles hope the photojournalists are as well. When Jondifferent times: photographically, globally and along the road to Basra. War was shown as it Levy posted on the Foto8 website about Tim’spolitically. Different times for photojournalism. was, and it was neither clean nor sanitised. death the headline he chose was ‘The news we The world of the war zone photojournalist had These were images of our times, not of Vietnam don’t want to report’. Words perfectly chosen. PPbeen reduced and contained. The freedom or the beaches of Dunkirk. They connected with Tim Hetherington 1970-2011which photographers had enjoyed to report and people and I believe that they fanned the www.timhetherington.comcreate images had become a distant memory. dormant fires of photojournalism and created To leave condolences for Tim, please visitThe Falklands conflict and the first Gulf War a new passion among young photographers www.timhetherington.org www.professionalphotographer.co.uk 47
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  • Dear Professional Photographer, feedback.tell us what you think at feedback@professionalphotographer.co.uk I am like any woman whoI loved the podcast [April 2011] about constantly compares herself to theexhibiting your work. As the owner of airbrushed model. But I know thata photography gallery in Eton I can unless I keep going, even if it meansrelate to everything you said. One of waiting tables to feed the kids,the main things we concentrate on is then as Andy said, without wantinghelping photographers get the most to be either corporate slave orout of an exhibition. We have a photography whore, what will I be?checklist of all the different ways to A mother who recently bought a setpromote it and ideas about of images from me said, “I mustsponsorship and funding. We also have known you three years and Igive our photographers a chance to didn’t even know you were arent the frames, which works out photographer.” I find myselfabout 60% cheaper than buying wondering if I really am and whatoutright. Photographers do need to dreams will come when I eventuallypull their weight when it comes to shake off this ‘commercial coil’.advertising, however, because a editorials, as they give an photographer I went to view a new Name and address supplied,gallery can only do so much. It’s a insight into a world we all love. studio. The landlord told me that via emailreal joint effort and this mentality is The snippets are superb and it’s the previous photographer hadimportant to understand. Having an always fascinating to read about how committed suicide. After he died, Dear Professional Photographer,exhibition is an expensive luxury. other photographers work and think. many couples hoped that their I felt compelled to contact you toWe charge £250 for the space, but Michel Momy is an inspirational wedding images could be salvaged say thank you for the piece on thewhen you add in the price of frames photographer and I loved reading from the ‘wreckage’. required differences betweenand printing, a figure of between about his ‘way’ and his inability to The paradox that as a personal projects and introspection£800 and £1,000 is quite realistic. compromise his beliefs. That’s what photographer he must have sat and the requirement to earn a livingThen there’s the drinks and opening makes him the photographer he is editing the record he’d made of the [Me, Myself and I, March 2011party to think about. However, is and someone I think we can all learn happiest day of a couple’s life, then issue]. I am currently consideringbreaking even the ultimate goal? I am from. If there’s one thing I would gone home that evening and ended making the change from full-timea firm believer that direct sales from like to see accompanying these his life, haunted me. But I could corporate employment to setting upan exhibition are just a small part of editorials (where possible) it would cross process this with some of my my own photography businessthe financial outcome. be a few of the images taken on own experiences. I have made many specialising in portrait work, A better name and gaining more these shoots. It would be great to images of women who have come to weddings etc. One of my overridingexposure can lead to many more paid combine the stories with some me and said, “You’ll never do it. fears is the proliferation of anjobs. And well after the exhibition visual representations too. You’ll never get an image that I attitude that this area of commerciala photographer can play on the event Duane Barrett, via email like.” Of course I always do. photography is almost to be sneeredthrough keeping cuttings for their [Editor’s reply] And then I go home, sit in front of at and is some kind of second tier.portfolio, stating “as exhibited at...” Me too Duane! Unfortunately over my computer and, once again, I’m It’s a fear that I know others share,on their literature, emails, website etc. time I have lost the printed back in the ‘panic room’, because I so it is refreshing to see the editor ofThe exhibition basically needs to be reference to most of these shoots. may never pull it off again. Plus of a magazine, that could so easilyseen as a reason to get in touch with Archiving has never been my course, I know something those promote and further these attitudes,the press, friends, contacts – anyone strong point. women don’t – that those images speak out against them. The type ofand everyone in every shape or form could have been better. And therein business I want to create will beof PR. Dear Professional Photographer, lies the real fear for me. What’s commercial and I doubt that thereHalid Izzet, Rhubarb and Custard, Reading Andy Craddock’s blog worse than having no work? will be any time for manyvia email entry in the April 2011 issue [Talkin’ Someone actually giving me some introspection or personal projects, Photography Blues], I was struck by and me getting found out. and I now need make no apology forDear Professional Photographer, his lucid and candid account of his It doesn’t matter what the the reasons for my progression.I have to say I loved the ‘Lost in recurring state of mind. feedback is, because as many of An inspiring piece at exactly theFrance’ editorial piece [Being There, When I was more optimistic us know, you can become paralysed right time.April 2011 issue], as I do all the about my future as a professional by your own lack of self-esteem. Ben Woodall, via email PP www.professionalphotographer.co.uk 49
  • GUESSLIGHTINGIn his blog, professional photographerTed Sabarese tries to work out how otherphotographers have lit their images and offers THEhis theory on the way the shoot went.This month he brings his lighting experienceand limited drawing skills to Mario Testino’sRoyal Wedding inspired shoot with Lara Stone. MARIO TESTINO / VOGUEMARIO TESTINO/LARA STONE, BRITISH VOGUE, MAY 2011 through a silk) at f/11 (+2 stops) rests 10ft behind her to camera right andIn the Vogue May issue paying homage to the Royal Wedding, Mario shot creates the hot, soft glow on the rear of her face and neck. Another 2500WFreja Beha Erichsen, Lara Stone and Natalia Vodianova in some of the fresnel (shot through a silk) at f/11 (+2 stops) is placed to camera right,season’s loveliest wedding gowns. It also marked the first time the magazine slightly behind her. A 2500W fresnel with barn doors at f/11 (+2 stops)had been published with a choice of three different covers. This silk-soft is set behind the wall to camera left and aimed at the background.cover shot of Lara was created with five lights. This creates the angelic glow around her head.CAMERA: Hasselblad H2 with 150mm lens and Phase One IQ140 digital TED’S THEORY ON HOW THE SHOOT WENT: Lara was slightly jet-lagged,back, set on a tripod 12ft back. Shot at 1/125sec, f/5.6, ISO 50. but extremely excited on the shoot day. She had just returned that morningLIGHTING: The overall lighting is somewhat flat, with highlights taking the from Vyborg, Russia, where she had picked up a newborn, petite lap giraffe.place of shadow. An ARRI 1200W fresnel (shot through a silk) with tight The wee giraffe quickly made itself comfortable on set and huddled againstbarn doors at f/4 ½ (-½ stop) sits at head level, just off to camera left. Mario’s trouser leg while he worked with Lara. Natalia was smitten. PPA 2500W fresnel at f/5.6 is bounced off an overhead 6 x 6 framed silk fromcamera right, which helps to even out Lara’s hair. A 2500W fresnel (shot www.guessthelighting.comRemember, this is called ‘Guess’ the Lighting. Therefore, all lighting, camera, lens, grip, f-stop, shutter speed etc information may not hold up in a court of law.Any guesses as to what the featured photographers were wearing, drinking or pondering while creating the shots are not necessarily subject to any reality otherthan my own. Suggestions of marital problems, hangovers, jet lag, disease or any other contributing factors should, likewise, be taken with the proverbial grain ofsalt. There is a lot of guesswork in guessing – Ted Sabarese www.professionalphotographer.co.uk 51
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  • exposureImages that have us thinking, talking and debating... The Sony World Photography Awards were staged in London this year and what a red carpet, black tie, glamorous photographic event it was. The Odeon Leicester Square was filled with the great and the good from the world of photography and although the acceptance speeches were rarely more than an embarrassed ‘thank you’ (including the short, sweet and to-the-point responses by both Gerhard Steidl and Bruce Davidson), the images on the silver screen more than made up for the brevity of the words. This is one image from a series by German photographer Paul Gisbrecht which caught our eye with its scientific, geometric approach to the world of fashion. A touch of Muybridge for the modern world, perhaps. To see more of the short-listed and winning images visit www.worldphoto.org PPPAUL GISBRECHT From the series Human Idealisation – Definition of Space. www.professionalphotographer.co.uk 53
  • THE OF BESTBRITISHOver the past year we have celebrated the bad boys and the bad girls of photography in differentissues and you have let us know who you think we have missed out and should have beenincluded. This month we’re hoping that will be no different as we ‘doff’ our caps and lay down ourphotographic capes to the greats of British photography from the past 150 years. We hope thatyou enjoy seeing who we decided to include, but we also know that you will want to add to our list.Don’t hold back – get in touch at feedback@professionalphotographer.co.uk54 www.professionalphotographer.co.uk
  • THE OF BEST BRITISH 1920s pre- 1920sJULIA WILLIAM PAULMARGARET FOX TALBOT TANQUERAYCAMERON 1800-1877 A Harrow and Cambridge educated gentleman, 1905-1991 Tanqueray attended the same school as society1815-1879 Fox Talbot was a pioneer in the development and portrait photographer Hugh Cecil, andMocked in her day for creating out-of-focus of photography and the inventor of the went on to assist him before opening his firstand smudged pictures, Cameron has since calotype process. As holder of the calotype studio in Kensington in 1925 as “London’sinfluenced generations of photographers with process patent, he was widely criticised for youngest portrait photographer”. Success cameher closely cropped portraits. A late bloomer, selling licences to photographers, although quickly and within a few years he had movedphotographically speaking, Cameron acquired he had spent thousands of pounds of his own to a studio around the corner from the Ritza camera at the age of 48 and began money developing the invention. Hotel, his pictures appearing in Tatler and Theobsessively recording her world. Her desire to Under pressure he waived licences for amateur Sketch. With a love for the theatre, Tanqueraycreate art meant that Cameron employed photographers, but continued to charge captured the leading actors and actresses of theunconventional techniques such as leaving the professionals to use his process. Although his period and shot regularly for Theatre World.lens out of focus and working with cracked contemporaries such as Louis Daguerre were After the Second World War he reopened hisnegatives. Moving to Ceylon, where she found also developing photographic processes, Fox studio and continued to shoot the great and theit difficult to obtain the proper materials, Talbot’s invention, which produced a negative glamorous. He retired in 1965 and donatedCameron abandoned photography after just image, was the basis for photographic prints and later his collection of negatives to12 years. With access to Victorian A-listers due milestones in both the 19th and 20th centuries. the National Portrait Gallery.to her high social standing, she left behind www.professionalphotographer.co.uk/ www.professionalphotographer.co.uk/a huge collection of contemporary portraits. foxtalbot tanqueray“What is focus and who has the right to say what focus is the legitimate focus?”Julia Margaret Cameron 1930sCECIL BEATON1904-1980Born to a wealthy London family, the sartorially elegant Beaton was first introducedto photography by his nanny. After graduating from Cambridge he lasted just oneweek in the family timber business before setting up his own photographic studio andstarting to build a reputation for flattering society portraits. From there he went on toshoot sophisticated fashion images at Vanity Fair and Vogue and even served in theMinistry of Information during the Second World War. A creative force and bornaesthete, he designed book jackets, fabrics, Broadway theatre and stage costumes, andfilm sets during his career. Beaton famously documented the Bright Young Things,a group of hedonistic socialites of the 1920s and 1930s, of which he was a memberdespite his background in trade. After the war he continued to photograph the newworld of celebrity, despite suffering a stroke in 1974 which forced him to work withan adapted camera. He recorded his extraordinary life in diaries that revealed histhoughts on the high society world in which he was always something of an outsider.www.professionalphotographer.co.uk/beaton www.professionalphotographer.co.uk 55
  • 1930s ANGUS McBEANNORMAN PARKINSON 1904-1990 Welsh-born McBean adored the magic of1913-1990 photography and after spells making masksParkinson remains one of Britain’s most pre-eminent fashion and portrait photographers. and theatrical props he became an assistant toApprenticed to society photographers Speight and Sons in 1931, he opened his own studio just three photographer Hugh Cecil in Edinburgh whereyears later and began to make a name for himself shooting portraits. He once said: “A photographer he practised by night and subsequently set upwithout a magazine behind him is like a farmer without fields” and he worked for Harper’s Bazaar, his own studio, in London. With his links toVogue and Queen during a career that spanned 50 years. Bringing his models out of the studio, his the theatre he began to photograph stageenergetic fashion images were a contrast to the static, posed fashion shoots that had gone before. productions, shooting the actress and risingHe is possibly the only fashion photographer to launch his own range of sausages, and certainly star Vivien Leigh, whom he went on to capturethe only one in our Best of British list to do so. throughout her career. McBean was known forwww.normanparkinson.com his surreal outlook, and famous portraits include the head of Spike Milligan in a jar and actress Audrey Hepburn rising from the earth“I like to make people look as good as they’d like dwarfing everything around her. One of his most celebrated images is of the Beatlesto look, and with luck, a shade better.” Norman Parkinson leaning over the balcony of the EMI building, which featured on the cover of the band’s first album, Please Please Me.1940sGEORGE GRACE ROBERTSONRODGER 1930-present The daughter of Picture Post picture editor,1908-1995 writer and pioneering television presenterOne of the founders of Magnum, Rodger first Fyfe Robertson, in her early career Robertsonexperimented with photography while took on a male persona – calling herself Dickin the Merchant Navy as a way to illustrate his Muir – partly to make her own way withouttravel writing. Unable to get his prose relying on the family name and partly becausepublished, he found work as a photographer she thought being female would work againston The Listener magazine and at the outbreak her. At the age of 16, she acquired her firstof the Second World War set off to record the camera, a second-hand Leica, and withinconflict. His images of the Blitz landed him a three years achieved the dream of seeing herwar correspondent’s role at LIFE magazine images in print. A regular contributor toand in 1945 he became the first photographer Picture Post as well as LIFE magazine, sheto enter the Bergen-Belsen concentration camp brought her witty, intimate take to a varietyin Germany. His shocking images of corpses of subjects, from a Welsh farming communitypiled high and the few skeletal surviving to a group of Battersea women on a pubinmates, published in TIME and LIFE day trip. Robertson is considered a legend inmagazines, brought the horrors of the Nazi British reportage, as is her husband,regime into public view. This proved a the photojournalist Thurston Hopkins.career-defining moment for Rodger, who washaunted by the fact he had spent his time inBergen-Belsen framing the piles of corpses “I lost friends when I took up photography.into aesthetically-pleasing compositions.He spent the rest of his career travelling and In those days, if you were middle class, you coulddocumenting people and places, notablyAfrica, away from war and conflict. do teaching, nursing or be a secretary on your waywww.magnumphotos.com/georgerodger to finding a husband.” Grace Robertson56 www.professionalphotographer.co.uk
  • THE OF BEST BRITISH 1950sJOHN DEAKIN1912-1972Talented but ever doubtful of his capabilities, Deakin originally wanted to be a painter but picked upan abandoned camera at a party and began to take pictures in 1939. As a member of a carousing Sohoset that included artists Francis Bacon and Lucian Freud, he frequently photographed his fellowrevellers. Bacon, who greatly admired the photographer, based many of his paintings on Deakin’swork. His stark, simple portraits were as uncompromising as his own behaviour, which was oftenaffected adversely by alcohol. Despite a dislike for fashion photography, he worked for Vogue and wassacked twice by the same editorial team for being drunk and difficult. As well as shooting celebrityand fashion portraits he captured the man in the street, wandering the capitals of Europe tophotograph everyday occurrences. He stashed his photographic work under his bed and it was onlyafter his death, due to heart failure brought on by a drinking binge, that it was rediscovered, much of itdamaged. Other work stored in the Vogue archive has been brought to light by curator, writer andarchivist Robin Muir.“Being fatally drawn to the human race, what I want todo when I take a photograph is make a revelation aboutit. So my sitters turn into my victims.” John DeakinBERT HARDY JANE BOWN JOHN1913-1995Hardy was the oldest 1925-present A gentle, diminutive woman with a steely eye FRENCHof seven children, and an ever-present bag of Olympus OM-1s, 1907-1966born to a carpenter in Jane Bown took a stand for women in He is one of the most overlooked fashionBlackfriars, London. photography by being contracted by The photographers of the 1940s and 1950s, butHis first brush with Observer newspaper (or The Obs as she fondly French’s strong silhouettes and beautifully litphotography came at describes her employer of more than 60 years). images defined post-war fashion photography,the age of 14 after he Born in Dorset she studied photography at especially in newspapers. Born in London, heleft school and got a Guildford College and began her career as a trained as a commercial artist before becomingjob as a messenger child portrait photographer. But when in 1949 a photographic director in an advertisingboy at a photography a picture editor at The Observer sent Bown studio before the Second World War. After thelab, collecting film a telegram asking her to photograph the war, during which he served in the Grenadierfrom and delivering prints to West End philosopher Bertrand Russell her career as a Guards, he set up his own studio, where hischemists. Eager to have a go, he spent 10 portrait photographer and her relationship with assistants included David Bailey and Terenceshillings (50p) on his first camera and set the newspaper were launched. Over the Donovan. After his death, French’s archiveabout learning how to use it. A stroke of luck following decades she photographed everyone was given to the Victoria & Albert Museumoccurred when King George V and Queen from the Beatles to Orson Welles, from by his widow.Mary rode through Blackfriars in a carriage. Richard Nixon to Margaret Thatcher, fromResting his camera on his sister’s head he Henri Cartier-Bresson to The Queen. Her listcaptured the royal couple and sold 200 prints of subjects is almost endless. Her way ofto friends and neighbours. He worked forPicture Post during the 1930s and 1940s, and shooting in black and white, taking light readings from the edge of her hand and “I’d always take morewas its chief photographer for several years.As a war photographer, Hardy was present at working with her trusty OM-1s has never changed and despite her advancing years she than one, but I wasthe D-Day landings and liberation of Paris, andwas one of the first to capture the atrocities of remains today as vital, determined and passionate about photography and The Obs always looking for thatBergen-Belsen concentration camp. as she was all of those years ago. one shot.” Jane Bown www.professionalphotographer.co.uk 57
  • 1960s MICHAEL COOPER 1941-1973 One of the most iconic album covers of all time was shot by one of the forgotten photographers of a vibrant decade in British photography. Despite shooting the Beatles’ cover for Sgt Pepper’s Lonely Hearts Club Band, Cooper is best remembered for his intimate images of the Rolling Stones. He lived the 1960s lifestyle to the full and documented it with an almost laconic approach to reportage, creating photographs which capture the full spirit of the time from an insider’s perspective. He died of a drugs overdose in 1973, but his images live on as testament to his talent. DAVID BAILEY 1938-presentSNOWDON One of the key players in London’s 1960s cultural scene, Bailey was one-third of a band of celebrity photographers named the Black1930-present Trinity by Norman Parkinson. Bailey, DuffyBorn Anthony Armstrong-Jones, the and Terence Donovan led lives as glamorousphotographer gained the title the First Earl of as those of their subjects. Born in theSnowdon when he married Princess Margaret East End, as a child Bailey would be takenin 1960. Free-spirited and Eton and Cambridge to the cinema several times a week by hiseducated, he was the winning cox in the 1950 parents as a cheaper alternative to heating theOxford and Cambridge Boat Race. Notable for family home. Dyslexic, he left school at 15his portraits, he shot the official pictures of the and bought his first Rolleiflex while onQueen and Duke of Edinburgh for their 1957 military service, soon setting his sights on atour of Canada and went on to take many more career in photography. After spells assisting inofficial portraits of the monarch. His marriage photographic studios he joined Vogue,to Princess Margaret was a tempestuous one, a move which sealed his stellar trajectory.despite them being one of the most glamorous In demand by editors as well as models who film charting his relationship with 1960scouples of the 1960s and both stars in their would vie to sit for him, Bailey counts actress supermodel Jean Shrimpton is scheduled toown right. It’s said that the Princess was Catherine Deneuve and model Marie Helvin be broadcast later this year.disappointed that her husband hadn’t been among his former wives. A new BBC www.david-bailey.co.ukprepared to give up his career on marrying.They divorced in 1978 amid stories of thedrink, drugs and infidelity that had plaguedtheir marriage. The National Portrait Gallery “I never cared for fashion much, amusing little seamsholds more than 100 of Snowdon’s pictures. and witty little pleats: it was the girls I liked.” David BaileyTERENCE and at 15 left to become a photographer’s assistant. He spent a year in the studio of London’s Swinging Sixties scene. Unlike his fellow photographers in the Black Trinity,DONOVAN fashion photographer John French and opened Donovan’s stellar career did not endure. In the his own studio aged just 22. With Bailey and 1970s and 1980s he shot advertising and Duffy he was one of the ‘Black Trinity’ whose worked for magazines but was largely1936-1996 behaviour inspired the lead character in the forgotten by the industry that had propelledAn East-End boy, Donovan entered the 1966 film Blow-Up. He hung out with models him to fame. He committed suicide, aged 60.London School of Photo-Engraving aged 11 and celebrities and was an integral part of www.terencedonovan.co.uk58 www.professionalphotographer.co.uk
  • THE OF BEST BRITISHDONMcCULLIN1935-presentThe image of McCullin’s bruised and batteredNikon F, which took a bullet meant for thephotographer when he was on assignment inCambodia, is known to every buddingphotojournalist. McCullin developed thearmour necessary for his chosen path early onin life; born in the tough Londonneighbourhood of Finsbury Park, he was sentto the north of England as an evacuee andbeaten and neglected by those who weresupposed to be sheltering him. During the1960s and 1970s he worked in some the moststrife-ridden and calamitous places on theplanet –Vietnam, the Congo, Northern Ireland,Biafra – relentlessly recording war, disease andfamine for the Sunday Times Magazine.He has received a World Press Photo Award,the Cornell Capa Award and a CBE for hiswork. He now lives in rural Somerset and “I don’t go to war with armfuls of penicillin, bandagesshoots landscapes, which he says helps him toput to one side his memories of conflict. and morphine. I go to war with a camera.” Don McCullinDUFFY 1970s1933-2010As a child during the war, the young Duffy (he was rarely called Brian, his first name) played in PENNIE SMITHabandoned, bombed-out houses and was moved to a new school every time he got into trouble.Landing at an institution that took wayward youths on cultural excursions he was introduced to a worldof art galleries and opera, and went on to study dress design at Saint Martins School of Art.While freelancing at Harper’s Bazaar his interest in photography grew and he set about applying forassisting roles before shooting his first fashion story for the Sunday Times. With David Bailey and c1950-presentTerence Donovan, he captured the spirit of 1960s London and shot for fashion magazines in London, The 1979 image of theNew York and Paris. One of his most famous creations is the 1973 image for David Bowie’s Aladdin Clash is iconic and inSane album. The iconic image of the rock star with a lightning bolt flash across his face was inspired by rock circles Penniethe design on a Panasonic rice cooker. Despite working in advertising in the late 1970s, by the end of Smith holds a similarthe decade he had become disillusioned with photography and set fire to most of his negatives. position. Smith was atThirty years later, just before Duffy’s death, his son found some had survived and staged a retrospective. the heart of the 1970swww.duffyphotographer.com music scene from her start shooting Led Zeppelin on tour in the early 1970s. In a world of rock machismo she created images of the“I wanted to make women look good. Who, the Rolling Stones, U2 and everyone else who warranted the cover of the NME.That really intrigued me. To make a model Despite her work appearing on countless album sleeves and in book form, Smith haslook as though she owned the clothes.” Duffy kept a low profile, happy for only those in the know to speak her name in reverential tones. www.professionalphotographer.co.uk 59
  • 1970sRICHARDYOUNG1947-presentThe definitive paparazzo, Young left school at15 to work in a King’s Road boutique. In 1974he was given a camera and asked to takepictures to illustrate a book by novelist andessayist John Cowper Powys, which sparkedhis interest in photography. Through a mutualfriend he was asked to take pictures of therecently released kidnapping victim John PaulGetty III, which he sold to the EveningStandard, who subsequently offered him a jobas a social photographer. Making it hisbusiness to know every celebrity, doorman andbouncer on the circuit, he has been criticisedfor becoming too friendly with his subjects ALBERT WATSONand blurring the lines between paparazzo andprey. His response is that his work is all aboutrespect and courtesy, but admits that he is afan of celebrity. Working for David Bailey’snow-defunct Ritz, the first true gossip 1942-presentmagazine, he gained access to every party in One of the most prolific British photographers over the past four decades, Watson has shot moretown. In 2006 The Times named him as one of than 100 Vogue covers as well as countless advertising campaigns on both sides of the Atlantic.the most important photographers of the 20th Blind in one eye from birth, Watson studied photography as part of a course in graphic design.century. Moving to the United States in 1970 he took up photography mostly as a hobby and caught thewww.richardyoungonline.com attention of an art director for cosmetic company Max Factor who gave him a test session and subsequently bought two of his shots. From there he began to shoot for US and European fashion“My aim with every magazines. He is not only an editorial photographer; his strong, graphic images have been used in major advertising campaigns for brands such as Levis and Chanel. In 1975 he won a Grammypicture is to bring some for an image he shot for an album cover. Through the 1990s his style of portraiture helped to define influential magazines such as The Face and Arena. www.albertwatson.netjoy, that’s really whatit’s about.” Richard Young “The equipment is important but it’s not about the car. It’s about where you take it.” Albert WatsonTESSA large format camera that led to a 16-year displayed in the Victoria & Albert Museum collaboration with British Vogue. She studied and in galleries worldwide. For the past twoTRAEGER photography at Guildford School of Art and decades, Traeger has photographed a rural has worked at her studio in Chelsea since the community in Ardèche in France and last year 1960s. Influenced by the American tradition published an award-winning book of the work. and photographers such as Edward Steichen Sister of the architect Nicholas Grimshaw andc1940-present and Irving Penn, she combines respect for wife of fashion photographer Ronald Traeger,An outstanding still-life photographer and her subject matter with a fine-art edge. through her skill and vision, she remains aoften-forgotten master, Traeger has a talent Traeger has been commissioned by the touchstone for many still-life photographers.for creating flawless food images with a National Portrait Gallery, and her work is www.tessatraeger.com60 www.professionalphotographer.co.uk
  • THE OF BEST BRITISH 1980sKEVIN CUMMINS1953-presentNo images sum up the Manchester music scene like those by Salford-born Cummins. After studyingphotography he began to document emerging bands in and around Manchester, sending his pictures toNME in the hope that they would use more than one frame per roll of film, in order for him to makea profit. Among his earliest subjects were members of the band Joy Division, whom Cumminscaptured at their first gig (when they were known as Warsaw). He went on to shoot the bandthroughout their brief lifespan. He stayed at NME for a quarter of a century; for 10 of those years hewas its chief photographer and during his career has captured portraits of many of the world’s greatestmusicians. A founding contributor to The Face magazine, Cummins is seen as a cultural ambassadorfor the Britpop movement as well as for Manchester itself.www.myspace.com/kevin_cummins www.kevincummins.co.uk“For me photography is about mortality, not just of theperson you are photographing but your own as well.” NICKSteve Pyke KNIGHT 1958-present Knight is one of the world’s most influential photographers, and his innovative approach has seen him continually push the boundaries in photography, film and broadcasting from the very beginning. Technically brilliant, Knight published his first book, Skinheads, while still a student and as a result was commissioned by i-D editor Terry Jones to shoot portraits for the pop culture magazine. His vision for designer Yohji Yamamoto’s 1986 catalogue was unlike any previously seen in fashion; those images are still being discussed and celebrated today. Rather than tread the conventional path, Knight has always sought inspiration from the fringes and continues to promote non-conventional forms of beauty. Ten years ago he set up SHOWstudio.com, a website that brings together artists from all mediums to create new and innovative projects. Lifting the lid on the often arcane world of fashionSTEVE began photographing the music scene he inhabited, shooting bands such as the Clash. through SHOWstudio.com, Knight continues to be a trailblazer.PYKE When he showed his portfolio of 12 images to someone working at The Face he was commissioned to shoot John Lydon for the www.nickknight.com1957-presentStepping into the shoes of Richard Avedon, cover, his first assignment. He has shot film sparingly using a Rolleiflex he has owned for “I don’t want to reflectLeicester-born Pyke became a staffphotographer at the New Yorker in 2004. years, and his distinctive black-and-white portraits have earned him an international social change – I wantHe left school at 16 and after a stint racingmotorbikes formed a band, but tired of it reputation. When he received his MBE in 2004, he put it into a Jiffy Bag and sent it to to cause social change.”and picked up a camera. Instantly hooked, he his mother. www.pyke-eye.com Nick Knight www.professionalphotographer.co.uk 61
  • 1990sDAVID SIMS GLEN LUCHFORDc1967-present 1968-presentAn international fashion photographer, Sims If Bailey, Donovan and Duffy summed up theshoots for an almost endless list of the world’s 1960s in London fashion photography, Day,biggest brands as well as magazines on both Sims and Luchford definitely summed up thesides of the Atlantic. In three separate years he death of the supermodel and the misleadinghas signed exclusive one-year contracts with but often-used term ‘grunge fashion’.US Harper’s Bazaar. He began his career Luchford went from Brighton, where he hadassisting the US fashion photographer Robert briefly trained as a hairdresser, to London withErdmann and Norman Watson (son of Albert a desire to be a photographer, not a fashionWatson). In the early 1990s, Sims, along with game player. While being feted by the fashionphotographers such as Corinne Day and Glen elite he could often be seen cycling aroundLuchford, brought a new feel to fashion Notting Hill in a woolly cardigan.editorial with their stripped-back aesthetic and His career took off while he shared a flat withrejection of glamour. Sims lives in Cornwall fashion photographer Mario Sorrenti and Katewith his partner, the fashion designer and Moss. His filmic approach to creating imagesex-Vogue fashion editor Luella Bartley, with which were fiercely narrative saw him quicklywhom he has three children. snapped up to shoot Prada campaigns.www.artpartner.com www.artpartner.comELAINE CONSTANTINE 2000s1965-present TIM WALKERYou may not recognise the name but you may well know Constantine from two particular images thatsummed up a period when models became real and girls were shown in The Face ‘having it large’.The first is of a gap-toothed girl having her chips stolen by a vast seagull; the second is of a groupof girls screaming as they race downhill on out-of-control bikes in hyper-colour. Both were shot inBrighton and both summed up Constantine’s work: bright, fun and real, with the intensity of 1970-presentmovement which she so loved in Northern Soul dance halls. Today she has moved into film directing A former assistant to Richard Avedon, Walkeras well as continuing to work as a photographer. But those images for The Face were defining. got his first fashion commission for UK Voguewww.elaineconstantine.co.uk in his 20s and has been shooting for the UK, US and Italian editions of the magazine forCORINNE DAY as well. In her 2000 photobook, Diary, she created an unflinching portrayal of her inner circle of friends. Never one to take the easy more than a decade. Before studying photography at university, he did a 12-month internship in Condé Nast’s library, working on1962-2010 path, in her edit of dark yet tender images, Day its Cecil Beaton archives. This perhaps shapedIt was an eight-page fashion story in The Face bravely included pictures shot by her partner his predilection for re-creating a dreamlikein 1990, featuring a skinny 16-year-old, of her collapse and the subsequent diagnosis of England of yesterday – a trademark Walkeryet-to-be-famous Kate Moss, that first put Day a brain tumour, from which she died several style. Even within the often surreal world ofin the spotlight. A former model herself, she years later. Despite many imitators, Diary fashion, Walker’s shoots are magical: the polkawas friends with Moss – they shared a flat for remains one of the few important photobooks. dots from a dress seem to slip off and litterthree years – and went on to photograph her www.corinneday.co.uk the floor of an old house; a model in a cablecontinually throughout an all-too-short career. jumper surveys the scene of a crash whereHer fashion images were unconventional forthe time. Eschewing the super-glamorous “It’s all about freedom, two knitted old cars have collided. He is seen as one of the greatest British fashionmodels of the era, Day chose underweight,urchin-like subjects, creating the ‘waif ’ look really, and being proud of photographers working today, and his images are in the permanent collectionswhich led to accusations that she wasglamorising what came to be known as ‘heroin the holes in your jumper.” of the Victoria & Albert Museum and the National Portrait Gallery.chic’. Day was a documentary photographer Corinne Day www.timwalkerphotography.com62 www.professionalphotographer.co.uk
  • THE OF BEST BRITISH2000sTIM HETHERINGTON1970-2011Born in Liverpool, Hetherington studiedliterature at Oxford University beforereturning to education at the age of 26 to studyphotojournalism. An innovative and fearlessstoryteller, he chose a variety of outlets for hiswork, from films and multi-screen installationsto posters as well as traditional still images.Documenting conflict and despair on thefringes of society for news organisations,human rights societies and magazines such asVanity Fair, he defined the new wave ofphotojournalism. An experienced film maker,having worked on several films in Africa, hewas nominated for an Oscar in 2010 for hisdirectorial debut Restrepo. The film, shot onDSLR cameras, about a platoon of US soldiersin the Korengal Valley in Afghanistan, wonhim wide acclaim. As a photographer heexplored conflict from the view of both thesoldier and civilian. In April this year he PLATON SIMONwas wounded on assignment in the besiegedcity of Misrata in Libya and subsequently died NORFOLKfrom his injuries, aged 40.www.timhetherington.com 1968-present Coming out of the Covent Garden creative hothouse that was Saint Martins School of Art before going on to the Royal College of Art, 1963-present Platon was taking portraits for many of the Norfolk’s pictures ask the viewer to see beyond London style magazines in the early 1990s the face value of what is presented to them. when he was picked by John F Kennedy Jr to Addressing traditional photojournalism themes shoot for his newly-launched magazine such as war and genocide, Norfolk pushes George. Platon loved working in the United further to explore how these events affect our States and stayed on, developing a signature cities, landscapes and societies. A far cry from portrait style shooting from a low angle with a bloody, frenzied images of conflict, Norfolk’s wide lens and cool colour palette. His image of calm, composed pictures do not always shock a smiling Bill Clinton, legs spread confidently on first viewing, but if you probe below the apart, opened the door to his current position surface a terrible truth awaits: a strangely as the photographer of choice when it comes to beautiful abstract image of ice is actually shooting the world’s leaders, from Vladimir a frozen-over mass grave in Bosnia; Putin to Barack Obama, from Gordon Brown a graphically-pleasing picture of a stark, to Colonel Gaddafi. Platon is well on his way sanitised room containing the world’s largest to becoming the Yousuf Karsh of his time. supercomputer is home to the ‘brain’ that www.platonphoto.com designs America’s nuclear weapons. Norfolk, who studied photojournalism but has described himself as a landscape photographer You can find exclusive interviews with the following photographers from our since 1994, sees his projects as successive Best of British list on the Professional Photographer website: Jane Bown; Don McCullin; chapters in an unceasing body of work that David Bailey; Duffy; Albert Watson; Steve Pyke; Simon Norfolk and Tim Hetherington. attempts to make sense of conflict and how it Visit www.professionalphotographer.co.uk has changed our world. PP www.simonnorfolk.com www.professionalphotographer.co.uk 63
  • BELA BORSODI64 www.professionalphotographer.co.uk
  • { WORKING PRO}MATERIAL BOY Bela Borsodi might believe that a shoe has its own vanities and a bag its own ego, but by drawing on the apparent psychologies of objects he manages to photographthem in an entirely unique way. Alannah Sparks gets a little psychology lesson of her own. Aus dem schatten getreten, Stern, Germany 2006. www.professionalphotographer.co.uk 65
  • { WORKING PRO}Forward motion,Details, USA 2006.Opposite page: Separation,Russian Tatler 2010.“I don’t take objects for granted, I try to challenge them, to bring out the psychologies ofthem or put them into a different context.” Bela BorsodiWhat is a fetish? German socialist are untied by sneaking, surrealistic shadow hands. to build things. All my life I was constructing,revolutionary Karl Marx wrote in Das Things familiar to us are placed out of context painting, making. So this whole thing of using myKapital that, “A commodity is a mysterious and suddenly they appear new: they enthral us in hands was a natural thing to me, a birthright.”thing.” According to Marx, men develop an entirely different way. “I don’t take objects for Borsodi followed the route of his parents andfeverish relationships with objects, granted,” Borsodi explains, when we meet over went to art school in Vienna to study fine artromanticise them, consume them, personify Skype (Borsodi is based in New York). “I try to and graphic design, but the whole starving artistthem. Most of the time we don’t think about challenge them, to bring out the psychologies of thing never appealed to him. There was moneythis deeply passionate relationship at all them or to put them into a different context. in graphic design, which he duly became very– the lusting after a pair of shoes, a car, the Stress them out, you know? I think very skilled at, and there was money in photography,rapturous description of a meal or a piece of psychologically about objects.” which he realised as soon as he moved tofurniture. Then again, most of the time we Of course, not many people would know how to New York with a small portfolio of portraits,don’t question anything until somebody else ‘stress out’ an object, but Borsodi sees things reportage and fashion editorials. The catalystraises the question for us. through a different lens. He reckons he became for his move into still-life photography was an Bela Borsodi is more familiar with the meaning obsessed with objects the moment he touched the all-consuming project for Swiss companyof a fetish than most. His unique brand of still-life surface of the planet. Born in Vienna to artist Migros, involving trash from the streets which BELA BORSODIphotography brings objects to life in an almost parents, he was as familiar with scissors and glue he painstakingly arranged into elaborate andunnerving way. Woolly jumpers sing to us, by the age of three as most babies are with a evocative tableaux. “Suddenly I thought, ‘Myhandbags pose haughtily on red carpets, corsets bottle. “I was always encouraged to do things, God, I can bring it all together. Everything that66 www.professionalphotographer.co.uk
  • Above: Cat flaps, S-Magazine, Denmark 2008. Opposite page: V loves New York, V Magazine, USA 2010.68 www.professionalphotographer.co.uk
  • { WORKING PRO} “What does a high heel do? It shapes the woman’s body. It pushes the ass up, it makes her stand differently, it gets her attention.” Bela Borsodi I know about art, everything that has fascinated any fashion editor or designer who sells this style Because he is an illustrator, a graphic artist, a me since I was a child – building things, of sexualising shoe or clothing is more guilty of painter and a sculptor, Borsodi views the moment pasting things, putting things together – and objectifying women than he was, having simply at which he clicks the shutter on the camera as nobody’s doing it.’ I basically had a free field “maximised this idea of sexual proportions”. the least important point in his whole working of opportunity.” He is emphatic on this point. “What does a high process. The dreaming up of ideas and the It wasn’t long before the big players started heel do? It shapes the woman’s body. It pushes the creation and arrangement of his dramatic tableaux rolling in to play on Borsodi’s field. Hermès, ass up, it makes her stand differently, it gets her means he often has to be cheap with his time. Swarovski, Nike and Bloomingdales – all attention. Sexual attention. Otherwise the product He keeps post-production to an absolute commissioned still-life advertising campaigns from doesn’t make sense.” minimum, using it purely as an aid to wipe out him, bringing something very new to billboards Borsodi is liberal with his use of the female the odd wire or possibly to adjust contrasts. across the world. What they lacked in humans they form in his work, whether it’s a silhouette, As many photographers will agree, all the magic made up for in irony, humour and total originality. a cut-out, a photograph or an animation. – the psychology, the coaxing, the drawing out of A brightly-patterned scarf became the downcast Eroticism is a big part of his work, whether it’s an idea – happens long before the shutter clicks. mouth of a silken Hermès face, and football boots a girl dressed in slippery nothings of Agent “It’s not all about the image. The picture you formed a giant ‘E’ in the Nike billboard. In terms of Provocateur lingerie being pursued by an see, it’s a representation of the process that went what Borsodi’s imagination is capable of, it’s pretty animated cat in his Cat Flaps series, or a before it, a representation of the photographic tame stuff, but he’s perfectly aware that navigating candelabra draped in bondage wear, Borsodi mind. Photography is the process, not the picture. the red tape that comes with commercial work is firmly believes in the power of desire, saying It’s what happens in order to create such an how he makes his dollars. “Eroticism is within everything we do. Those who image, and how you go about actually creating an When it comes to editorial though, anything deny it are basically betraying being human.” image that will provoke thought. That’s what goes. From sapphire rings perching on a But it’s important to him as an artist that people photography is.” PP cartoon-like rhinoceros horn, to silk ties necking realise that not all of these sexy girly images Grey Goose vodka; working with publications such were directly created or photographed by him. www.belaborsodi.com as Glamour, V and AnOther magazines gives He simply recontextualised them. The glossy Borsodi’s wild imagination carte blanche. bodies inhabiting the shoes in Shoe Fetish were It’s where he comes into his own as an artist, rather images that he found on Google, printed on FOR MORE GREAT INTERVIEWS WITH than a commercial photographer, and for him the glossy paper, cut out with a pair of scissors and PROFESSIONAL PHOTOGRAPHERS VISIT difference is simple, “A commercial photographer placed by hand into their new homes. WWW.PROFESSIONALPHOTOGRAPHER.CO.UK sells things, and by listening and taking on the “I didn’t make the shoe and I didn’t photograph responsibility to stick to a brief, I can do that. the girls, I just put the two things together. An artist, on the other hand, raises questions.” That’s what I mean by a different context. You don’t When Borsodi took images of mutilated female have to create the whole world, you just misplace bodies – glossy and shiny and posed as only things, and that’s much more interesting.” pornographic images can be – and placed them This is key to Borsodi’s work. He has a inside designer shoes for a V Magazine editorial, craftsman’s approach that is rare in the world of it raised a lot of questions. Shoe Fetish evoked a fashion photography. Any idea he has on how to fury from the public that the photographer could capture the ‘personality’ of an object may take never have anticipated. Feminist groups were up weeks for him to carry out and, he assures me, it in arms, petitions were signed to boycott the shoe can be a very painstaking process. Hours are designer, Borsodi was even described on one spent moving and misplacing objects, exploring forum as “a serial rapist on acid”. The editorial different contexts until something jars, doesn’t had to be taken down from the website and look quite right, you have to do a double take – Borsodi had to write a letter explaining himself. and that’s when Borsodi knows he’s got it. “Of course I’m a trouble maker,” he says, on It’s easy to imagine a Fantasia-like scene in his how he reacted to the deluge of vitriol. “But as it brain, with objects whirling round constantly in was provoking outrage it was also provoking his mind, taunting him till he finds them a place thought, and suddenly there were all these blogs in his work. But Borsodi insists it’s not the objects having lively debates and exploring the idea of themselves that inspire him; it’s how he can sex and feminism and art and fashion. So it was project real life on to those objects. “I’m not really doing something, instigating a very inspired by a shoe because a shoe is, after all, aBELA BORSODI interesting dialogue.” shoe. I am inspired by what I can do with that Although he may have been cast as the villain shoe. And only through living a normal life do the of the piece, it became apparent to Borsodi that ideas for what to do with a shoe come to mind.” www.professionalphotographer.co.uk 69
  • Call it whatever youCan photography be seen images for cartes de visite, the Victorian and Edwardian version of the Facebook profile pic. Friedlander, Garry Winogrand and William Eggleston to the general public and art world,as art? And when does it To those who took photography seriously this was secured the lasting reputations of Walker Evans,become fine art? And for not art, it was trade (today, of course, many of Edward Weston, Ansel Adams and André Kertész,that matter when does it these are highly collected and valued, and are an art form in themselves). The re-creation of and rediscovered the forgotten French master Eugene Atget. Moreover, he swiftly became thebecome contemporary art? recognised ‘art’ in photographic form was a most influential photography critic and curatorPP Editor Grant Scott hates simple standpoint to adopt but it took of his time, writing several books now consideredthe word ‘arty’ and photography nowhere and resulted in mawkish, overly-informed images which ignored the to be classics, including The Photographer’s Eye in 1966 and Looking at Photographs in 1973.indulgent conceptual creative possibilities that photography allowed. Szarkowski was a friend, encourager, supporterimages. Here he says why. With the arrival of the handheld camera and the and promoter of photography and photographers film cartridge format this ‘art’ photography was – convinced that its rightful place was on the blown apart by new and challenging art gallery wall. He helped photography to breakHelmut Newton’s images of high-heeled, movements that embraced the machine and through the divide between art and commerce butdome-breasted power women with experimentation. Movements such as the Russian it is what has followed his pioneering work thatdominatrix expressions sell for big money Constructivist approach to image creating and I have my doubts about.in white-walled galleries and auction houses communication, exemplified by photographers A few issues back I wrote an article puttingaround the world for figures upwards of such as Alexander Rodchenko (who said, forward the argument that the Düsseldorf School$25,000 each. This is what he said about his “Photography has all the rights, and all the merits, of Photography had killed photography.photography and art: “Some peoples necessary for us to turn towards it as the art of The response was incredible and unanimously inphotography is an art. Not mine. Art is our time”), the Surrealists such as Man Ray and support of my theory (you can find out if youa dirty word in photography. All this fine art pictorialists including Cartier-Bresson. agree for yourself by reading the article on ourcrap is killing it.” Helmut, I agree. Photography became its own voice, separate website) that the originators, the unique voices, Of course, you may step up and point out from the world of art, free from the need to are to be listened to but the imitators are andMr Newton’s possible double standards here. imitate to be recognised as art. Yet it wasn’t art; always will be exactly that. Now here I amHe made good money from selling his prints, it was a trade, a commercial art at best and finding myself once again challenging theafter all. But before you do, take into account self-expression came from those who saw it as emperor’s new clothes of ‘art’ photography; or atthe fact that a majority of these images were a hobby, a weekend pastime. least the use of the word. I can’t believe I’m doingcreated for editorial and advertising clients. It wasn’t until John Szarkowski’s arrival at this but I feel a 1970s pop-rock behemothThey were commissioned, commercial images New York’s Museum of Modern Art in 1962 10cc moment coming on: “Art for art’s sake,created not for the gallery wall but for the world (he was chosen by one of the grandfathers of money for God’s sake”, and it is the art for art’sof publishing and commerce. It was only in 20th-century photography, Edward Steichen, to be sake that seems to me where the problem lies.their second post-published lives that a lot of his successor) that photography started to make The work of the Düsseldorf masters sells forthem were seen as art images. its first confident strides towards the world of art. big bucks in the same auction houses and It has not always been so for photography When he started at MOMA no gallery in New galleries which profit from the sales of Helmuthowever. If we travel back in time to the York would exhibit photography and he set about Newton’s nudes. But which is art?beginning of the last century the line drawn in changing that with the most prestigious gallery in The Düsseldorfs created as part of personalsepia-smudged tones between photography and town and perhaps the world at his disposal. investigations and documentations, or theart was far clearer. The art photographers of the He introduced the work of Diane Arbus, Lee Newtons created to sell frocks and stuff?time looked towards the romantic landscapes andidyllic pastoral scenes created by the popularVictorian chocolate box painters and theyemulated them. They used the photographic “Photography became its own voice, separate from the world of art,process to re-create the same scenes with the free from the need to imitate to be recognised as art. Yet it wasn’tsame aesthetic, which to them meant that whatthey were doing was ‘art’. The commercial art; it was a trade, a commercial art at best and self-expressionphotographer, meanwhile, was busy creating came from those who saw it as a hobby...” Grant Scott70 www.professionalphotographer.co.uk
  • SOAPBOXwant but don’t call it ART! Over the past few weeks both Sotheby’s andChristie’s auction houses in New York have heldauctions of photography. The combined numberof images across both auctions was 384, includingwork by Richard Avedon, William Eggleston,Robert Mapplethorpe and Robert Frank.Pre-sale estimates started at $1,000 and rose to$350,000. At these prices it’s easy to see whyphotographers are keen to have their workexisting within this high-profile and high-valueenvironment. But it’s interesting, I think, that thephotographers who Szarkowski promoted andbroke into the market more than 45 years ago arethe same ones headlining the gallery world today.Also all the photographers I have just mentioned why they are artists. Where ‘fine art’ is abouthave at times during their careers been “Pre-sale estimates started at selling unimaginative images under a cloak ofhappy to accept the commissioned, commercial $1,000 and rose to $350,000. serious intent, contemporary art is about nothand of payment in return for their images. selling, or wanting to sell, images – but in theArt photography, or at least photographs sold At these prices it’s easy to see process suffocating them with a cloak of seriouswithin the art world, is thriving. But where does that leave the hundreds and why photographers are keen to intent. Either way the work in both categories is rarely new, imaginative or the result of a uniquethousands of images created for art’s sake and have their work existing within eye. When it is, it sings out, but just like theart’s sake only? Where does that leave thephotographer whose work is defined by the this high-profile and high-value Düsseldorf inspired work that dominates this scene, it is too often dull and pointless.success of their most recent Arts Council grant environment.” Grant Scott Now, you may feel that I am being too harsh onapplication? I have a friend who makes films for both areas of work and on the use of the wordthe CNN news network who has always seen ‘art’ in relation to photography, and you may bevideo art/installations as bad film making dressed direct descendants of the Victorian chocolate box right. However, if you use the term ‘art’ toup as art. I have always understood his point of art photographers, looking to art clichés to define describe your work, as many photographers Iview (have you ever found yourself in a gallery them as artists. Even worse are those who meet and speak to choose to do, then you have tostaring at scratchy, badly-lit videos without plot, describe themselves as ‘fine art’ photographers, expect a little more investigation and criticismdialogue or reason and wondered just what the as if ordinary art were beneath them; that because than the photographer happy to exist in thetitle Untitled meant?) and it’s one that has a direct they are referencing recognised artists their work commercial world. The photographer whocorrelation with photography. has a higher, finer calling. They are the sort who chooses to raise expectations of their work by For me this labelling of photography as art falls use ‘arty’ (a term that makes my skin crawl) to placing it in the art world cannot and should notinto two distinct categories. Category one is the describe anything they do not understand. be surprised when they find their work judgeduse of appalling post-production ‘art’ effects to Category two, like me, shuns the term fine art against the masters and the greats within thecreate hideous imitations of popular and easily and the cheap, instant gratification of photo world they have chosen. After all, you’re notrecognisable art. Under this you can file anything effects but, unlike me, they embrace the photographers, are you? You’re artists. But thenthat references Andy Warhol, HDR, overly altered introspection of contemporary art. For them the again if you sell your work does that not makecolour palettes and the soft-focus travesties trying word ‘fine’ speaks of the past but ‘contemporary’ you as commercial as any other photographer?to invoke the spirit of Constable, Monet, Degas or speaks of the ‘now’. Their work is about personal I know what my answer to that question is butany other romantic artist. I also include in this expression, not technical artifice. It is outwardly maybe rather than give you my answer I’ll justcategory any bad pastiche of a well-known contemptuous of the commercial, of working to a give the last words to Helmut: “Look, I’m not anpainting. These works and photographers are the brief, of compromise; that’s why it is ‘art’, that’s intellectual, I just take pictures...” PP LET US KNOW WHAT YOU THINK BY EMAILING FEEDBACK@PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 71
  • Reality used toFrom left, fashion designer JohnGalliano, photographer StevenMeisel, writer and model HervéLe Bihan, actress Michele Hicks,model Amber Valletta, fashiondesigners Domenico Dolce andVictor Alfaro, and model LindaEvangelista at the 7th on Salebenefit, New York, 1995.72 www.professionalphotographer.co.uk
  • { WORKING PRO}be a friend of mine The phone no longer rings as it once did for New York photographer Miles Ladin. In the 1990s his inventive black-and-white society images were an eye-catching feature on the newspaper and magazine landscape. In a conversation with Sean Samuels he discusses theMILES LADIN industry challenges he faces today.
  • 74 www.professionalphotographer.co.uk
  • { WORKING PRO} Sean: You had a very successful career in the 1990s, but I have not seen as much of your work recently. “I started going to the exclusive galas and parties Miles: I think what’s happened is that the industry feels the public wants a where there were celebrities, but also a very certain kind of image and that they lack a certain kind of sophistication. In the 1990s, you had a lot of magazines and editors that would take risks New York meritocracy, a really diverse crowd of and run interesting pictures, whether it was black-and-white social glitterati. I basically photographed every commentary, reportage or an illustration or a photo story from a young photographer. Now, to my mind, it goes in two different ways. It’s either a week for the New York Times...” Miles Ladin kind of smile, say-cheese paparazzi colour shot where the subject is looking at the camera or it’s this type of portraiture that’s very influenced by work brings the viewer into that moment, not just, “Here’s a velvet rope and Philip-Lorca diCorcia, let’s say, these art photographers who have trickled I’m behind with you as a voyeur looking at someone on the other side.” into editorial; it’s this sort of very posed shot. It had been escalating, but the It’s that you are at this amazing party and here’s this A-list celebrity and pinnacle was when Bonnie Fuller of Us Weekly magazine, said, “They want perhaps they are having an off-moment, perhaps there is something garbage; we’re going to give them garbage.” In the 1990s when I worked interesting I can observe or say about them. So even if it is a picture of with Tina Brown at the New Yorker, she wasn’t directly my editor, but under Britney Spears that may not be the greatest thing ever, in that picture the her auspices I did tonnes of assignments, something like 24 literary parties security guard is falling on top of me and somehow that’s included. in a year, which was great, because she thought maybe we’d use them for something. They had the budgets and they were not bowing to the SS: That sounds more interesting to me, but does this image of lowest common denominator. reality conflict with what is wanted? ML: Maybe. Annie Leibovitz in my estimation is providing images as the SS: Do you feel that the people commissioning then were searching subject would want to be perceived, which is fine, but they are not real, for something original as opposed to now? I don’t think. It’s creating this idea that you’ll never be this fabulous and ML: I think in the 1990s a lot of the things that made front-page news were that you can’t relate, which doesn’t make these people seem human. I am more common sense, searching for the original angle or story. A lot of the time now if there is no celebrity, there is no story because the public has worked itself up into frenzy about this. It used to be that there was an obligation to show something unique to the public. It used to be journalistic – we’ll use the word loosely – integrity to create something and not be worried about having to get it rubber-stamped. SS: I wonder if some commissioners today confuse the look of your work with the sort of images that news agencies, celebrities and their PRs don’t want to see printed. ML: Perhaps it’s naivety, but a lot of times I think about these things and wonder why my phone isn’t ringing like it used to and I can’t quite come up with it. One thing is the whole black-and-white issue, which I kind of get. People say the public wants colour; colour sells and this is based on surveys we’ve done, but I just don’t think that should be as big a deal. I haven’t had this experience for a while, but there was a time when shooting celebrity portraits I would have to sign a form saying any picture I ever wanted to use from the shoot had to have approval. I was shocked by it. I had situations where the celebrity was being really crazily difficult and we just wouldn’t give them any coverage. Okay, the celebrity is protecting that image, but I don’t care how famous the person is; as a photographer, as a journalist I am providing them with free publicity. Am I successful in getting the types of pictures that are always wanted? I don’t know. Sometimes I am, but sometimes the client is going to have to run a picture because I have only that one image of Britney Spears as her security people were pushing everyone away. It’s not a Miles Ladin perhaps, but it’s why in the end I am hired really, to get the bone, like a dog gets the bone. SS: What would you say is a Miles Ladin? ML: When I go to an event or I am meeting somebody, I try to go in without any preconceptions and just react to what is in front of me. I hope myMILES LADIN Right: Socialite Anne Slater at the NYC Opera thrift shop gala, 2000. Opposite page: Singer Alicia Keys and Anna Wintour, Editor-in-Chief of US Vogue, at the Alexander Wang fashion show, New York, 2011.
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  • { WORKING PRO} trying to make pictures that show something interesting about the subject. like the project I am doing at the moment about bathing culture at exclusive I do have a certain amount of disdain for celebrity culture. That’s not to say I resorts in Miami and Los Angeles. disdain talent, but I think a culture that makes these people into Greek gods is to me going in the wrong direction. If I can reveal something that brings SS: Is it fair to say your experience of growing up in New York gave the viewer into what I perceive is the reality then I think it’s a successful you the ability to fit easily into the worlds of luxury and celebrity? image. I am definitely interested in glamour, but I think idolisation of this ML: I do try to blend in, whether it is something downtown or uptown in unreality can be very harmful to society. terms of personal style, so I can feel like a part of the scene and that includes having a drink or talking to people. When I started working a lot of SS: Many photographers are friends with celebrities today. photographers would show up at these events in blue jeans for whatever How much do you think that affects the type of work being reason, maybe they just didn’t care. I was told early on I had to get a suit and commissioned and printed? ML: There’s a photographer in New York who is quite famous at doing party pictures and he is Mr Kissy-face. He is a friend to a number of celebrities. I am not sure if they consider him their friend, but I am sure he knows them all by their first names and he kisses them and he is financially very successful. I don’t believe his work is that interesting. I don’t think the celebrities ever hire him per se, I think it is the apparatus. So [in response to your question] I would have to say absolutely, but that’s just not in my nature. I’m a friendly person and interested in people, but it just hasn’t been my experience. I’m not so interested in that interplay between the subject and me. I try to connect in a different way when taking pictures. I am happier when it’s a group of people and they are talking together because then I am there and I can riff off of other energy. With a lot of photographers it is about them and the subject. SS: How did you develop your style of image and way of working? “I was told early on I had to get a suit and look ML: At the time I was working on a graduate thesis of pictures of my like I was part of the scene. You didn’t have to friends; we were all in our 20s around the time of the whole generation X hoopla. Douglas Coupland had a book called Generation X, which the media pretend like you were a blue blood or anything jumped on wondering what these kids were doing. They had a very different like that, but you had to dress appropriately so set of values and possible trajectories, according to the media anyway, so I would just hang out with friends. At 23, I wasn’t really part of any kind you could blend in.” Miles Ladin of rich and famous A-list scene or going to these kinds of events with my friends, but I certainly went into Park Avenue apartments all the time look like I was part of the scene. You didn’t have to pretend like you were a and knew what New York was about. In the beginning my interest wasn’t blue blood or anything like that, but you had to dress appropriately so you celebrities, it was photography. I was studying with Nan Goldin and could blend in. I still do this today. It’s not like I want to be invisible or developing a diarist way of making pictures when I started getting very anything, although I have heard, “How did you get that shot, it’s almost like exciting commercial work. I started going to the exclusive galas and parties you are invisible,” and I don’t like that because I am not trying to be. where there were celebrities, but also a very New York meritocracy, a really diverse crowd of glitterati. I basically photographed every week for the SS: Are you seeing work that is interesting to you? New York Times working with the writer Bob Morris on a nightlife column. ML: I look up to the painters Francis Bacon, Anselm Kiefer and Barkley Half the time we would do downtown edgy things and half the time we Hendricks, with whom I studied. He was an influence as a teacher. The one would do these more celebrity and socialite things. Throughout my career IMILES LADIN have been lucky to have a certain kind of access to special events and I think Above: A spread from In the Flash, in WWD Collections magazine, 2008. my pictures are about that, whether photographing celebrities or something Opposite page: Model and singer Karen Elson at the amfAR NY Gala, 2011. www.professionalphotographer.co.uk 77
  • { WORKING PRO}Fashion designer Donatella Versace (left page); model Stephanie Seymour and and they are so ubiquitous in a certain way. Some aren’t, but for the mostpublisher Peter Brant (right page) in W magazine, 2011. part they are ‘whatever’ and that’s really the word, whatever. Over the years I would travel to London to meet with galleries, but I have stopped doing thatphotographer I am enamoured with is Anders Petersen. He influenced and in New York galleries just won’t look at the work. It’s like a social thing,Nan Goldin, but was not even on my radar until I saw a show at The which I haven’t figured out just yet.Photographers’ Gallery in London. He has this book called frenchkiss,which is sublime. He came to New York for a gallery opening and I made it SS: And so what is the next step for you?a point to meet him. He really is a very sweet person. It’s not like I want ML: At the moment, I am concentrating on the book, but I am looking toto make his pictures and I don’t want to say take better pictures than his, but relaunch my website with all the images I’ve been making over the years,as I progress and get older, I do want to push my vision to that point which I hope will reveal some things about luxury and celebrity.where one is not influenced, although we are always influenced, I suppose. SS: I look forward to seeing the new site and recent video work.SS: How is your current project on bathing culture progressing? ML: I’ll let you know the details as soon as I can.ML: I had hoped to get three-quarters of the images done, before meetinga publisher, then brainstorm with them about how the whole thing should SS: Thanks Miles. PPlook and then go back into the field and shoot whatever was missing orwhatever I felt I needed for a book, but I have learned this is unrealistic now.Publishers want the whole thing mocked up so you have to lay it out. www.milesladin.comAlthough I’m sure if you’re Nan Goldin that’s not the case. I also see booksthat are being published and I just don’t know; there are so many on To watch a video shot by Miles backstage at New York Fashion Weekcelebrities which photographers have published and you look at the pictures visit the short films section on our website. MILES LADIN FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK78 www.professionalphotographer.co.uk
  • CAN I GETAWITNESS?It’s a long way fromshooting Catholicweddings in Glasgow at T o be at the heart of the action and to get the image that the world will remember is every photojournalist’s aim, and Harry Benson has got more than a fair few of those vital images during a career that has spanned six decades. This is about these jobs was that you learned how to speak to people, so although basically it was a hellish time I was learning.” Although he didn’t thrive academically, photography was something he could figure out. His father, who worked at Glasgow’s now-closed5am to recording some the man who was standing by Robert Kennedy the night he was murdered, Calderpark Zoo, dabbled in photography and introduced the young Benson to a world in whichof the most important documented the resignation of Richard Nixon, the tension of the Civil Rights movement, the he felt confident. “I always got close to my cameras as a boy,” he remembers. “I’d sit up inpolitical events of the funeral of Martin Luther King and the fall of the Berlin Wall. He has also captured every bed and go through the camera. It was like magic to me. I was not that good at school but with a20th century but US president since Eisenhower. camera I thought, ‘I’m in complete control ofHarry Benson’s approach Talking from his New York home, which he shares with his wife Gigi, Harry Benson’s accent this’. I’ve got a lot to thank Kodak for, to thank Canon for; they never let me down.”has always remained is still faithful to his Glasgow roots, even though he left the UK more than 45 years ago. For him the philosophy was simple: “Basically all I had to do was take a good photograph, andthe same. Eleanor Good-humoured and gracious about his extraordinary life, he takes me right back to the every day you went out to take a picture, that was the aim. It was simple for me, ‘That’s a goodO’Kane talks to the man early days of his first paid assignments, before he was even a press photographer picture/that’s a bad one. I like it/I don’t like it.’” This seemingly straightforward outlook, however,who has been an “I was doing weddings, Catholic early mass weddings, which could take place at 5 o’clock belies the fact that the key to Benson’s success is a great deal of skill, instinct and sheer hard slog.eyewitness to history. in the morning, and then I began doing more “I’ve always found that if you work hard you’re weddings for an agency near Loch Lomond. inclined to get lucky. If you work hard on a story I was living in Glasgow so it meant two hours it’s going to break and then there will be a travelling each way. During this time I tried to photograph; not necessarily a great photograph, get a job in Glasgow but couldn’t. Then I got a but a photograph.” summer job as a photographer in a Butlins The determined Benson finally landed a press holiday camp. In a way it wasn’t bad – neither photographer’s job at the Hamilton Advertiser, were the weddings when I think about it, I wish just outside Glasgow. During his time there, he I still had the pictures. What was interesting would take the overnight train to London to80 www.professionalphotographer.co.uk
  • { THE INTERVIEW}“I got a call one night in 1964 from the paper; they wanted me to go to Paris with a band calledthe Beatles but I didn’t want to because I was going to Africa to do a serious story on independenceand I thought, ‘I’m a serious journalist now; who wants to cover a rock group?’ ” Harry Bensonshow his work to the Fleet Street picture editors, About five minutes later I received another call but I never went back, except to sort out a fewtravelling back on the next overnight service. with a message from the editor to tell me I was things. When I got to New York, I wanted to move“I did this about eight times and on the final visit going to Paris with the Beatles.” away from newspapers although I worked a lotI was leaving the Daily Sketch and the picture It turned out to be the right occasion to do as he for them. I got a contract with the Express whicheditor gave me a nod and a wink. A few days later was told. Although the Liverpool band had yet to was fine but I really wanted to work for LIFEhe telephoned and offered me a job. That was become a global phenomenon and had just started magazine. But then again, I would work forhow I got started as a serious photographer.” to become known in the United States, it didn’t anyone, I was never particular about what jobThe job that gave him a foothold in Fleet Street take long for Benson to realise he was witnessing I was given. A lot of photographers, they movewas covering Scotland for the newspaper. something really special. “The night the Beatles up and up and then become very grand but IBenson loved it. “I got to know my own country, arrived in Paris, they did a warm-up gig outside would do anything.”travelled the length and breadth, I’d the city near Fontainebleau.” Benson explains that It wasn’t long before he got his wish, however,go everywhere with my big plate camera.” a handful of press photographers followed them and in 1970 he was contracted to work for LIFE, Benson’s initiative and drive began to get him to the outskirts of the capital. “I had to go out to an arrangement that lasted 30 years. Although henoticed and he came second in a magazine my car to get a piece of equipment and when I found himself at the heart of key moments inphotographer of the year competition, which he walked back in they were starting up ‘Close your history, he missed the keen sense of rivalry fromsays was a tremendous honour “because no one eyes and I’ll kiss you...’” – he bursts into a the Fleet Street days that had driven him. “I lovedout of Scotland ever won anything”. It made him melodic rendition of the opening of All My my days on Fleet Street and I missed theinsist that the Sketch bring him to London, where Loving – “and I knew I was on the right story.” competitiveness. In those days that ethos reallyhe gained a reputation as one of Fleet Street’s The resulting images from that trip, notably the helped me. In Fleet Street the attitude was, ‘I’vefinest photographers due to his commitment and famous pillow fight images, sealed Benson’s got to get the best picture today.’” Being mindfulability to outwit his rivals to get the best picture. reputation. The shots came about after the ever of getting the best image marked him out of theIt was while gate-crashing a party that he met sharpwitted Benson heard John Lennon mention a press pack and also meant he was striving to be inSir Max Aitken, the owner of the Daily Express. pillow fight they’d had a couple of days before the ideal place to get the best shot. “Whatever the“Someone came over and said, ‘Sir Max Aitken and it struck him that would make a good shot. boys did, I wanted to do the opposite,” he recalls.wants to meet you,’” he recalls. “I thought he was After the other photographers had left the room This desire to distance himself from the packgoing to throw me out but he offered me a job.” he suggested they re-create the fight, which they and to get his own take on events led to Benson It was as an Express photographer that he got initially weren’t keen to do, but after a while John being in some key positions. Famously, he wasthe assignment that would change the course of initiated another pillow fight and with a standing by presidential candidate Roberthis career. “I got a call one night in 1964 from spontaneous swipe at Paul McCartney history was Kennedy when he was shot, capturing the seminalthe paper; they wanted me to go to Paris with a recorded yet again. image of that night in 1968: a panic-strickenband called the Beatles but I didn’t want to Benson travelled with the Beatles to New York Ethel Kennedy in the moments after her husbandbecause I was going to Africa to do a serious where their appearance on the Ed Sullivan Show was fatally wounded in a Los Angeles hotel.story on independence and I thought, ‘I’m a on 9 February 1964 caused a sensation and that Talking about the Kennedy assassination, Iserious journalist now; who wants to cover a rock was the beginning of his new life across the comment that when many would have frozen ingroup?’ I talked them out of it and hung up. Atlantic. “I came to America with the Beatles such situations, Benson sprang into action. He offers a simple explanation: “In situations like that I’m saying to myself: don’t mess up“I’ve always found that if you work hard you’re inclined to get today, mess up tomorrow. This is it.” Talking to Benson about the turning pointslucky. If you work hard on a story it’s going to break and then in history that he has witnessed – the civil rightsthere will be a photograph; not necessarily a great photograph, demonstrations, the rise and fall of political borders and presidential careers – it’s clear thatbut a photograph.” Harry Benson he has always felt a deep responsibility to come www.professionalphotographer.co.uk 81
  • Premium Photobooks Not premium prices www.photoproductions.com Professional Photobook design and printing The highest quality at unbeatable prices Easy online ordering and online proofing ** Special Offer For Pro Photographer Readers ** Free Pocket Book with your first order, just email us quoting promo code PP8 WINDSORThe Photographic Royal Windsor Racecourse 29th June 2011Trade Show BRISTOL Ashton Gate Stadium 19th July 2011 For All Professionals DUBLIN Croke Park StadiumRegister now for your free tickets - www.forwardevents.co.uk 6th September 2011 KENT Trade show 11am-6pm Camera Clinic FREE Entry Product Demonstrations Brands Hatch Circuit 18th October 2011 FREE Seminars Digital Advice LONDON NEXT EVENT Royal Horticultural Halls 15th November 2011 Coventry EDINBURGH Ricoh Arena Royal Highland Centre 14th June 2011 27th March 2012 HERTFORDSHIRE Sopwell HouseFor more info about your local show and to register for your free 24th April 2012tickets go to www.forwardevents.co.uk or call 01634 296 001 MANCHESTER Man Utd Football StadiumSPONSORED BY: 15th May 2012 Follow us on Twitter www.twitter.com/photovisionnews
  • { THE INTERVIEW}back with the image that defines the situation.“I understand that I am in a privileged position. “I remember when Elizabeth Taylor and Richard Burton wereThat comes with being outside in the cold for somany years; the newspaper background was a big spotted in Rome together but were married to different people.motivator. I could say I’ve missed quite a few The Pope came out and condemned it; now that’s a news story.shots in my career, but it really is getting to knowyour equipment and not to be too burdened by it.” It’s no different to the news I was covering. If it wasn’t news I wonder if this sense of ease with his cameracontributes to his effortless style. “Yes, probably,” they wouldn’t be putting these people on the front page.”he admits. “You’ve got to be mobile, to be able to Harry Bensonmove, to watch the whole environment.When something happens, there are so manyminutes and seconds in the day, but what is away? Can you imagine Pat Nixon running away? ‘Please don’t use this picture or that picture,’ allhappening here is going to be over in seconds so Jackie Kennedy made photographs for him.” of a sudden I’ve got a problem. This personyou’ve got to move in for that time.” He attributes In a 2010 documentary called Smash His is my new best friend, even though they aren’tsome of his lightning reaction at the Robert Camera, Benson spoke up on screen for Galella, my best friend.”Kennedy shooting to lessons learned from the the famous American paparazzo, dubbed ‘the Now contracted to Vanity Fair, Benson is stillassassination of President John F Kennedy five Godfather of the US paparazzi culture’ by Time busy and our conversation was sandwichedyears earlier. “That event was so close to [what and Vanity Fair magazines, who pursued between a couple of jobs at his home. He stillhappened in] Dallas. I thought ‘Don’t fail now. Jacqueline Kennedy-Onassis relentlessly. loves going back to Scotland and he picked up aThis is it.’ The memories of Dallas were very “When there’s a horde of photographers they are Lifetime Achievement Award in 2006 from themuch with me, why there were no pictures. called paparazzi and the term is used to degrade Scottish Press Photographers’ Association.And here was something that landed in my lap.” them. I remember when Elizabeth Taylor and In 2009 he was made a CBE, which seems to His work is mainly in less tension-fuelled Richard Burton were spotted in Rome together have come as a surprise. “I was proud to get it,”environments nowadays, but he says his Fleet but were married to different people. he says. “It’s not as if I was that type ofStreet instincts haven’t left him: “There’s always a The Pope came out and condemned it; now that’s photographer, like a society photographer, or apressure on myself, just because I think I can do a news story. It’s no different to the news I precious fashion photographer who moves inbetter,” he says. While his work might be very was covering. If it wasn’t news they wouldn’t be all kinds of circles. I’m honoured but I wish I’ddifferent now he still feels solidarity with today’s putting these people on the front page.” got it when I was 17, because I wasn’t thenewspaper photographers. “I feel for a lot of the Regardless of whether he is photographing cleverest boy in school, so I’d have liked some ofpaparazzi, a lot of what they do is actually news. celebrities or hard news, Benson says he has my school mates to have seen me get it!”If an actor gets drunk and beats up his wife, that’s remained detached from his subjects and leaves It’s been a wonderful career and it’s not overa news story. once the job is done. “I don’t get close to people. yet. I wonder if there’s anyone left he’d like to “Take Ron Galella, who spent a lot of time If I am photographing someone and they photograph. “Just one,” he says tantalisingly.chasing Jackie Kennedy. All she had to do was ask me to have dinner afterwards, well, that “That one would be Putin, the Russian.turn and say, ‘Good morning, Mr Galella!’ sounds nice but during dinner – and this has Because he’s interesting, and you know he’s aCan you imagine Margaret Thatcher running happened – the subject suddenly says, hidden persuader. He’s a very powerful man.” Are there any plans for a portrait shoot, I venture? “Not yet,” he says casually but when Harry“I understand that I am in a privileged position. Benson is behind the lens it feels like anythingThat comes with being outside in the cold for so many years; is possible. PPthe newspaper background was a big motivator.” Harry Benson www.harrybenson.comESSENTIAL READING:Harry Benson on Photojournalism, published by Harmony, 1982, A new book of Harry Benson’s portraits of the reclusive chess geniusISBN: 978-0517544495 Bobby Fischer is being published by powerHouse Books in July.Once There Was a Way: Photographs of the Beatles, published by Harry The images of the man Harry Benson called “The most complicatedN. Abrams, 2003, ISBN: 978-0810946432 and most fascinating person I have ever photographed” wereHarry Bensons Glasgow, published by Black & White Publishing, 2008, shot during the historic World Chess Championship in 1972,ISBN: 978-1845022365 which took place in Iceland. Bobby Fischer by Harry Benson,RFK: A Photographers Journal, published by powerHouse Books, published by powerHouse, £28.99, ISBN: 978-1576875810.2008, ISBN: 978-1576874508 www.powerhousebooks.com www.professionalphotographer.co.uk 83
  • Let me tell you a story Film maker Kevin Shahinian is breaking new ground. Having studied film at university, he now brings a Hollywood blockbuster approach to shooting wedding videos, offering couples the chance to star in their very own movie. Sean Samuels spoke to him about his work and how he creates the narrative that makes every piece unique. Sean: You have a storytelling background; talk me through the creative process behind a production. Kevin: First and foremost, before I do any work I make sure the client is serious because there is quite a bit of work to be done before we move forward with a project. If they are serious we sign a basic contract to agree what they are going to get. I would say for every 10 enquiries I get, maybe one is a right fit for us. Then comes the first round of interviews where I speak to the bride and groom together, and then individually. This is to determine the moment in their past that is worthy of the big screen; I want to figure out what was the most intense emotional point of their relationship: was it when they first met, was it the proposal or some moment after? Was there ever anything in doubt or in question in the relationship, which I can, in a tasteful way, blow up into a dramatised movie? I’ll find out what the story is going to be about. I’ll find out what the point of view is going to be – which of these two characters has more to lose in the story and make them the lead character. Then I will come up with a pitch before I even write the script. I’ll do a follow-up call and tell them what the story is, what genre it is and ask them what they think.
  • { WORKING PRO} We have already discussed budgets beforehand and so the conceptual process have been doing. So I wanted to bring this approach to documentaries and is trying to fit into that budget that we have already discussed. develop the approach in pre-production, coming up with a style that serves the story and making a film with real people about a real event. SS: When considering the narrative hook, do you face much opposition when you ask for the couple’s personal stories? SS: Do you work with anybody else on the conceptual process behind KS: It’s interesting; a large part of the process is about educating the couples each production? and gaining their trust and implicit faith. A lot of people say, “This is what we KS: I work completely alone. Everything I do is original so I am not really want, we want it to look like this, we want to run and dance in the flowers” and spoofing anything. I do get requests to do parodies, but that’s not really where I don’t do that sort of painting-by-numbers thing. For me I am charging big my sensibilities lie. I want to direct major mainstream films so this is more my money so they should let me do my thing because I am the expert. For the comfort zone. It is a fresh spin on doing a live event, which is a documentary couples, a lot of this is about the experience as much as the final product. basically, but if you go out of that world there is nothing new in narrative They want to have the experience of being in a film. I let them know what it is fiction, because people have been making short films for a long time. that I would like to do and if they are not interested in the idea, then there’s probably nothing else I would be as interested in doing. No one has said no yet. SS: What was the revealing fact about the couple’s relationship in your Swedish piece Snow, on which you hung the story? SS: Do your clients easily accept your tight level of creative control KS: The groom was in the Swedish Air Force and he sneaked off the base every over their films? night to see his girlfriend. I thought that was brilliant, how in love you must be KS: I would say 50% of the enquiries are what I have just described, a couple to do that and when he knew he was going to propose he gave her a treasure saying, “This is what we want” and I have to turn those away. I am doing this hunt through the town. He was waiting at the end with a ring. I said, “This is a as a film maker wanting to stretch my directorial legs and do different things suspense film. It’s a drama which ends as a romance, which is the twist.” each time. We can only do two or three a year because of the time it takes and the clients aren’t abundant because of the cost. The first meeting is almost an audition so I can make sure they are right for us as we are for them. The ultimate client is the one who completely appreciates and sees the value “At film school I was thinking about the ways in my having control, because if I am doing the same thing every time, I’m narrative fiction and traditional three-act going to get burnt out and I am not going to be as passionate about the project. storytelling could enhance the documentary SS: Where did the idea come from for your Hollywood approach to and create a more immersive experience.” shooting weddings? KS: As more of a philosophical person, I like to think about big ideas. At film Kevin Shahinian school I was thinking about the ways narrative fiction and traditional three-act storytelling could enhance the documentary and create a more immersive SS: Do you think there are only so many stories to tell?KEVIN SHAHINIAN / AMISH SOLANKI experience. It was that initial idea and looking at traditional documentaries and KS: I don’t know if there is a finite number of stories to tell. There is definitely wedding videos and seeing that the creators were obviously extracting the story an infinite number of ways to tell a story. Even if there were only one story that in the editing room. Documentary traditionally just feels like facts and figures. could ever be told by anybody, there’s a limitless number of ways to tell that It is an objective thing whereas the subjective worlds of fiction and Hollywood story, from alternative points of view to a non-linear style, that would keep it are much more emotional and leads to more of a call-to-action in the story. There is a developing approach in pre-production and shooting for the edit in Above and opposite page: Kevin Shahinian shooting City of Lakes in India, and scenes ways that serve the story, which is counter to what documentary film makers from his new action film Flawless. www.professionalphotographer.co.uk 85
  • “Every wedding video you see is the same – solely about the bride and groom – but for meit’s how would Hollywood approach this? In the case of the India piece we cast actors sowe would have control over the other days of shooting that might not have the actual weddingceremony as part of the story...” Kevin Shahinianinteresting for all time. I like to do new things each project so I don’t know for it through their process and get to the emotion you want, but really if you arehow much longer I can keep the passion going. I’d love to do more mainstream going to help them get to that place you work with them; if they are more of awork and perhaps a web series where I can maintain control; if I get the chance traditional actor you can give them thoughts or action to help elicit thatto do a feature that would be good too. This is a great lifestyle and I don’t take emotion. For great actors the theme is that once you have the material down andit for granted – I have full control of the project and great budgets, so as long the lines memorised, your concentration should not be on the material, thoseas there are clients who want to do new things and have faith in me, I’ll continue. words should just be coming out. So hearing this helped me to understand how to make adjustments if I wanted the material delivered in a different way, sayingSS: Tell me more about your web series idea – do you think this is the something to them to get them to adjust and not just giving them the result offuture for all image makers? what I wanted. There are a lot of huge directors who just say, “be sad”, thereKS: I think the internet is the way for people to interact with content. It can be are directors who are craftsmen, they are cameramen, and then there aremore of an immersive experience. In the next 10 to 15 years it is a medium that directors who are great theatre directors such as Sam Mendes. They really areis going to be in direct competition with TV, although TV is not going actors’ directors and you will see great performances then.anywhere. I think you are going to see more major Hollywood players puttingcontent online and it will fail unless it offers something that TV does not. SS: What happens if you get halfway through the process and it’sWith TV and cinema, you just turn off and surrender to the experience whereas really not working. I take it you can’t just walk away, so what do youthe internet offers the opportunity for an exchange between the viewer and the do to complete the project?content. I would love to explore that as the next genre. Movies and TV shows KS: The biggest limitation is having non-professional, non-actors in thosedo this now, they will have a website and different web content and it’s branded, brides and grooms, but I think the client has trusted me to make this thing tobut it doesn’t necessarily have to be blatant promotional stuff. It can be more the best of my ability. This may mean minimising their screen presence orimmersive and make you feel as if you are participating in the story. whatever else I need to do to make a great film for them. Fortunately, I have had clients who are really dedicated to the process and they have put in theSS: You studied film making at USC [University of Southern California] time and they have rehearsed with me. They have invested in it, but there’s nofor four years. Do you think this is the best route for people to learn backing out, that’s for sure.how to tell a story?KS: I had a mixed experience because I was rejected six times at the start. SS: I like the idea of rehearsing with the couples.It was very tough for me, but I was young and persistent, but then when I KS: It’s important. With Snow, the bride is the main character and she had tofinally got in I found it was very limiting in what I could do in terms of do a lot of emotional scenes with some professional actors. She was reallyproduction and the budgets were laughable. At the time I was very upset and nervous about it so we rehearsed quite a bit, just her and me, which helped.to this day I feel they imposed a lot of limitations; however, it really taught methat this whole process was about overcoming limitations. That aside, I’m the SS: If you are basing a production around a live event, as you did forkind of person who needs to know everything about a subject. I am not your City of Lakes film (shot in India), how do you ensure everythingcomfortable if I feel like I have missed something, so if I had not gone to film stays on schedule?school I would be sitting here feeling very frustrated wondering what film KS: It’s very tricky. If I am incorporating the wedding into the script then it’sschool would have been like. I also took a critical studies degree as well as a about how do I tell this story from an alternative point of view, where there isproduction degree so a lot of my time was spent studying directors and the tension, where there is conflict and mystery and all the ingredients that makehistory of film making. This part really opened my eyes because we don’t often a great film. Every wedding video you see is the same – solely about the brideget a chance to see some of the films that were before our time and understand and groom – but for me it’s how would Hollywood approach this? In the casewhy they were important and what they did historically, so I enjoyed that a lot. of the India piece we cast actors so we would have control over the other days of shooting that might not have the actual wedding ceremony as part of theSS: Professional photographers must also know how to direct people. story and then bring on a local producer to make sure everything happens andCan you learn this or do you think it is an innate ability? when locations fall through we can get a backup and keep moving forward.KS: You can definitely learn. It’s all about communication, so if you are good These days are controlled, which makes it such an interesting experimentat that already, it helps, but it’s like anything – the more you work with actors because you are mixing this completely controlled shoot with something thatthe more you understand what is required. I took acting classes just to learn is completely uncontrolled and trying to make it look seamless.their thought processes because there are certain things you can say to an actorthat they don’t necessarily want to hear. SS: What was the biggest problem you found with filming in India? KS: I think it was the scope of the production. It was like a perfect storm ofSS: What do you think is the worst thing you can say to a subject when challenges. Not speaking the language meant we could not easily face thefilming? spontaneous challenges that arose, but we hired a local producer, who wasKS: You never give an actor the result, the emotion; for example, “be sad”. amazing. There was the number of days we were shooting and how to make theThat doesn’t help an actor. A great actor will take that, understand it and filter live event fit into our story. The action of the film happens in one day, which86 www.professionalphotographer.co.uk
  • { WORKING PRO} is really hard because of continuity; you have a scene that starts in the morning is going to do the job well and help me to make a film on budget and I’m going and you have six days to shoot it. You have to make sure all that happens in the to use it. With DSLRs there’s firstly the light sensitivity; you should always morning, including that the sun is in the right place. light your subjects, but the fact you can shoot on location and not have to worry about a tonne of light is amazing. Secondly, being able to go on location and SS: Is it true you work with a very small crew on your productions? not getting hassled over kit is good, but then there’s a flipside because I have KS: It is difficult having to wear a million hats and to do everything, but to a seen really bad, shaky, poorly-lit location footage because people think they can certain degree it makes things move faster. I have worked on films where there go on location and shoot and not get hassled by the police, but you have to be is a person for every single job and that can be a hindrance if they are not really careful with that. Even if you are doing something small, I suggest getting a good at their job. If you can do it faster, you can save money and get things permit because the worst thing that could happen is getting shut down halfway done the way you want to. It’s a good and bad thing. On this new piece, the through your shoot. action film Flawless, we had to have stunt drivers, a stunt coordinator, assistant director, producer, second unit director, so out of necessity it’s more of an actual SS: Finally, is there a type of movie ultimately you’d like to make? crew. Everyone we had on board was used to doing a lot and very familiar with KS: I enjoy watching really good dramas and stories with a high-conceptKEVIN SHAHINIAN / AMISH SOLANKI the workflow of the Canon EOS 5D MkII. conceit underlying that drama. Take, for example, The Sixth Sense; it’s a drama between this little boy and this guy but underneath that is this supernatural SS: Do you think DSLRs make the production process easier? conceit happening, so that’s kind of what draws me in. I love dramas that would KS: I’m not like a camera gear person, I’m a film maker; give me a camera that be great dramas without the conceit, but when you add this element, they become great high-concept movies. That’s what I would like to make. PP Above: Kevin Shahinian (foreground) and second unit director Joe Simon on location in India shooting City of Lakes. www.pacificpictures.net www.professionalphotographer.co.uk 87
  • Small but perfectly formed
  • {THE BUSINESS} In a world of global domination by the large picture agencies, it’s good to see a boutique image library thriving. Julia Molony speaks to photographer Jason Shenai to find out how Millennium Images is selling work that is often deemed uncommercial by the big boys. Jason Shenai was a professional photographer with a stockpile of pictures stored in unorganised, unarchived Kodachrome boxes when a request came through that would change his career. EMI Records, on the hunt for arresting album cover images but without the budget to make a commission, contacted Jason and asked him if he had anything “a bit different” stashed away that would fit the bill. In this accidental way, the seeds of Millennium were sown. Millennium is a high-end picture library; the principle is simple, though challenging – commercialising photography that is not inherently commercial. “We reckon that anything good, if you find the right place for it, is saleable. We only take on good work which is going to be saleable somewhere. And if we haven’t sold it, it’s because we haven’t found the right place for it,” Shenai says. In its earliest form, Millennium came from Shenai’s attempt to organise a catalogue out of his own pictures and those of aCANDICE MILON / INDRE SERPYTYTE / CHRISTINE MATHIEU / MILLENNIUM IMAGES hand-picked group of photographer friends. “I got together with four friends who were photographers and basically asked them if they wanted to contribute some pictures. To begin with we had maybe 30 or 40 pictures from each of them; we put them in a filing cabinet and I got my assistant to number them, and that was the extent of it. There was no marketing or anything like that. They were all numbered and that was a start. So, every now and again an idiotic request like ‘Do you have something different?’ would come along,” he says, and he would be able to consult his library to find something appropriate. It wasn’t until years later, towards the end of the 1990s, that the fully formed structure and ethos of the company were firmly established. “We now have 700 photographers. But sadly my Kodachromes are still in their plan chest, unnumbered, unloved – I’m better at organising other people,” Shenai says. Right, top to bottom: Telephone with the cord wrapped over it; Girl with a sheer white curtain. Opposite page: Portrait of a young woman, Paris. www.professionalphotographer.co.uk 89
  • In the intervening years, he has developed branching out by launching a competition fora photography project at Wandsworth Prison in emerging photographers. The winner will receivesouth-west London and started lecturing in £500 and a contract with Millennium; workphotography at the University of Westminster. by the winner and runners-up will be shown atThrough these ventures he “began to make allies” a London venue in the autumn.within the industry. Those allies, and his Besides the fine-art ethos then, what are thebroad contact base, became indispensable when specifics Shenai is looking for when hunting forMillennium took root. photographers to join the Millennium stable? Harvested from the undergraduate and graduate “I think we are looking for complexity,programmes at the best academic centres in the something that goes beyond the purely aesthetic,”country, as well as at festivals, exhibitions and he says. “We look at people’s CVs and make athrough direct submissions, the photographers judgment as to whether they are likely to submitwho contribute to Millennium’s enormous stock more than once to us. It’s a lot of work to enrolcover subjects and styles as varied as photography a photographer. If we get the impression thatitself. What they share are certain standards of a photographer is going to go on submitting workartistic merit, and also, perhaps, an emphasis on that is better and better then we would be verythe challenging and the conceptual, rather than well-disposed towards them. The professionalismthe purely aesthetic. definitely counts as well as the quality of the “Up until that point,” Shenai says of imagery. There are certain technical standards thatMillennium’s first days, “picture libraries were we have to adhere to. For instance, we supply allknown for the poorness of quality. It was where our distributors with 50MB files... though ifpeople went if they really didn’t mind what the something is originated on film that’s fine.”images were like and if they didn’t have any A lot of the photographers Shenai representsmoney. So I thought, ‘Well, there must be an “I think we are looking for come straight out of university and he has firmopportunity for a picture library with interestingpictures.’ So we started thinking about it being complexity, something that and long-standing relationships with a lot of the colleges, which helps. But there is anotherdifferent and more interesting.” goes beyond the purely reason why he finds recent graduates provide Being different means not necessarily following a rich seam of the work which suits his remit.the demands of the market, which means Shenai aesthetic... We look at people’s This, he thinks, is partly because of how anhas to think laterally about how to make sure thework he takes on will sell. CVs and make a judgment academic approach informs a photographer’s work. “They tend to produce work that is more A major market for Millennium is book covers as to whether they are likely to critically informed and not so driven by a visual– making up nearly 70% of their sales. Go into aesthetic. That’s the sort of work that we reallyany bookstore and you are sure to come across submit more than once want to take on. It’s driven by concept and anpictures handled by Millennium. Just recentlytheyve counted covers for Solar by Ian McEwan, to us.” Jason Shenai understanding of theoretical practice – theory within photography, but maybe also with anSunset Park by Paul Auster and a new edition intuitive feeling about what the generalof The Second Sex by Simone de Beauvoir among concerned with a more complex, darker side of public or the picture-buying public are goingtheir high-profile sales. representation... Works of fiction, literary things, to find acceptable and interesting.” GRANT DELIN / JAMIE PARSLOW / HANNAH LAYCOCK / LUKE HAYES / MARCUS BASTEL / MILLENNIUM IMAGES “You only have to go into a bookshop and look are often more concerned with that too. The freedom from the commercial imperativeat the stacks of books to know what the particular On the whole, advertising wants a more positive, that students enjoy while at college isthemes are that will obviously sell,” Shenai says, brighter, simpler interpretation of life. another factor which puts a stamp on the workciting the example of a recent visit he made to his Though this is true for fewer than half our they produce.local bookstore, where on a table of bestselling images, it does help to define us.” “Often the photographers who we take onpaperbacks “seven of them had a picture Beyond the literary world, the rest of are fresh out of an MA or sometimes a BA;of someone walking away from the camera.” Millennium’s sales tend to go to editorial and sometimes they have been working for a year It makes sense that the world of publishing advertising clients, though it has recently or two, but they do often tend to be youngwould provide a more natural home for high-art launched a sideline in print sales. “It’s a relatively photographers... They will have spent all theirimages than advertising, though Shenai admits new venture for us,” Shenai says, but they have time [at university] making images that areit’s always a satisfying coup when Millennium already staged a couple of successful exhibitions thoughtful. It comes from inside, rather than [themakes an advertising sale. “When we get good offline. “One was a launch exhibition of motivation being that] ‘a particular clientadvertising sales it’s fantastic, because you can approximately 30 images by 30 photographers, wants me to photograph this – and thereforemake five-figure sales for one picture.” the other was an exhibition devoted to one I’m going to do it.’ There is a rule of thumb, he says, to explain particular photographer, Michael Ormerod, who is “People often ask us what they shouldwhy images handled by Millennium find more one of our bestselling photographers” he says. photograph. And the answer is really you shouldnatural homes in literary arenas than in purely Millennium takes on about 60-70 new go and find what you want to photograph.commercial ones. “This rule is an approximate photographers annually. This year, they will be We don’t brief people like that, because it alwaysassessment rather than a precise one,” comes out better if it’s come from the inside.” PPhe stresses, “but photographers who are this Above, top to bottom: A molecular model of siliconmythical ‘art-photographer’ type are often atoms; Wake left by a boat in foggy seas, Oslo. www.milim.com90 www.professionalphotographer.co.uk
  • {THE BUSINESS}Clockwise, from left: Michael and Vivian Laycock holding handsacross a table; Looking straight down the side of the WillisTower, Chicago, Illinois; A small-town cobbled street, Texas.
  • TheIan BerryFujifilmFinePix X100WhitechapelportfolioAward-winning Magnumphotographer IAN BERRY firstcreated a portfolio of images in theWhitechapel area of East Londonin 1972. Now in 2011, with thoseoriginal images on show at theWhitechapel Gallery throughout thesummer, we have sent him back tothe same locations to create a new,vibrant and exclusive portfolio ofimages with the Fujifilm FinePix X100.Whitechapel 1972/2011My original This is Whitechapel exhibitionwas held in 1972, which feels like 100 yearsago now. It was commissioned by the thendirector of Whitechapel Gallery, JennieStein. Until then the gallery had never helda photographic exhibition. Jennie was verygood. Her husband was a journalist andinterested in photography, so I think that’swhat prompted the show. Jennie hired me to document thechanging face of East London for theexhibition, so I spent a few weeksphotographing the area around the gallery.I’m pretty lazy and she would call me ateight in the morning to ask why I wasn’t“The man with two hats noticed me and stopped me taking IAN BERRYthe picture. I was amused to see he was looking at mebetween his fingers.”92 www.professionalphotographer.co.uk
  • FUJIFILM FINEPIX X100 PORTFOLIO Teargassing, Canton, Mississippi, 1966.
  • “I liked the red wall with the wet paint. I took the picture and the mother spotted me straightaway. If someone sees me Idon’t stop taking the picture, so afterwards she came up and thanked me for taking the picture, which almost made my day. It was so contrary to what I normally experience.”already down in Whitechapel shooting.She would tell me to get out of bed, so I did. It was a fascinating area and afascinating time because the old worldIrish/Jewish population was moving outand the Bangladeshi and Pakistanicommunities were just starting to tricklein. It was a good time to document across-section of people. Since creating the images I have rarelybeen back to Whitechapel, but I passedthrough there recently and it occurred tome that it might be time to revisit thework I created then. So I spoke to thepeople at Magnum, my agency, andsuggested that it might be a good ideafor me to go back and document how thearea had changed since 1972. Magnumshowed Whitechapel Gallery someenlarged contact sheets of my originalwork, to which they responded that theydidn’t have the money to fund a newproject, but would like to show a cut-downversion of the original exhibition.The show in 1972 featured 100 prints.The one now exhibiting features 30. Until Professional Photographercontacted me about shooting thisportfolio I had more or less abandonedthe idea of documenting Whitechapel in2011. So when they got in touch and askedme to do it I was delighted. Because I nowlive in the country I found a hotel in EastLondon to stay in which served as a basefrom which I operated to shoot over thespace of three or four days.This is Whitechapel:Photographs by Ian BerryUntil 4 September 2011Gallery 4, Whitechapel Gallery,77-82 Whitechapel High Street,London, E1 7QX IAN BERRYwww.ianberrymagnum.com94 www.professionalphotographer.co.uk
  • FUJIFILM FINEPIX X100 PORTFOLIO www.professionalphotographer.co.uk 95
  • “Perhaps this is not a picture I’d have shot in black and white but because of the solid colour of the ATM machine Ithought it worked.”“I don’t normally like pictureswhere the person is looking at me IAN BERRYbut sometimes it just works.”96 www.professionalphotographer.co.uk
  • FUJIFILM FINEPIX X100 PORTFOLIO “I liked the fact that this guy had had a meal, taken his shoes off and gone to sleep in the park.”Fujifilm’s FinePix X100F irstly I should say that I’m a non-technical my age, but this is something I have yet to embrace. photographer. So the first reaction I had to the Despite this, I was glad to see this functionality included Fujifilm FinePix X100 was based on how it felt, and it in the X100 as it is becoming ever more essential felt light, which is always good. It also had a very for photographers.quiet shutter, which is essential when shooting the way I do. Funnily enough I did shoot film footage for the NBCIt makes the X100 perfect for street photography because I television network many years ago on my first trip to thecan fire off a shot, wait to see what happens next, then grab Congo, but I didn’t see the footage for more than a yeara couple more frames because I have not been heard. and I realised that it wasn’t for me.For me this is a great plus. I worked with all of the settings on manual but I know While I was shooting I bumped into a Telegraph that it has a lot of in-built features which will aid use if youphotographer who saw that I was working with the X100 are not as familiar with a camera as I am. A quick scan ofand he loved it. The concept of a light camera of the X100’s the manual meant that I was able to get the camera up andquality and price instantly appealed to him. The cameras running with no problem. It’s a very logical piece ofI usually work with are far more expensive than the X100 equipment. For instance, the shutter speed dialand I had to agree with him. It’s fantastic value. is exactly were it’s meant to be. The quality of the images it produces are incredible The original 1972 Whitechapelbearing in mind the size of the sensor. I am a digital exhibition was shot entirely on Leicas,convert and I don’t believe that you get better quality but it was fun to shoot this new portfoliowith analogue film. You don’t, you get better quality with on the Fujifilm FinePix X100. PPdigital cameras like this. It’s a great camera which I reallyenjoyed using. There is a lot of enthusiasm within Fujifilm FinePix X100, £999.99 RRPMagnum for film making with stills cameras. It may be www.finepix-x100.com www.professionalphotographer.co.uk 97
  • “I saw this kid with his father. It just seemed a nice gesture. I really needed something to one side to make the picture work and suddenly the girl was there.” “This lady was caught in her own moment. I went towards her and noticed the chap on the right – that’s the advantage of a rangefinder, you can see what’s going on in the background. Everyone IAN BERRY seemed to be in their own world in a busy street.”98 www.professionalphotographer.co.uk
  • FUJIFILM FINEPIX X100 PORTFOLIO “I saw this guy coming around the corner and jumped into the steps of the entrance to the building and waited for him to go by. He was totally engaged in his conversation and quite oblivious to me.” “This reminds me of a picture I shot for the original Whitechapel project of an old Jewish guy standing in the window of his vegetable shop. When I saw this tailor working away in his window, ignoringeveryone, I thought there was something there.” www.professionalphotographer.co.uk 99
  • stop press...We’re always keeping our eyes open and our ears tothe ground to make sure we bring you the latest news,industry rumours and kit from around the world...STEADY AS WE GO versatility and just one leg to contend with,If you want more mobility than a tripod what you lose in stability you certainlycan offer then check out the new SteadyPod make up for in portability.designed by microstock photographer The Custom Brackets SteadyPodYuri Arcurs. The monopod consists of is available in two versions.the Manfrotto Neotec 685B which uses a The SteadyPod Basic is basedlocking mechanism, making it fast and around the Custom Bracketseasy to use – just extend and lock. style quick release and theThis, combined with Custom Brackets’ Tilt SteadyPod AS Basic is builtHead CB and Digital Pro-SV mounting around the Arca-Swiss stylebracket, allows 90° rotation of the camera. quick release. Both priced at £456With quick height adjustment, extreme including VAT. www.flaghead.co.ukPOWERHOUSE TIME WARPThe Westcott Spiderlite TD6 houses up to six Time-lapse is making a big comeback. While the Nikon50W fluorescents, which is equivalent to more D300s, D700 and D3s have the time-lapse function builtthan 1,200W of power, to offer a compact in, Canon users will require a little device known asfluorescent system for constant lighting. an intervalometer. The Canon TC-80N3 is ideal.The colour output to tungsten can be adjusted This delay timer is like the self-timer on theeasily through an optional tungsten halogen camera, but can be set up to 100 hours insix-pack of lamps offering 900W of pure power. one-second increments. An interval timer firesEncased in an all-metal construction, it features the shutter at preset intervals of between one second and 100three newly-designed, low-profile switches on hours. A long exposure timer allows you to extend thethe back which allow you to control light output exposure time for several minutes, or even hours. The exposurewithout changing colour temperature. Perfect for count mode sets the number of exposures taken in the interval timer mode: sixphoto and video, multiple lamp options offer the frames at 15-minute intervals, for example. Available through Amazon, the TC-80N3ability to quickly change from cool daylight can also be used as a remote switch and is suitable for the Canon EOS 5D MkII, 1Dfluorescent lamps to warm tones using powerful MkIV and 7D. RRP: £149.99tungsten halogen lamps. A number of various www.canon.co.uksingle heads and kits are available.Westcott Spiderlite TD6 with tilterbracket, 220V – £500 including VAT. G Through the looking glass instant left or right eye usage and is idealwww.fjwestcott.com This budget-friendly LCD ViewFinder is ideal for viewing the LCD in bright conditions. for filming using a DSLR. The ViewFinder As well as being splash and dustproof it simply attaches to the LCD with an adhesive weighs just 110g and is less than half the frame and a magnetic mounting system, price of other popular LCD turning it into a huge viewfinders. The only minor electronic viewfinder for drawback we can see is that it precise image evaluation. does not have an eye diopter, so It offers magnification of it may not be suitable for 200%, specially tailored to wearers of spectacles. most 3in LCD screens. The RRP: £102 including VAT. 180° flippable design allows www.videogear.co.uk www.lcdvf.com www.professionalphotographer.co.uk 101
  • See our 3 minute video www.theimagefile.com/about
  • stop press... YEAH BABY! SIZE MATTERSLATELY WE’VE BEEN The Composer Pro joins Lensbaby’s growing family of lenses. Featuring an Lexar has introduced the industry’s first 128GBHEARING... upgraded swivel ball and focus mechanism from the award-winning Lensbaby Professional SDXC memory card. This large-capacity,G You may not think of pairing your Composer, the Pro’s metal swivel ball 133x speed SDXC card offerscamera with your smartphone, but the design and refined focus mechanism continuous shooting, rapid-fire images andLeica i9 concept has done just that using deliver ultra-smooth focus and tilt control, extended lengths of 1,080p high-definitionthe iPhone 4. The unmatched brilliance of making it ideal for both photographers and video in a single, high-performance solution.Leica’s professional CMOS image sensor videographers. Compatible with the It also includes the latest version ofand lens, made specifically for the Lensbaby Optic Swap System, it ships with award-winning Image Rescue softwareprocessing and sharing capabilities of either the Double Glass Optic or new Sweet to help recover lost or deleted photo andApples iPhone 4? We certainly like the 35 Optic installed. Composer Pro with video files. The Lexar 128GB Professionalidea. Watch this space... Double Glass Optic is available now for SDXC memory card is available for £299.99. $300 (£184). Composer Pro with Sweet 35 www.lexar.com Optic will be available soon for $400 (£245). www.lensbaby.com G Wide boy The new Tokina AT-X 16.5-135 DX is a compact super-wide zoom lens which uses an optical design that benefits from three aspherical elements – oneG Wacom has introduced the Bamboo all-glass precision moulded element and twoStylus – a pen which can write on iPad compound elements yielding high contrast. It isdisplays. Offering a slim, soft tip and good available for either Canon EOS or Nikon DX fit,weight balance design, it claims to give with an RRP of £816. www.tokinalens.comaccuracy for a precise way of working.If Adobe launches Photoshop CS5 for the MAKING MOVIESiPad, as per some recent speculation,things could get really interesting... The latest update for Canon EOS Movie THE LONG ANDG Still no word on the release of the Plug-in-E1 for Final Cut Pro has SHORT OF ITSigma SD1 DSLR. It was initially set to arrived. The new 1.2 version makes The ultra compact REXi L tripodlaunch in March 2011, but we haven’t seen importing EOS movie files easier, from Velbon measures onlyanything yet. The Sigma SD15 had a enabling users to transfer files from 36cm when folded, yet has atwo-year delay so we could be in for any folder without needing to mirror maximum extended height of a wait... the folder structure on the camera 153cm. Weighing just 1.3kg,G We overheard a photographer itself. The update also offers smoother thanks to its magnesiumcomplain he had to shell out £1,000 for an importing from Canon’s EOS 7D, EOS 5D alloy collar construction,official spot to shoot the Royal Wedding, MkII and EOS-1D MkIV models. It is it boasts an impressivepayable strictly by banker’s draft only... available to download for free from load capacity of 4kg and aG We’d never noticed www.canon.co.uk solid design. It also hasGerman Tush magazine multi-angle legs whichuntil we spotted the are especially usefulcover of the latest G New design, for macroissue, which features new prices photography.model Cristal Renn Multiblitz Its splitable,shot by Ellen von introduces the reversible centreUnwerth... new Profex-80 column withG Apple has surpassed Google and IBM to softbox – and it quick-lock leverbecome the world’s most valuable brand. has a new price accepts anyThat’s according to global research to match. It also has tripod headagency Millward Brown. The company an improved speed ring, two diffusers and with a 1/4in orsays it takes into account customer is cheaper than previous Multiblitz softbox 3/8in thread.opinion as well as the stats... models by 25%. RRP: £149.99. www.multiblitz.de www.velbon.co.uk www.professionalphotographer.co.uk 103
  • NEW exclusively at Wilkinson LEICA X1 Cameras www.wilkinson.co.uk LEICA • 12.9 megapixels • LEICA ELMARIT 24 mm f/2,8 ASPH X1 • 2.7" LCD screen • 11 AF segments • Simple Handling, Complete Control your camera deserves better £1395.00 X1 ACCESSORIES form & New firmware has improved this camera further Ever Ready case X1 Viewfinder X1 handgrip X1 Battery BP-DC8 £160.00 £259.00 £90.00 £70.00 functionality Pro Road 41 Pro Zoomster M SERIES LEICA D-Lux 5 LEICA Padded interior gives room to a Digital SLR camera an zoom lens. Extra protection in extreme £599.00 LEICA M9 M9 with18 Million Pixels, weather conditions, rain, sand, dust is assured with the extreme weather cover. £59.99 A true Leica, allows the utilisation of the full 35mm format. not only in Pro Road 17 Pro Travel Bag terms of M9 Black Body £4900.00 The Messenger Bag is a perfect combination to store its elegant M9 Grey Body £4900.00 your notebook 17’, a compartment for paperwork, design but also in files and other business essential and last its superior optical performance. LEICA 35mm but not least your precious photo gear. £79.99 MP Body Black or Silver D-Lux 5 Accessories £3500.00 Pro Road 01 Shoulder Bag D-Lux 5 battery £63.00 M7 Body Black or Silver he interior comes with padded modular laminated D-Lux 5 EVF-1 Viewfinder £275.00 dividers to fit your individual requirements. £3500.00 A separate compartment with padded D-Lux 5 Handgrip £63.00 interior gives room to a notebook. £179.99 D-Lux 5 Leather ever-ready case £135.00 M Lenses M Tri Elmar 16-18-21mm f4 & Viewfinder Set £3999.00 Pro Road 03 Shoulder Bag NEW LEICA V-Lux 2 M 18mm f3.8 Super Elmar ASPH £2200.00 The model ProRoad 03 is made of Nylon fabric. The interior comes with padded modular £649.00 M 21mm f1.4 Summilux £4399.00 laminated dividers to fit your The super-zoom M 21mm f2.8 Elmarit M 24mm f1.4 Summilux £2999.00 £4399.00 individual requirements. £149.99 compact for travel and M 24mm f2.8 Elmarit £2699.00 nature photography. M 24mm f3.8 Elmar ASPH £1699.00 Pro Road 53 Backpack M 28mm f2 Summicron £2799.00 ProRoad 53PRO Road Range V-Lux 2 Outdoor Case £135.00 M 28mm f2.8 Elmarit £1399.00 The model ProRoad 53 is made of a Nylon fabric, M 35mm f1.4 Summilux ASPH £3440.00 1680D Nylon/PUx2. Special attention has been M 35mm f2 Summicron £1999.00 given to protect the notebook USED & EX DISPLAY LEICA M 35mm f2.5 Summerit Very rare, very collectable £1179.00 M 50mm f0.95 Noctilux ASPH £7348.00 compartment. £129.99 Used M6 Titanium Body, M 50mm f1.4 Summilux £2550.00 M 50mm f2 Summicron M 35mm f1.4 Summilux Titanium, M 50mm f2.5 Summarit £1400.00 Pro Road 66 Backpack £949.00 M 90mm f2.8 Elmarit Titanium, M 75mm f2 Summicron £2380.00 Roller 2x Filters M 75mm f2.5 Summicron £1179.00 The model ProRoad 66 is made of a Nylon fabric, Complete Kit £4500.00 M 90mm f2 APO Summicron M 90mm f2.5 Summarit M 135mm f3.4 APO TELYT £2600.00 £1179.00 £2290.00 1680D Nylon/PUx2. Special attention has been given to protect the notebook compartment. Ex-display M7 A la carte body M Macro Set 90mm f4, Angle Finder M & Macro Adapter £2750.00 £229.99 £2500.00 M Flashguns SF24D £260.00 Call for detailed spec SF58 £539.00 Wilkinson C a m e r a s Preston Blackburn Burnley Bury www.wilkinson.co.uk 27 Friargate Walk, 42 Northgate 95 St. James’s St 61 The RockSt. George’s Centre 01254 581272 01282 424524 0161 7643402 DIRECT SALES LINE NOW OPEN 7 DAYS blackburn@wilkinson.co.uk burnley@wilkinson.co.uk bury@wilkinson.co.uk 01772 556250preston@wilkinson.co.uk 01772 252188 Carlisle Kendal Lancaster Southport Email Orders: sales@wilkinson.co.uk13 Grapes Lane, 19A Westmorland James Street 38 Eastbank St The Lanes Shopping Centre Marketgate Southport NEW STORE, Now open in Warrington 01228 538583 01539 735055 01524 380510 01704 534534carlisle@wilkinson.co.uk kendal@wilkinson.co.uk lancaster@wilkinson.co.uk southport@wilkinson.co.uk The Golden Square, Warrington 01925 638290 warrington@wilkinson.co.uk POST & PACKING CHARGES: CAMERAS ETC FROM £6.00 - INSURED DELIVERY. PRICES CORRECT AT THE TIME OF GOING TO PRESS BUT SUBJECT TO CHANGE WITHOUT NOTICE. E&OE.
  • WANTED...01803 852400 or email info@mifsuds.com Canon Canon Canon EOS 1D U.K. Canon EOS NEW! EOS 24-105mm MKIV body Stock 600D f4 IS L 60D £3449 ONLY U.K. Stock body £849 U.K. U.K. Stock ONLY £629 (no box) Stock ONLY ONLY Canon EOS 60D body £769 EOS 5D Canon EOS 7D EOS 60D Canon Canon 500mm MKII body +18-55mm IS £885 16-35mm f4 IS L U body f2.8 LII USM £1697 £1177 EOS 60D +18-135mm IS U £997 £1137 £5599 Nikon D3S body Nikon Nikon Nikon 70-200mm f2.8 D7000 body VR II £1699 £3697 D700 body £889 Nikon MB-D10 U.K. Stock £1847 D7000 + 18-105mm £249 ONLY U.K. Stock ONLY £1049 U.K. StockNikon D5100 body Nikon ONLY Nikon 200-400mm f4 VR Nikon MB-D11 Nikon £266£669 D300s D90 body £549 £4499 NikonD5100+ 18-55 VR body Nikon D90 U.K. SB-700 Stock£749 £1097 + 18-105mm £259 ONLY £699 Nikon Nikon Nikon Nikon Nikon 14-24mm 24-120mm 28-300mm 105mm SB-900 f2.8 G ED AFS f4 G ED VR f3.5/5.6 G ED f2.8 AF-S £859 VR £737 VR £627 £349 £1319www.mifsuds.com updated daily - 1024 bit encryption We are happy to reserve new and used stock for customers travelling long distance. Prices subject to change without notice so please check availabilty to avoid disappointment. Family Run Pro Dealership with Friendly, Knowledgable Staff. Part Exchange Welcome. Prices correct when compiled 11/05/2011 and inc VAT @ current rate. E&OE. Quality and Service from one of the U.K’s Best Stocked Pro Dealer’s Mifsud Photographic Ltd. 27-29, Bolton Street, BRIXHAM. Devon. TQ5 9BZ. (OPEN 7 DAYS PER WEEK) Mail order: 01803 852400 Email: info@mifsuds.com
  • 1971 - 2011www.ParkCameras.com/pp Tel: 01444 23 70 68 Free Delivery to UK Mainland on Cameras/ Printers/ Scanners! £779.99 £1,019.99 SEE WEB FOR OUR LATEST OUR LATEST PRICE LOW PRICECanon EOS 1000DCanon EOS 600D Canon EOS 7D Canon EOS 1D Mk IV 12.1.2009 Our Price £359.99 Our Price £619.00 Our Price £1,179.99 Our Price £3,499.00 ++ 18-55mmIS £699.00 18-55mm £399.99* + 18-135mm IS £1,439.99 + LP-E4 Batt £3,603.00 £899.00 £1,064.00 £995.00 £1,579.99Olympus E-PL1 + 14-42 Pentax K-5 Park Cameras offer a wide range of training courses & workshops across a broad range of photographic disiplines. Visit our Our Price £299.00 website for full details Our Price £999.00E-PL1 Twin Lens Kit £phone & to book your place K-5 + 18-55 WR £1,069.00See web for even more offers K-5 + 18-135 WR £1,429.00 Samsung NX-11 For all the latest NEW Panasonic GF2 + 14-42 Digital Cameras for 2011, please visit NEW! www.ParkCameras.com Celebrate our 40th Anniversary with promotional days, offers Our Price £429.99 and competitions - see our Our Price £469.99NX-11 + 18-55mm £459.00 GF2 Twin Lens Kit £566.98See web for even more offers website for details See web for even more offersAll prices include VAT @ 20% Opening times Mon-Sat 8:45-5:45pm; Thursday 8:45-7.30pm; Sunday 10:15-4.30pm. Sunday trading is for in-store only We accept Visa, Mastercard, Switch/Maestro. Address: York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print. All products are UK stock. E&OE. * = Please mention “Professional Photographer” for this special price Prices correct at time of going to press; check website for latest prices. www.ParkCameras.com/pp
  • Tel 0113 2454256 Visit our showroom: 60-62 The Balcony, Merrion Centre, Leeds, LS2 8NG Open Mon - Fri 9.30am - 5.00pm Sat 9.30am - 12.30pm “A family run Independent supplier since 1985” Email: dalephotographic@btconnect.com Fax 0113 2343869ALL OUR KIT IS GENUINE UK STOCK - NOT GREY IMPORT - “We now sell ZEISS lenses” PROFESSIONAL EQUIPMENT STOCKIST UK STOCK “DALES SENSOR CLEAN”SPECIAL OFFER 2 Free sensor cleans worth £90 when you buy a 5DII, 1DS MKIII or ID MKIII** 1 Free sensor clean worth £45 when you buy a 60D / 550D or 7D camera**EOS 1DS MK III £5, 399 EOS 550D Body £549 TSE 17mm f4L £1,999 2 X EXTENDER II £292EOS 1D MK4 £3,679 EOS 550D+18/55 IS £659 TSE 24mm f3.5L II £1,749 300mm f4L IS £1,195 2 Year Warranty -1DSMK3 + 1DMK4 EOS 600D Body £639 24mm f1.4L II £1375 400mm f5.6L £1,2695D MKII Body £1,699 EOS 600D+18/55 IS £729 50mm f1.4 £309 400mm f2.8 L II IS £8,8995D MK II + 24 -105mm IS £2,344 10-22 EFS £633 85mm f1.2L II £1,813 400mm f4 DO IS £5,3445D MK II + 17 - 40mm L £2,299 17-55mm EFS £829 70-200mm f4L £539 500mm f4 L IS £5,4995D MK II + 24-70mm f2.8L £2,575 17-85mm EFS IS £385 70-200 f4L IS £922 600mm f4 L IS £7,2195D MK II + 16 - 35mm f2.8L £2,799 18 - 200mm EFS IS £ 399 70-200 f2.8L £984 1.4 X EXTENDER III £499New EOS 7D Body £1,187 60mm Macro EFS £347 70-200 f2.8L IS MKII £1,944 2 X EXTENDER III £499EOS 7D +18-135mm IS £1,479 16- 35mm f2.8L MKII £1,199 100-400L IS £1,243 430EX II Speedlite £199EOS 7D + EFS 15 - 85 IS £1,672 17-40mm f4L £609 70 - 300 IS £417 580EX II Speedlite £386 FREE BATTERY WITH EOS 7D 24-70mm f2.8L £987 70-300 f4-5.6L IS £1,199 BG-E8 GRIP - 550D £139EOS 60D Body £839 24-105 f4L IS £899 100 f2.8 Macro £449 BG-E6 GRIP - 5D MKII £209EOS 60D + 17 - 85 IS £1079 24-105 f4L IS White box £749 100mm f2.8L Macro IS £749 BG-E7 GRIP - 7D £139 PROFESSIONAL Ask us for a Free Demo on Hasselblad Dealer cameras H4D - 31 + 80mm HC £9,499 “ASK ABOUT SPECIAL IN-STORE OFFERS ON NIKON CAMERAS AND LENSES” H4D - 31 + CF Lens Adapter £9,499D300s I D700 I D3S I D3X I D90 I D7000 I LENSES I FLASHGUNS I ACCESSORIES H4D - 40 + 80mm HC £13,933D300S Body £1,149 D5100 Body £639 600mm f4G AFS VR £7,433D300S + MB-D10 Grip £1,348 D3100 + 18-55 VR £449 1.4x/1.7x Converter £323 H4D - 40 + 35-90mm £17,730D300S + 10 - 24mm AFS DX £1,799 MB-D11 GRIP £269 MB-D10 Grip £254 H4D - 50 + 35-90mm £24,388D300S + 18-200 AFS VRII £1,759 14-24mm f2.8G AFS £1,367 10.5mm f2.8G DX £555 H4D - 40 body £12,877D300S + 16-85mm AFS VR £1,459 24-70mm f2.8G AFS £1,282 24mm f2.8 AFD £349 H4D - 50 body £19,536D300S + 17-55 f2.8 AFS DX £2,229 PC-E 24mm f 3.5 ED £1,449 New 24mm f1.4G AFS £1,735 H4D - 60 body £27,984D700 Body £1,899 10 - 24mm G AFS DX £683 35mm f1.8G AFS DX £175D700 + 50mm f1.4G AFS £2,199 16-35mm f4G AFS VR £877 50mm f1.8 AFD £112 CFV-39 for 500 series £9709D700 + 14 -24 f2.8G AFS £3,249 24-120mm f4G AFS VR £899 50mm f1.4G AFS £307 New CFV-50 for 500 series £11,336D700 + 24 -70 f2.8G AFS £3,169 28 - 300mm G AFS VR £779 35mm F1.4G AFS £1,499 28mm f4 HCD Lens £3,126D700 + 24 -120 f4G AFS VR £2,789 16-85mm f3.5-5.6G AFS VR £469 New 85mm f1.4G AFS £1,428 35mm f3.5 HC Lens £2,662D700 + 28 -300 AFS VR £2,669 12-24mm f4G AFS DX £855 60mm f2.8G Micro AFS £408 35-90mm f4 -5.6 HCD Lens £4,962D3S Body £3,599 17-55mm f2.8G AFS DX £1,109 85mm f3.5 Micro AFS DX £426 50mm f3.5 HC II Lens £2,910D3S + 24-70 f2.8G AFS £4,849 18 - 200mm f3.5-5.6G DX VR II £624 105mm f2.8G Micro AFS VR £639D3S + 14-24 f2.8G AFS £4,899 70-200mm f2.8G AFS VRII £1,689 SB900 Speedlight £342 HTS Tilt+ Shift Adapter £3,774D3S + 70 -200 f2.8G AFS VRII £5,248 70-300mm f4.5-5.6G AFS VR £449 NEW SB700 Speedlight £259 80mm f2.8 HC Lens £1,711D3X Body £5,199 80-400mm f4.5-5.6 AFD VR £1,049 SB-R1 Macro flash £420 100mm f2.2 HC Lens £2,370D3X +14-24 f2.8G AFS £6,299 200-400 f4G AFS VRII £5,199 SB-R1C1 Commander kit £608 120mm f4 Macro HC II Lens £3,310D3X + 24-70 f2.8G AFS £6,199 200mm f2G AFS VRII £4,432 SU 800 Commander £280 150mm f3.2 HCN Lens £2,478D7000 Body £899 300mm f2.8G AFS VRII £4,265 WT - 4B Transmitter £539D7000 + 18-105mm VR £1049 400mm f2.8G AFS VR £6,999 GP1 - gps unit £189 210mm f4 HC Lens £2,586D5100 + 18-55 VR £729 500mm f4G AFS VR £6,153 MC-30 /MC-36 £69/£145 300 f4.5 HC Lens £3,083 Nikon/Canon fits OUTSTANDING IMAGE QUALITY FOR YOUR NIKON NEW SIGMA 8 - 16mm DC HSM £529 or CANON DSLR SIGMA 10-20mm f4-5.6 EX DC £410 SIGMA 10-20mm f3.5 EX DC £479 18mmf3.5/Nik ZF.2 £1,098 LEICA M9 Black body £4,899 SIGMA 12 - 24 mm f 4.5/ 5.6 EX £642 18mm f3.5/Can ZE £1,055 LEICA M9 Steel Grey body £4,899 SIGMA 24 - 70 f2.8 EX DG HSM £610 21mm f2.8/Nik ZF.2 £1,395500C/500C Classic + Free Triggers £816 Bowens 200/ 200 Kit £495 “DEMO M9 IN STORE” SIGMA 70-200 f2.8 EX DG OS £979500R /500R Softbox/brolly Kit £869 Bowens 400/ 400 Kit £564 21mm f2.8/ ZE £1,395 28mm f2 Summicron - Blk £2,607 SIGMA 70-200 f2.8 EX DG II £589 25mm f2.8/Nik ZF.2 £780250R /250R Softbox/brolly Kit £821 Bowens 200/ 400 Kit £564 35mm f2 Summicron - Sil £1,897 SIGMA 70 - 300mm f4 /5.6 DG OS £289 28mm f2/Nik ZF.2 £1,006500R /500R Travel pak Kit £1,326 NEW 200/200 Travel Pack Kit £859 50mm f2 Summicron - Blk £1,347 SIGMA 150 - 500mm DG OS £795 28mm f2/Can ZE £982500R / 500R / 500R Kit £1,299 NEW 400/400 Travel Pack Kit £940 35mm f2.5 Summarit - Blk £1,153 SIGMA 50 - 500mm DG OS £1,197 35mm f2/Nik ZF.2 £846500/500 PRO Kit £1,116 Travel pak - Small £473 50mm f2.5 Summarit - Blk £1,005 SIGMA 85 f1.4 EX DG HSM £669 35mm f2/Can ZE £846500/500 PRO Travelpak Kit £1,541 Travel Pak - Large £538 75mm f2.5 Summarit - Blk £1,122 SIGMA 300 f2.8 EX DG HSM £1,927 50mm f1.4/Nik ZF.2 £569500/500/500 PRO Kit £1,741 Ringlight Converter £321 90mm f2.5 Summarit - Blk £1,122 SIGMA 500 f4.5 EX DG HSM £3,376 50mm f1.4/Can ZE £550750/750 PRO Kit £1,291 Fresnel 200 Spot £499 ZEISS ZM Lenses in stock PHONE SIGMA 800 f5.6 EX DG HSM £3,989 85mm f1.4/Nik ZF.2 £1,006750/750 PRO Travelpak Kit £1,719 Pulsar + Bowens Trigger card £203 LEICA X1 Black £1,395 Tokina 11 - 16mm f2.8 ATX ProDX £560 85mm f1.4/Can ZE £1,000750/750/750 PRO Kit £1,994 Pulsar Radio Trigger Single £141 LEICA D-LUX 5 £645 Tokina 16-50mm f 2.8 ATX ProDX £621 100mm f2 Makro ZF.2 £1,4151000/1000 PRO Kit £1,517 Pulsar Radio Trigger Twin £233 FUJI X100 Orders Taken £999 Tokina 16 - 28mm f2.8 ATX Pro FX £849 100mm f2 Makro ZE £1,423 USED EQUIPMENT WANTED quality photographic kit for PX or Commission Sale Tripods & Heads Hasselblad H4D - 50 body £12,995 Mamiya 645 105mm f2.8 £179 Leica Elmarit R 180mm f2.8 £449 Zeiss 100mm f2 Makro ZF.2 £1,215 Hasselblad H4D - 40 body £9,995 Mamiya 645 210mm f4 £225 Leica Elmarit R 135mm f2.8 £249 Zeiss 18mm f3.5 ZF.2 £895190XDB £59 804 RC2 head £59 Hasselblad HCD 28mm Lens £2,295 Mamiya 645 210mm f4 £149 Nikon D2X body £895 Zeiss 85mm f1.4 ZF.2 £825 Mini TT1 CE Canon £199190XProB £112 808 RC4 head £110 Hasselblad HCD 35-90mm £3,495 Pentax 300mm f4 SMC 6x7 £249 Nikon D1X body £395 Nikon D70 + 18-70mm AFS £225 Flex TT5 CE Canon £210190XDB 804RC2 Kit £99 410 head £160 Hasselblad HC 150mm Lens £1,795 Pentax 645 200m f4 SMC A £295 Nikon D200 body £375 Nikon R1C1 Flash Kit £495 Hasselblad HC 210mm lens £1,895 Pentax 200mm f4 SMC 6x7 £295 Nikon D60 + 18-55 VR £319 Nikon SB R200 Flash £149 1xMini 2xFlex Canon £520190XDB 496RC2 Kit £99 701 HDV £89 Hasselblad HC 300mm Lens £1,995 Mamiya 7 - 150mm Lens £495 Nikon F3HP Body Mint - £375 Gossen Starlite £225190 CXPro 3 £230 501HDV £143 Hasselblad HC 150mm N £1,895 Mamiya C330 F + 80mm £195 Nikon F3/T HP Body Exc + £395 Sekonic NP 5 degree Finder £89 Mini TT1 CE Nikon £209 Hasselblad H 1.7X £795 Mamiya 7 - 43mm + Finder £995 Nikon F5 body Mint - £495 Canon EOS 30D + 17-85 IS £495190 CXPro 4 £240 303 SPH £399 Hasselblad 160mm CB Lens £550 Mamiya 7 - 50mm Ex Demo £995 Nikon MB-D10 Grip £149 Canon EOS 60D Body £675 Flex TT5 CE Nikon £229055XDB+ 222 Kit £119 303 Plus £312 Bronica 65mm PS £195 Mamiya 7 - 150mm + finder £595 Nikon MD-4 Motor Drive £95 Canon EOS 40D body £375 1xMini 2xFlex Nikon £529055 XProB £128 303 £280 Bronica RF645 + 65mm £595 Mamiya 7 - 210mm + finder £595 Sigma 18-50mm f2.8 DC Nikon £225 Canon EOS 1DS MKIII body £2,995055 CX Pro 3 £263 324 RC2 £92 Bronica 150mm PS £195 Mamiya 7 Panoramic Kit £75 Minolta Dimage Scan Multi Pro £1,195 Canion EFS 17-85mm £275 2 x PLUS II £249 Bronica 120 back SQAi £50 Mamiya 55-110 AF Lens New £595 Tamron 70-300mm Di Nikon £125 Canon EF 28-300mmL IS055 CX Pro 4 £280 327 RC2 £140 Bronica 120 Back E £50 Mamiya 645 50mm f4 Shift £295 £1,295 Nikkor 10.5mm DX £395 Canon EF 20-35 f3.5-4.5 USM £250460 MG head £72 468MGRC2 £190 RB67 ProS + 90 + 50mm £500 Contax RX Body £125 Nikkor 20-35mm f2.8D £549 Canon BG - 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  • legend Roger Fenton 1819-1869 “He also took sharp-eyed portraits, and made succulent still-lifes and landscapes.” placed the cannonballs there – a notion recently around Europe and Britain. He took what were explored with his usual acuity by that great probably the first photographs taken in Russia, of forensic analyst of photography, Errol Morris. the Kremlin, St Petersburg and Kiev. Pause, take another breath. New aesthetics: new He set up what was to become the Royal problematics. But, still: this was the moment Photographic Society. He took pictures of photography separated itself from painting. Windsor Castle, Queen Victoria and her little Now, for once, I must declare a personal princes and princesses. He was appointed official interest. I live a few hundred yards from Fenton’s photographer of the British Museum. Using a north London house. As did David Bailey who very large format camera (14 x 18in), he set about admired him so much he named his son Fenton. photographing the country’s major churches – So I think of him as the local photographer made a priority which invites an inquisitional view of good, very good. Aesthetics and even meaning get contemporary photographic priorities. put aside for the moment and give way to childish In 1855, he went to war, in the Crimea whereDespite being short-lived, Roger wonder as I contemplate his images of the paths Turkey, Britain and France were taking on Russia. and grass I walk daily. There, he took the pictures that would be the firstFenton’s photographic career He took a picture of his local church, St Mark’s, outline of the boundaries and rules of reportagewas one of firsts. Founder of the being built. He captured it unsteepled, not in general and war photography in particular –Royal Photographic Society, in much more than a shell, half a shell even, and though there is no actual death or gruesomeness1855 he became Britain’s first shuttered against thievery by a wooden palisade in any of his pictures. The odd thing to modern thick-papered with advertisements, for insurance, eyes, though, is that it was a money-makingwar photographer when he took property and furniture. One of his first venture. Not that it paid off. Back in London,his large format camera to photographs, its content and composition are he put 312 prints up for sale but they didn’tthe Crimea, setting the rules for radical, novel, brave, impeccable even. shift, essentially because public opinion was soreportage photography. Right from the start, the future was his. against the war. He didn’t get there right away, though. First, he He also took sharp-eyed portraits, and madePeter Silverton looks at the life of studied law and then went to Paris, to become a succulent still-lifes and landscapes. His skillsa great British photographer painter. He had pictures in the annual Royal and artistry were recognised early. In 1858,who has influenced generations. Academy exhibitions. Then, in 1851, he took a the Journal of the Photographic Society trip to Hyde Park and the Great Exhibition, the commented: “There is such an artistic feelingRoger Fenton was born 28 March, 1819, into event which did so much to kick Britain into lead about the whole of these pictures that they cannotnorthern wealth, a son of that economic place in the creation of the modern scientific, fail to strike the beholder as being somethingpower train of the Industrial Revolution, the technical world. There, he saw photography for more than mere photographs.”cotton trade. Fitting then that he found his the first time. Or, more likely, saw it for the first In 1860, he made what may well be the firstway from his first avocation, painting – he time. It had been around a few years. Daguerre’s modernist image, a precursor of Warholianwasn’t very good – to that revolution’s most one-shot method – think 19th-century Polaroids – democracy – The Queen’s Target. It’s anotable bequest to art, the camera. was patented in 1839. By the early 1850s, though, photograph of just that, Victoria’s target-shooting He made photography’s first great image – negative-to-print processes had arrived – the card with one bullet hole, close to the centre.Valley of the Shadow of Death. It’s a barren, paper-based calotype and the soon-dominant glass (It was probably a setup. The camera always liesterror-swept landscape, empty as, well, as death. plate method (wet collodion). when it feels the need – or the wish.)Pause, take a breath, look again. See the Seeing and grasping his future, Fenton went Yet within four years, for reasons that havescattering of cannonballs. Start counting them. back to Paris – then centre of the photographic never became fully clear, he had given upPause, take another breath. A new aesthetic. universe – to learn how to make photographs, photography, sold his equipment and retired into It’s also not what it seems. It’s not the valley in most likely from Gustave Le Gray, who refined the law and affluent obscurity. His health perhapswhich the Light Brigade charged and died but an the calotype process. By 1852, he had shown compromised by the effects of cholera caught inadjacent one. It’s also possible Fenton himself his photographs in public and started his travels the Crimea, he died, aged 50, August 8, 1869. PP GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK114 www.professionalphotographer.co.uk