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  • 1. PROFESSIONAL PHOTOGRAPHER JULY 2011 ● MAKING MONEY FROM BOOKS ● HOW TO BECOME A BLOG STAR ● OLYMPUS XZ-1 NEW YORK PORTFOLIO ● WWW.PROFESSIONALPHOTOGRAPHER.CO.UK PROFESSIONAL SINCE 1982 INSPIRING • INFORMATIVE • HONEST • ESSENTIAL JULY 2011 ONLY £4.20 IN THIS ISSUE: PLUS: WE FIND OUT ROBERT WYATT HOW TO BECOME ON SHOOTING A BLOG STAR, REAL WOMEN & HOW TO MAKE AN EXCLUSIVE MONEY OLYMPUS XZ-1 FROM BOOKS, PORTFOLIO SUCCESS IS IN THE DETAIL HOW WOMEN Times Style twins by Robert Wyatt REPORT FROM COMBAT ZONES AND HOW PETER DENCH & CLIVE BOOTH GOT ON SHOOTING THE ROYAL WEDDING “I would say to any artist: Don’t be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.” Edward Weston
  • 2. welcome july Ask any pro photographer what they hope to achieve with their careers and, apart from the obvious fast cars, fast girls (or boys, of course) and vast wealth, the two achievements that say to your peers you have really made it are having a monograph of your work published and having your images exhibited. This month we take a long, hard look at the world of publishing, both online and in traditional format. What’s the Jackanory? is the hugely popular blog that has made photographer Andrew Hetherington a web star. You can find out how on Page 57 in So You Wanna Be a Rock & Blog Star. Despite the rapid growth of online platforms there are still people out there perfecting the traditional crafts to create items of beauty and quality. One company following this path are 21st Editions; you can find out more about them and the books they produce on Page 66 in Old School Rules. Bookbinders of the world, we salute you! There is nothing a photographer likes more than owning photography books but have you ever considered them to be an investment? Peter Silverton was shocked at some of the prices being asked for certain tomes and wanted to find out why. Check out his findings on Page 60 in How Much is Your Bookshelf Worth? Robert Wyatt is yet to have a book of his work published but his latest project based on the naked form of real women is bound to get noticed.THIS IMAGE: KIMBERLEY LANGSTONE You can see his work and hear about his inspirations on Page 48 in KeepingEDITOR’S IMAGE: MATT HALSTEAD it Real. Which just leaves me enough space to recommend you read about two of our regular columnists, Dench and Booth, going head to head to cover the Royal Wedding on Page 80 in Pete and Clive Live. Two different ways of approaching the same subject; that’s what we like here at PP, an open church where everyone gets a say. Until next month. Grant Scott, Editor
  • 3. NEW PHOTOGRAPHY contents july 8 Portfolio The best of your work posted on to our online portfolio. 47 Exposure An image that caught our eye by one of this summer’s crop of photography graduates. NEED TO KNOW 24 Being There PP Editor Grant Scott recalls a career-defining shoot in Turin at the secret home of the enigmatic and eccentric Carlo Mollino. 28 Dispatches This month Clive Booth does a shoot with butcher to the stars and food hero Jack O’Shea. 32 The Dench Diary In his regular column, our award-winning and sometime pro Peter Dench shares his experiences of beauty contests and the LA porn industry. 38 The World of Convergence Film maker John Campbell’s regular news-packed take on the world of convergence. 40 Frontline We ask Choi Liu, art buyer at M&C Saatchi, about her approach to commissioning photography and how she keeps abreast of new work. 45 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 60 How Much is your Bookshelf Above: This image of French film siren Brigitte Bardot by Cornel Lucas is on display this summer at a show honouring the British film photographer. See the Click section, starting on page 14, for more details. Worth? Peter Silverton examines the market for collecting photography books and discovers what makes for a good investment. INTERVIEWS WITH... 23 Diary Our pick of this month’s most exciting photographic 66 Old School Rules 48 Keeping it Real exhibitions around the UK and beyond. 21st Editions is a fine art book publisher that firmly We talk to Robert Wyatt, one of Britain’s leading values traditional craftsmanship and quality. fashion photographers, about his work and the 95 Stop Press... Julia Molony talks to its founders about why they creative collaboration with his wife. The latest essential news, gossip and kit from the produce such unique photography books. pro world. 57 So You Wanna Be a Rock 70 The Man Who Knew How & Blog Star In a Being There special, PP Editor Grant Scott pays tribute to photographer John Hedgecoe, who New York based photographer Andrew Hetherington tells us how his blog has become essential reading. KEEP IN TOUCH guided generations with his bestselling books. 26 Podcast 74 Bringing it All Back Home Check out our free photographic discussion for the 80 Pete & Clive Live Alison Baskerville explains what it’s like to work in masses. Every edition we record a podcast debating When it came to the wedding of the year, PP the Ministry of Defence Combat Camera Team. the issues affecting professional photographers. regulars Peter Dench and Clive Booth sprang into action on behalf of editorial clients. Here they share 36 Subscribe their experiences of shooting the Royal Wedding. NEWS & REVIEWS Check out our latest subscription offers so that you never miss an issue.CORNEL LUCAS 106 Legend 14 Click Peter Silverton dips into the career of American This month’s line-up of the best news, dreams, 43 Feedback photographer Larry Sultan. themes and photographic schemes. Your thoughts, your opinions, your page. www.professionalphotographer.co.uk 5
  • 4. friends julyRobert Wyatt Andrew Hetherington Alison Baskerville Jake ChessumPhotographer Photographer Photographer PhotographerAs one of Britain’s leading fashion Editorial photographer Andrew Alison joined the RAF Police at the Croydon-born Jake Chessum startedphotographers, Robert is used to Hetherington was born in Ireland age of 21 and served in Northern his photographic career working forshooting women who conform to but now lives in New York where Ireland and Iraq, where she bought magazines such as The Face andsociety’s view of perfection for he shoots for magazines such as her first camera. Twelve years and ELLE. Now based in New York heclients such as British Vogue and the Details, GQ, Esquire and Marie six medals later she left the forces travels extensively shooting forfashion brand Prada. For his most Claire. His passion for photography, and got an MA in photojournalism. clients such as New York magazine.recent project, however, he chose to as well as his wit, are evident in his She is now serving with the British In his image-based blog, The Dailyphotograph a series of real women, blog, What’s the Jackanory?, which Army’s Combat Camera Team in Chessum, he shows us how he viewswhich he discusses in the interview is read widely by the international Afghanistan, from where she spoke the world – through a unique andwith Julia Molony, starting on page photographic community. to us. On page 74 Alison explains graphically skilled eye. We asked48. He also tells us about the In our interview on page 57 he the realities of shooting in a war him to create a portfolio with thesuccessful collaboration with his explains how he has created this zone and what it’s like to be the first Olympus XZ-1 and you can see thestylist wife Lucy. well-loved website. and only woman in her team. results on page 86. 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
  • 5. PORTFOLIO ADAM ROBERTSON, CRAIG FLEMING, UK UKPIOTR STRYJEWSKI,UK8 www.professionalphotographer.co.uk
  • 6. Each month we share the best ofthe latest postings from ouronline portfolio with our magazinereaders, so for your chance toappear in Professional Photographer,go online and start uploadingyour best images towww.professionalphotographer.co.uk.If you want to see more ofany photographer’s work, go totheir online profile to access their REKHA GARTON,website details. UKNESTA YEUNG,HONG KONG www.professionalphotographer.co.uk 9
  • 7. PORTFOLI PAUL THURLOW, UK ALEKSANDR TIKHANSKIY, UK ADOLF PANONSKIJ, BOSNIA-HERZEGOVINA ORR NIR, MARKO MESTROVIC, ISRAEL AUSTRIA10 www.professionalphotographer.co.uk
  • 8. JOHN SCULLY,IRELAND PIETER VANDEUR, BELGIUM JOHN JACKSON, USA www.professionalphotographer.co.uk 11
  • 9. PORTFOLI ALENA JASZCZENKO, UK JAMES SKILLING, UK MARTYN NORSWORTHY, UK DARRAN ARMSTRONG, UK ALENA JASZCZENKO, UK12 www.professionalphotographer.co.uk
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  • 11. click Girls on film Vintage glamour seems to be all the rage this month, as Chris Beetles Fine Photographs shows pictures by British film photographer Cornel Lucas. Born in 1920, he worked at the RAF School of Photography during the Second World War the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane In full swing We featured Brian Duffy in our Best of British list last month. As part of the so-called Black Trinity with Terence Donovan and David Bailey, Duffy led a life as exciting as his celebrity subjects and famously destroyed many of his negatives in 1979. The first full retrospective of his work is being held this summer, encompassing his portraits and fashion and also assisted Cecil Beaton. photography as well as iconic commercial A sitting with Marlene Dietrich commissions such as the Pirelli calendars and proved to be a baptism of fire the album sleeve for Bowie’s Aladdin Sane. and led to a successful career as Duffy, 8 July-28 August, Idea Generation the photographer of choice for Gallery, 11 Chance Street, London, E2 7JB. the British film industry. www.ideageneration.co.uk In 1998 he became the first stills photographer to be awarded a Bafta, for his services to the film The programme for Visa pour l’Image, industry. The exhibition runs the prestigious photojournalism until 27 August. festival, has been announced. It will Cornel Lucas, Chris Beetles take place in Perpignan in south-west Fine Photographs, France from 27 August-11 September 3-5 Swallow Street, London W1B 4DE. and exhibitors include our very own © CORNEL LUCAS www.chrisbeetlesfine columnist and sometime working pro photographs.com Peter Dench. Diana Dors, 1954. www.visapourlimage.com Ray of light Coco Chanel, 1930. A man of many talents, Man Ray was both a Surrealist artist and photographic pioneer who shot hundreds of© 2011 MAN RAY, VG BILD-KUNST, BONN / COURTESY SCHIRMER/MOSEL © 2011 MAN RAY, VG BILD-KUNST, BONN / COURTESY SCHIRMER/MOSEL portraits at his studio in Paris, including those of artist friends and members of his creative circle. His archive of more than 12,000 negatives is housed at the Centre Pompidou in Paris. A new book, Man Ray Portraits, from German publisher Schirmer/Mosel features 500 of his most significant portraits. The work is testimony to 20th-century French cultural society as well as Man Ray’s position within it. Man Ray Portraits Paris, Hollywood, Paris 1921-1976, published by Schirmer/Mosel, £55, ISBN: 978-3-8296-0503-8. Lee Miller, 1929. www.schirmer-mosel.com 14 www.professionalphotographer.co.uk
  • 12. DUFFY Pirelli Calendar, 1973.
  • 13. CALUMET Cambo CS HDSLR Camera Support System The CS System is a modular ‘rig’ designed to support Digital SLR and DV camera systems when shooting High Definition video. The CS is fully adjustable to the operator making the shoot as comfortable as possible. There is a wide range of add-on accessories, such as Matte Box kits, Follow Focus Controller, shoulder support and optical loupes. Alternatively there are options to purchase complete ‘off the shelf’ systems. 386-030K £2499.00 Hasselblad Nikon H4D-31 D7000 DSLR NEW LOW A new entry point for medium The D7000 includes a range of new PRICE format photography. Using an features to ensure superior image extra large sensor to provide quality including 16.2 effective ultra-high resolution demanded megapixels with the newly by today’s professionals. developed Nikon DXformat CMOS image sensor. H4D-31 with 80mm HC lens 339-995C D7000 Body Only £915.00 355-875A £9499.00 D7000 w 18-105mm Lens 355-875B £1065.00 Epson Stylus Pro 4900 Canon Pixma Pro 9500 Mark II A compact, 17-inch production printer, the Epson Stylus Pro 4900 boasts Printer The A3+ Canon PIXMA Pro9500 outstanding colour consistency and accurate colour matching, and can reproduce 98 percent of all PANTONE colours. This printer is a highly productive workhorse £100 Mark II produces gallery-quality, CASHBACK long-lasting prints on a wide for any proofing, office or studio range of media to enableNEW environment. professional photographers to LOW • 2880x1440dpi print resolution increase profits and keep high-PRICE • Printer size - 863x766x406mm quality printing in-house. • 11-colour UltraChrome HDR inks £459.00 £2395.00 * 321-550H 666-792C * Price includes cashback Eizo Calumet LED ColorEdge Studio Panel Light CG241W A lightweight 12x12" unit with 324 With 16-bit hardware calibration and LEDs. For flexible light-angle control it a 6ms response time the CG241W is features a swivel bracket with a 3/8" ideal for digital photography, video female mount for most light stands. editing and post production. 999-505A £1049.00 CF9030 £399.00 All prices include Vat at 20%. Prices correct at time of going to press. E&OE. Call: 08706 03 03 03 Click: www.calumetphoto.co.uk Visit: stores nationwide
  • 14. Hooray for Hollywood labelling them ‘copyright free’ in order to ensure maximum exposure. As aVintage American glamour comes to the result, many leading photographers’National Portrait Gallery in a new names were forgotten. John Kobal beganexhibition, Glamour of the Gods: collecting film photography in theHollywood Portraits. Icons of the silver 1950s, seeking to give recognition toscreen such as Louise Brooks, Clark the photographers behind the lens.Gable and James Dean will be featured This collection of almost 70 images notalongside stills from films such as Rebel only puts the stars in the spotlight but © JOHN KOBAL FOUNDATION, 2011Without a Cause and Swing Time. Most of also highlights some important filmthe images are from the John Kobal studio photographers, such as DavisFoundation. At the time the pictures in Boulton and Ruth Harriet Louise.this exhibition were being taken, the Glamour of the Gods: HollywoodHollywood studios would distribute Portraits, 7 July-23 October, Nationalpublicity images as widely as possible, Portrait Gallery. www.npg.org. Steve Strange. Louise Brooks, 1929 by Eugene Robert Richee. Never gonna give you up Don your leather blouson and knock back a Bacardi and Coke because the 1980s are back! North-west London gallery artisan is showing Don’t you (forget about me!), subtitled ‘A snapshot of the 80’s by Chris Duffy’, a retrospective of images that sum up the decade of power dressing and New Romantics. Chris is the son of Brian Duffy and started his career as third assistant to the legendary BritishCHRIS DUFFY © DUFFY ARCHIVE photographer. His images of the pop stars of the era remind us that, despite its lack of taste, the decade was one of groundbreaking fashion and music. Don’t you (forget about me!), 8 July-6 August, artisan, 80 Harlesden Road, London, NW10 2BE. www.artisan80.com www.professionalphotographer.co.uk 17
  • 15. Bearing witness Think of Hungary and photography might not automatically spring to mind but the central European country is the homeland of legends such as Robert Capa, Brassaï and André Kertész. A new exhibition at the Royal Academy in London celebrates the wealth of photography that Hungary has given birth to with works by Brassaï, Capa, Kertész, László Moholy-Nagy and Martin Munkácsi. These photographers forged new careers abroad and in doing so influenced the path of modern photography, from Capa’s fearless war photojournalism to Munkácsi’s dynamic fashion images for Harper’s Bazaar. With more than 200 photographs ranging from 1914 © HUNGARIAN MUSEUM OF PHOTOGRAPHY to 1989, the exhibition will also feature works by lesser-known names who remained in their homeland, contributing to the country’s rich photographic heritage. We have 5 Eyewitness: Hungarian Photography in the 20th pairs of tickets Century – Brassaï, Capa, Kertész, Moholy-Nagy, to the exhibition Munkácsi, 30 June-2 October, The Royal (worth £18 a pair) Academy. www.royalacademy.org to give away. To enter our competition visit www.professional photographer.co.uk/ eyewitness Self-portrait, October 18 1953, New York. Bank Manager at the Baths, Budapest, 1938, by Károly Escher. QUOTE OF THE MONTH I used to call myself a war photographer. Now I consider myself as an antiwar photographer. James Nachtwey MAGNOLIA PICTURES. Secrets and livesIf you’ve ever had ambitions to work at the New York A display of the work of secret street photographer Vivian Maier is one ofTimes, a new US documentary might make you glad the highlights of London Street Photography Festival 2011, which takesyou didn’t. Page One: Inside the New York Times place throughout July. The Chicago nanny’s staggering collection of work © VIVIAN MAIER / MALOOFis a compelling film that takes a candid look at the was discovered only after her death, a legacy of more than 100,000pressures of working on one of the world’s greatest negatives which are the only clue to the extraordinary life she led.newspapers at a time when new media and Wikileaks Vivian Maier: A Life Uncovered, 1-24 July, German Gymnasium, Pancrasthreaten to undermine traditional journalism. Road, NW1 2TB. www.londonstreetphotographyfestival.orgwww.magpictures.com/pageone18 www.professionalphotographer.co.uk
  • 16. 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
  • 17. SIMON NORFOLK FROM BURKE + NORFOLK PHOTOGRAPHS FROMTHE WAR IN AFGHANISTAN / DEWI LEWIS PUBLISHING Yards supplying construction Images from Seacoal, by Chris Killip. materials in the Nawabadi Guzargah district of Kabul. Distant shores Chris Killip is a British photographer and professor of visual and Landholders and labourers. environmental studies at Harvard University, where he has taught since 1991. In 1982 he began photographing the seacoalers of Lynemouth beach in Northumberland, who made a living from the waste coal that washed ashore and who stayed in a camp nearby.JOHN BURKE FROM BURKE + NORFOLK PHOTOGRAPHS FROM In 1983-84 Killip documented the community and lived among them. Steidl has published 124 of his images in a book that takes aTHE WAR IN AFGHANISTAN / DEWI LEWIS PUBLISHING compassionate look at a community facing a hard way of life. Seacoal, by Chris Killip, published by Steidl, £32, ISBN: 978-3-86930-256-0. www.steidlville.com Retracing paths SEACOAL, BY CHRIS KILLIP, PUBLISHED BY STEIDL Last month we featured Simon Norfolk in our Best of British list for his unceasing exploration of war and how it affects our lives and landscapes. For one of his latest projects he journeyed to Afghanistan in the footsteps of 19th-century Irish war photographer John Burke, who chronicled the Second Anglo-Afghan War from 1878 to 1880. The book, BURKE + NORFOLK Photographs from the War in Afghanistan, features Burke’s original images as well as Norfolk’s modern-day pictures of Kabul and Helmand. The result is a striking work and artistic collaboration across the centuries. BURKE + NORFOLK Photographs from the War in Afghanistan, by John Burke and Simon Norfolk, published by Dewi Lewis Publishing, £40, ISBN: 978-1-907893-11-7. www.dewilewispublishing.com Websites we’re watching This month we’ve been checking out The Photography Post, which brings together the latest happenings in all areas of photography from fashion to reportage. There’s even a jobs section if you feel like jacking it all in and heading to the States. http://thephotographypost.com www.professionalphotographer.co.uk 21
  • 18. © Adrian Martin 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.COM get an EXTRA 10% OFF with the code PRP711 when buying online.
  • 19. We have done the hard work for you this month and chosen our essential three photographic exhibitions on show now or coming up soon. For a full list of exhibitions and events visit www.professionalphotographer.co.uk Mick Jagger: Young in the ’60s Mick Jagger, National Portrait Gallery, St Martin’s Place, London, WC2H 0HE 1967. 020 7806 0055; www.npg.org.uk Until 27 November; free admission Defining images from the early years of Mick Jagger and the Rolling Stones will be on display in the Bookshop Gallery throughout this summer and autumn. The National Portrait Gallery has built up a vast collection of images of the rock ’n’ roll band over the past 40 years, starting with a gift from Cecil Beaton in 1972 of his portrait of Jagger taken in Morocco in 1967. The display includes images from this collection, as well as new acquisitions, including portraits of the singer by Gered Mankowitz, who became the band’s official photographer, aged 18. The exhibition coincides with the release of Mick Jagger: The Photobook by Thames & Hudson, a collection of more than 70 COLIN JONES images spanning 50 years of Jagger’s career. Mick Jagger: Young in the ’60s is a must-see for any fan of the singer or the Rolling Stones. The Face of the Artist: Photographs by John Hedgecoe Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, NR4 7TJ 016 0359 3199; www.scva.ac.uk 21 June to 4 December; Admission £4, concessions £2 Sainsbury Centre for Visual Arts will be displaying a major collection of portraits by John Hedgecoe this year. The acclaimed British photographer, teacher and writer of books on photography is perhaps best known for his portraits of artists, leading figures and for his profile shot of the Queen taken in June 1967, which still appears on British postage stamps today. The display coincidesJOHN HEDGECOE with Manchester Art Gallery’s touring exhibition, Artist Francis A World Observed: Dorothy Bohm’s Images. Turn to Bacon, 1969. page 70 for a Being There Special about Hedgecoe. Kate Moss by the Greatest Photographers La Galerie de l’Instant, 46 Rue de Poitou, 75003 Paris (Fr) 1 44 54 94 09; www.lagaleriedelinstant.com Until 14 September 2011; free admission Since the early 1990s Kate Moss has captured and fascinated the minds of the public. She has become one of the world’s most photographed models and the muse of many artists, photographers and fashion designers. First photographed by Corinne Day and Mario Sorrenti, the early ‘waif ’ images depicted a young, innocent Moss. However, her popularisation of the ‘heroin chic’ look caused worldwide controversy. In the mid-1990s, photographers such as Paolo Roversi, Peter Lindbergh and Ellen von Unwerth revealed a more womanly side to the model. This exhibition showcases images taken over Moss’s 20-year career which reveal her versatility in front of MARY McCARTNEY the camera. The display at this Parisian gallery features images of Moss by 15 photographers, from Bert Stern and Bettina Rheims to Patrick Demarchelier and Albert Watson. Kate Moss in red dress, 2004. FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk
  • 20. A restless spiritA commission to shoot his first interiors story led PP Editor Grant Scott into the worldof a deceased Italian genius and eccentric, as well as on a journey into the unknown. Until I was commissioned mystical traditions. Few knew of its existence and I travelled out to Turin on a Ryanair flight from by the art director of Elle when Fulvio managed to gain access after years Stansted on a Friday evening with a journalist Decoration magazine to of trying he found a series of rooms that had been from the magazine, armed with a bag of cameras, travel to Turin to shoot left to stagnate ever since Mollino’s death. In the film and the smallest Gitzo tripod I had. I was an interiors story I had main bedroom, in a highly decorated box covered travelling light. When we arrived in Turin the never heard of Carlo in pictures of butterflies, lay thousands of weather was cold and drizzly, and our hotel was Mollino and, for that Polaroid images created by him through the 1960s functional but depressingly faded. It was not a matter, I had never shot and up until his death. They were all of women good start. The following morning the sun hardlyan interiors story. The discovery of Mollino in various states of dress or undress carefully rose as we set off across town to Mollino’sand my first shoot for Elle Decoration, styled by Mollino. In his fantasy they were the apartment to start our two-day shoot. I washowever, were to help shape my career over women who would keep him company in the relying on available light, hoping for crisp, cold,the coming years. after-life; in reality they were local women of north Italian light but what I had was no light. The art director at Elle Decoration was aware the night brought to him by his chauffeur to his My tripod and slow exposures on fast film wouldof my own previous existence as an art director, villa to be photographed. have to be my saviour.my love of design, Italy and obsession with Today Fulvio still keeps the Mollino torch Fulvio was waiting, full of good cheer, outsidebuying obscure 20th-century furniture, and this burning, having turned the apartment into an the villa containing the apartment. A slight,combination, added to the fact that I could shoot appointment-only museum and by archiving eccentric man with an Italian academic air, hisportraits, had evidently made me first choice to Mollino’s images and publishing them in a series passion for the world of Mollino was immediateshoot an eight-page story around the mysterious of books. Fulvio had spent years restoring the as he ushered us into the library-quiet interior.Mollino and his even more mysterious home. apartment to its former glories and I was to be the It was impossible to ignore the atmosphere – the Carlo Mollino was born in 1905 in Turin, the first photographer to be allowed to enter and air crackled with something I could not put myson of an engineer. As he grew up, he became photograph it. This job had now gone from being finger on. It felt welcoming, yet imposing, daringexpert at a wide range of disciplines, including a commission to being an honour. you to enter. Little did I know what lay ahead.photography, skiing (he wrote landmark manualson how to do both), furniture design, interiordesign, product design, fashion, architecture, “I was to be the first photographer to be allowed to enter [the apartment]motor racing (he designed, built and raced his and photograph it. This job had now gone from being a commission toown car), women and the occult. He was a masterof the outrageous and the anarchic, believing that being an honour.” Grant Scottnew ways were the only ones worth following,and his family wealth allowed him to pursue this After a quick tour we were ready to startunique path. He once said: “Everything is shooting. What little light there was created apermissible as long as it is fantastic.” His life was wonderfully atmospheric air to the rooms and Ifilled with success and innovation, and he worked couldn’t wait to get started. Fulvio and theright up to his death in 1973. journalist went off to a local café were it would be Okay, I hear you say, that’s interesting but warm (the apartment had no heating) to discusswhere is all this going? Well, in the early 1980s Mollino in depth and I started to look around thea fellow Italian named Fulvio Ferrari (great name main living area looking for angles and areas toand a great man) discovered that Carlo Mollino start shooting. In one corner of the lounge stoodhad lived a secret life in a secret home with a Mollino’s original radiogram and a few of hissecret love of a particular type of photography records, all of which were in Italian. I turned itand woman. Perched on the edge of the river Po in on, picked a record from the dusty covers andthe centre of Turin sits a rented 19th-century dropped it on to the platter; I lowered the armapartment in which Mollino had created and the room was filled immediately with the richa mausoleum for himself based on the beliefs of sound of some Italian baritone singing aboutthe ancient Egyptian Pharaohs and various I do not know what, but it sounded fantastic and24 www.professionalphotographer.co.uk
  • 21. “Why did the tripod break and the Polaroid not work? Your guess is as good as mine but on the way back the journalist asked if I believed in spiritual things like ghosts.” Grant Scott I was transported in this strange space to the time Fulvio Ferrari in which both had been created. and his daughter. I started to take some light readings and settled on a position from which to shoot my first image. I loaded a couple of film backs, settled on a lens and fitted my Hasselblad body to the tripod head. Immediately the central column tightening screw collapsed, sending the head platform down to the column ring. I threw my fingers under the body and saved it from jarring, but crushed my fingers in the process. I instantly thought that it had been my fault and that the central column had not been tightened correctly. Carefully I took everything apart, only to find the central column tightener had just fallen apart (I have since discussed this with the guys from Gitzo and they couldn’t understand how it had happened either and it has never happened to me since with any manufacturer’s tripod, including Gitzo). The tripod was wrecked, I only had one with me and the lack of light meant that without it there was no shoot. I couldn’t leave the villa as I didn’t have a key to get back in. I needed a tripod repair plan and quickly. Having rifled through the kitchen drawers I found a roll of heavy duty plaster tape which would have to save the day. I fixed the central column, guessing a multi-use height, and wrapped metres of tape around it to keep it in place. It was not a great fix but it was okay and with some care and imagination I started shooting and compiling the narrative of my interiors shoot, covering details, rooms and connecting spaces. The images came together quickly and apart from having to stop to change the records on the radiogram I was ‘in the zone’ working almost without thought, as each image seemed to suggest the next one with little input from me. It was a shoot with a rhythm. delightfully eccentric as her father, with wild Why did the tripod break and the Polaroid not I even experimented with a torn piece of black sticky-out hair) settled themselves by the marble work? Your guess is as good as mine but on the card placed over the lens in a filter holder to fireplace where I had asked them to stand for way back the journalist asked if I believed in further emphasise the other-worldliness of this their portrait. I took a light reading, set the spiritual things like ghosts. I said I was not sure strange place. It was a great place to take pictures; camera and shot and pulled a Polaroid. I waited but that I was open to things I didn’t understand. the atmosphere was strange but right. By the early and then peeled off the backing. Nothing. “That’s good,” she said, “because I think there was afternoon I had finished what had meant to be a I rechecked my light reading and shot another something very strange about that place we just two-day shoot and when Fulvio and the journalist Polaroid. Nothing. I repeated this procedure three photographed, I never felt comfortable there.” returned I was ready to shoot the portrait of more times with no resulting Polaroid. This had The magazine was delighted with the images. Fulvio, pack up and go, leaving me the Sunday never happened to me before (and never has The feature ran across eight pages and they had free to explore Turin. Fulvio had other ideas; he again) and I could only imagine that the pack was such a positive response that a new career opened wanted his portrait taken with his daughter the corrupted. I had one more pack left so I opened it for me as an interiors photographer with next day, after we had had lunch with his family up and reloaded the Polaroid back, rechecked the Elle Decoration and their competitors. It was in Mollino’s villa. His enthusiasm and kindness readings once more and shot another Polaroid. a signature shoot for me, and was exhibited and were too much to refuse, so we agreed to return. Nothing, just another blank Polaroid. Again I appeared in books on Mollino for years after The Sunday was a little brighter, but not by repeated the procedure, once more with no result. that cold weekend in Turin where everything wentGRANT SCOTT much. My taped-together tripod was going to There was nothing for it; I was going to have to wrong, but somehow turned out okay. PP have to perform one more time. After a delightful trust the light meter, load some film and go for it, lunch Fulvio and his daughter (who was as which is exactly what I did. www.grantscott.com www.professionalphotographer.co.uk 25
  • 22. 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 May 2011 Issue photographer approach the project in theJuly 2011 Issue CONVERGENCE AND THE FUTURE same way as a commission or adopt a differentHOW MUCH IS YOUR BOOKSHELF WORTH? OF PHOTOGRAPHY tack? They look at photographers whoPP Editor Grant Scott and deputy editor The team discuss the impact of HD DSLR have got it right in the past and discuss whetherEleanor O’Kane are joined by regular columnist film making on the world of professional there are too many introspective projects beingand photojournalist Peter Dench to talk about photography. With many photographers now produced by photography students.collecting photography books. They examine being asked to shoot video, the team focuswhy some books have not only held their price on areas that pose problems for some stills February 2011 Issuebut dramatically increased in value while others photographers, such as narrative, sound and the THE BUSINESS SPECIALhave been relegated to the dusty shelf of editing process. They also look at how stills The regular podcast team get down to businessobscurity. Long-time photo book collector Grant photographers are reacting to this new world. as they discuss the world of tax, finance andScott explains his passion and the team discuss marketing. They ponder whether possessinghow to spot a good investment as well as looking April 2011 Issue business and creative skills go hand in hand,at what makes a classic photo book. GETTING YOUR WORK EXHIBITED discuss potential areas where seeking The regular PP podcast team discuss the professional advice could reap rewards andAND THOSE YOU MAY HAVE MISSED… world of exhibitions. As curator and exhibitor debate whether or not current photographyJune 2011 Issue respectively, Grant and Peter share their students are aware of the importance ofTHE BEST OF BRITISH PHOTOGRAPHY experiences and look at the wider benefits of business skills when choosing a career asThe regular podcast team gather round to discuss making an exhibition of yourself. a professional photographer.the Best of British list that we published in theJune issue. The team look at some of the great March 2011 Issuenames of British photography through the THE PERSONAL PROJECT SPECIAL You can subscribe for free and download thedecades, stand up for their own personal The team grapple with the importance of podcasts from iTunes by typing professionalfavourites and ask why some periods have seen creating personal projects for sustaining and photographer into the search tab or listen viaa proliferation of great British photographers. developing a photographer’s career. Should a www.professionalphotographer.co.uk. PP26 www.professionalphotographer.co.uk
  • 23. A Battery Solution for Every Need Could you be described as a pro-on-the-go? Are you looking for a battery pack that’s not only tough, reliable and easy to use but also answers your specific needs? Well, look no further. Buy one now and get a lamp head for free. 51-940. PHOTO © Tom Muños. Product Photo Gert Jansson. Offers ends 31st of July 2011. Image shot with a Profoto AcuteB2 600 AirS.Profoto AcuteB2 600 AirS Profoto Pro-7b 1200 Profoto Pro-B3 1200 AirSThe Profoto Acute B2 is our smallest and Our classic high-capacity battery powered Studio photography on-the-go. The Profotolightest battery pack, perfect for weddings, generator for total freedom on location. Pro-B3 offers the fastest flash duration andportrait shots, editorial photography and Superb for situations when more power ultra fast recycling. Priceless features whensituations where you need to move fast. is needed. shooting fashion or fast moving sports.Free Profoto AcuteB Head included. Free Profoto ProB Head included. Free Profoto ProHead included. www.profoto.comFor further information go toProfoto is available from AJ’s (www.aj-s.co.uk), Calumet (www.calumetphoto.co.uk),Pro Centre (www.procentre.co.uk) and Teamwork Photo (www.teamworkphoto.co.uk).
  • 24. dispatches Clive Booth tales from the frontline of professional photography Superstar butcher? Admittedly the two words in the same sentence seem like a contradiction in terms; that is until you meet Jack O’Shea: 38 years old, 6ft, slim, long, reddish-blond hair, pale skin, blue eyes with a soft Tipperary accent, charm and wit combined with humour and mischief. Add to this a Paul Smith jacket and shirt, ripped Diesels and scuffed, brown Oliver Sweeneys and he’s got a certain kind of cool. Never more so than when he talks about hisThis month: profession and passion for meat. He speaks with confidence and conviction, and is not shy to disagree and speak his mind (especially when itAnimal carcasses and comes to vegetarians!). An eighth-generation butcher from Tipperary,glinting knives get Clive’s Ireland, his roots in the meat industry can be traced back as far as 1790. He left his father’screative juices flowing business to open a store, first in Brussels, then Knightsbridge before moving to the 40ft meatwhen he works on a shoot counter in the food hall at Selfridges. He waswith a food hero. named Butcher of the Year in The Independent Food and Drink Awards in 2009 and his client list is a who’s who of British and European culinary excellence, including Heston Blumenthal, Mark Hix, Richard Corrigan and Antonio Carluccio. He has a generous helping of A-list custom from, among others, the Beckhams and rock luminary CLIVE BOOTH Superstar butcher Jack O’Shea takes a seat centre stage. Left: A freshly butchered Porterhouse steak.28 www.professionalphotographer.co.uk
  • 25. “The most exciting aspect of this collaboration was that Jack had given me total freedom to dowhatever I liked; to put his trust in my judgment to both style and shoot him in a way that I felt would best represent him and project this image to a wider market.” Clive Booth www.professionalphotographer.co.uk 29
  • 26. dispatchesRobert Plant, and has even got Simon Cowell’svote. I first met Jack after shooting food and “...early March allowed only for aportraits for Heston Blumenthal last year. He is a limited amount of daylight so wefriend of Heston and his development chef, JamesPetrie, who is also a friend of mine. He saw the opted for continuous lightpictures and something in the spontaneity,looseness and freedom appealed to him, so we instead, one 2.5k, two 1.2k andstarted a conversation well over 12 months before one 650w HMIs, along withwe shot a single frame together. The most exciting aspect of this collaboration frames, silks, flags, stands,was that Jack had given me total freedom to dowhatever I liked; to put his trust in my judgment plinths and clamps.” Clive Boothto both style and shoot him in a way that I feltwould best represent him and project this image most comfortable in? Black shirt? Then you’ll 1m plinth with the two butcher’s blocks, and threeto a wider market. We had a loose excuse to do need a couple of brand new ones before the shoot lights with lots of frost and silks. Michael sets upa test shoot based on photographing cuts of meat and better make sure they’re pressed. “I’m having the 27in iMac and Capture One Pro tethered to abut my real interest was in Jack and seeing how a hair cut... not too short?” No! “Which jacket?” Canon EOS-1Ds MkIII while I build the Zacutofar we could push the conventions, and make Have you got something dark with a funky lining? Cross Fire and Z-Finder around the Canonwhat I saw in my head translate into pictures and “Any jewellery or accessories and which belt?”... EOS-1D MkIV This wasn’t just going to be a test .in turn talk to an audience. This sometimes went on late into the evening for Jack as I had decided to shoot both stills and Jack agreed to cover the costs and I agreed to along with a healthy banter and much laughter. video, and make the most of our time together.shoot for no fee on condition I had my favourite Wardrobe sorted, so what props? “I have two very By 11am we are set and I want an establishingstudio, IRIS, and team, Billy Waters assisting and worn, solid-oak butcher’s blocks, saw, machete, shot. The plinth and blocks are moved and weMichael Williams second assistant, digital tech sword and dagger!” (A cleaver, 20in butcher’s plonk Jack on an antique chair stolen from theand post-production. Initially I wanted to shoot in knife and what looks, at least to me, like it could studio reception. Jack, a man comfortable in hisnatural light as the studio has six large windows actually be a dagger) “plus two lamb carcasses own skin, saunters over and takes a seat; thealong with skylights, but early March allowed and several very large pieces of Angus cow.” backdrop of hung carcasses, along with a 20inonly for a limited amount of daylight so we opted It’s 8am on Sunday 6 March, shoot day: Billy blade in one hand and butcher’s steel (bladefor continuous light instead, one 2.5k, two 1.2k and I decide to create a simple set against the cove sharpener) in the other, hint at his professionand one 650w HMIs, along with frames, silks, of the studio using two double wind-up stands while the dark blue jacket, shirt and jeans say heflags, stands, plinths and clamps. and a scaffolding tube, on to which we would use is something other than the norm. We play with For several days prior to shooting, Jack and I meat hooks to hang the carcasses. Jack appears the light, 2.5k HMI key light with heavy frost,had been exchanging phone calls: “Should I bring with a BMW full of meat. As we start to load the 1.2k HMI rim light, and a 650w HMI to paint the CLIVE BOOTHmy aprons?” No! Let’s keep it simple, besides already sagging goalpost it’s clear we need more background, moving, frosting and flagging untilthat’s predictable, I’d like it to look as if you’ve and Jack dispatches a car to Selfridges while Billy finally I feel happy – and then, using the 85mmjust walked in off the street... what do you feel starts to build the rest of the set: a simple white f/1.2, I start to shoot a portrait. With Jack’s30 www.professionalphotographer.co.uk
  • 27. Above: Jack O’Shea or Harvey Keitel? Opposite page, even more attitude to the picture as it quivers and stopping and starting as I run through 24mm,clockwise from top left: Fillet on the bone; Jack glints under the HMIs. 35mm, 50mm, 85mm, 180mm. Michael feverishlyregularly tastes and smells the meat; shooting into thekey light; 20in blade and steel. He unfastens his jacket and casually slips it on downloads the stills in Capture One Pro which are a hanger alongside the carcasses. Chair gone, immediately profiled; the look is very slightly plinth and blocks in place, I move in to work desaturated with the meat remaining deep red.half-smile and blade glinting, I’m not sure around him, shooting into the key light with Billy At times the pictures are gruesome and yet overallwhether I’m photographing a butcher or a serial reflecting fill as Jack chooses a piece of meat. the feel is exactly as we had intended, loose andkiller; either way it looks cool and I continue to It’s single-sourced Angus beef from his home in casual, reportage food. As Jack methodicallyshoot. Happy with the stills I move to the 1D Ireland and he’s involved in every aspect of the extracts cut after cut of meat I extract cut after cutMkIV on the Zacuto and the Manfrotto video journey, from genetics, conception and feeding of HD DSLR footage. Shooting film and stillstripod, getting Jack to wander in and out of shot. regime through to the slaughter and hanging poses no real problem as I exchange 1Ds MkIIIHe takes no directing as he nonchalantly moves which can take from three to four weeks, with for 1D MkIV working mainly handheldfrom behind the camera to inspect the meat, then daily checks culminating in the butchery and throughout. While I really love shooting the stills,sits and pretends to play the drums with his blade cooking advice. As a consequence the meat is it’s the moving imagery that wins the day and forand steel. To emphasise the star quality I move different in appearance to anything I’ve ever seen, a client like Jack O’Shea a 60-second film ident,out wide and include the lighting stands, cables, with its hard, blackish crust and deep-yellow fat. cleverly cut to a cool soundtrack, will talk to hisMagliner trolley and monitor, making full use of As Jack rolls up his sleeves and uses the steel to market in a way that a still image never could. PPthe usually unseen studio paraphernalia to give sharpen the huge knife, we all take a step back.additional kudos to Jack seated centre stage. The butcher’s equivalent of Edward Scissorhands, To see the 60-second film go to I decide to shoot another portrait from a higher he takes apart the beef carcass explaining the www.clivebooth.co.uk/jackosheafilmangle and ask him to take a confrontational stance anatomical details as he saws, cuts and chops his and for more pictures seesurrounded by carcasses. He looks directly into way through muscle, fat and bone. He sniffs, www.clivebooth.co.uk/jackosheastillscamera, hair swept behind his ears, and I can’t tastes and at times caresses the meat with oily,decide if I’m shooting Jack or Harvey Keitel’s powdery, bone-crusted fingers and when he hasMr White in Reservoir Dogs (“You shoot me in finished, six gigantic deep-scarlet and fat-marbleda dream, you better wake up and apologise.”) Porterhouse steaks are glistening on the block. GO ONLINE FOR MORE DISPATCHES“Can you lose the blade, Jack?” He does so right For the next six hours we repeat this process FROM CLIVE BOOTHin the neck of a lamb carcass which in turn adds time after time shooting from different angles, www.professionalphotographer.co.uk www.professionalphotographer.co.uk 31
  • 28. This month sees our was cleaned. Today’s PR turns up and loiters in shot while instructing what I can’t do and where Isometime working pro can’t go. I’m photographing white water rafting at Lee Valley Park near London for Men’s Healthreliving his brush with magazine. I’ve done my research. Equipped with a buoyancy aid and 70-200mm zoom lens I leapthe LA porn industry, gazelle-like around the course under instruction from on-site snapper white-water Dave. Later, thesaying farewell to good PR buys me a BLT sandwich.friend and fellow 9th Dust off my 12 x 16 print folios and headphotographer Tim over to White City and the offices of Olive magazine. They responded favourably to a portraitHetherington, and email-out and invited me in. The invite came with a warning: “We commission on an all-rightspassing up a weekend basis. This is pretty much standard across the industry now...” The design team coolly surveys the job was and booked into a cheap motel. Turning on the radio after a fitful night’s sleep,at the in-laws to go on my work before the creative director announces I discovered several people had been shot in the she’d be delighted to commission me for some vicinity. The only resident not renting a room bya pilgrimage to New projects. Apparently, people have been turning up the hour seemed to be yours truly. Still, excited byBrighton in the footsteps with the results of ‘test’ shoots, so witnessing commissioned prints has been a rare delight. the assignment I unfolded one of two numbers to locate the writer and dialled the luxuryof Martin Parr. On the way out she retells a delightful story about David Bailey refusing to leave his studio to establishment. “Hello, the Beverly Wilshire, how may I help?” “Could you put me through to AA photograph Michael Winner, who refused to leave Gill please.” AA Gill, the sardonic, revered and4th The PR is late. They often are. I’ve a tight his home to go to Bailey’s studio. feared, acid-tongued hack. He had scripted atwo hours to complete the shoot and it’s ebbing pornographic film and was in town to direct.away. Generally my experience with PRs hasn’t 10th Late in bed Googling myself I find a link on Striding on to the set of Hot House Tales,been great, except once. I was on assignment for the GQ magazine website to my first-ever foreign I introduced myself; he sat with a childlikethe Telegraph Magazine tracking down the assignment. It was one to remember – 1999, on a expression of amusement, dressed in a light safarientourage of the deceased entertainer, Liberace. Friday afternoon as I sipped some Cava in north suit as an aspiring colonial dandy might sitOur search had taken us to Las Vegas, then on to London, Ash Gibson, art director at GQ, called. among his ayahs and bearers. The next few daysLos Angeles. Selfridges department store was Would I like to go to Los Angeles? I would. were surreal. The star of the show was Houston,to display Liberace paraphernalia in its windows Would I like to go tomorrow? Fergus Greer, the who had recently had sex with more men in oneand was funding the trip. PR Maria Dark was our assigned photographer, was stuck in Kosovo and day than anyone else in history. She was supposedattaché. As I checked out of the Mondrian Hotel unable to get back in time. I said yes. Without a to climax at 500 but the turnout was 620; sheon Sunset Boulevard, the receptionist asked if I credit card I phoned my dad and asked if I could kindly finished them off. Houston was a giver,had had anything from the mini-bar. “Everything.” borrow £500 cash. He said yes and drove the 143 well a taker. I documented Gill’s progressShe looked at Maria. I looked at Maria. miles from my home town of Weymouth to and marvelled at the professionalism of the team.Maria nodded her consent. The $250+ slate deliver. Arriving in LA I had a vague idea where On returning to Blighty I showed my dad the32 www.professionalphotographer.co.uk
  • 29. the dench diary Above: Peter backstage at Miss Leeds 2011. Left: Miss Leeds contestant Kim Lali (right) squeezes into her dress and Georgina Johnson tweaks her hair. Below: Actors perform in the pornographic movie Hot House Tales. Opposite page: AA Gill and porn actress Houston run through the script of Hot House Tales on set in Los Angeles. contact sheets; “That’s Ron Jeremy,” he pointed out, “I’m familiar with his work.” Thanks Dad. The article on the GQ magazine website has half a dozen of my images from the reportage. I don’t remember discussing or agreeing to this and am confident my 1999 contract didn’t have a web-use clause. In the hope of relieving Condé Nast Publishing of further coinage, I inquire about a fee. The article is removed from the website. 13th 9am and I drop my daughter off at school. Three minutes past and Marcus Bleasdale is on the phone discussing where we can get a drink. Today we will need a drink; 10.30am in Richoux, a Mayfair bar and restaurant, we sate our palates with champagne. At a few minutes past 11am, the coffin of photojournalist and friend Tim Hetherington is hoisted into view at the front of the Jesuit Church of the Immaculate Conception. The sight is a collective thunk in the stomachs of the congregation. Atop the coffin a single candle flickers; white lilies pout a silent fanfare.PETER DENCH American author and journalist Sebastian Junger completes the service with a personal tribute. A man of dignity and power, his presence and
  • 30. voice are projected and proud. On returning tohis seat he slides a hand across the wooden lidand crumples into the arms of a loved one.I return my gaze to the pattern on the floor thattoday has become as familiar as my daughter’sface. During the reception held at The Dorchesterhotel on Park Lane, the mood lifts. Stories areexchanged and new friendships forged. As Tim’smother advised us to do, we begin to “dancewith life” as her son had done. The dance takes uslate into a night at the Frontline Club.As Bleasdale would later tweet, the day was“truly moving, special, sad, uplifting. We saygoodbye to a great man. Tim.”“...duck in to Kevin’sHairdressers for a trim andask ‘Call me Kev’ whereI should go for the day.‘Not Birkenhead, they’llbatter-yer-head, ha-ha,I’d go to Liverpool.’”Peter Dench15th Enter the Foto8 Summer Show, £20 for It’s not just any garden; it’s a herb garden. the phrases “the thing that exercises my mind,”three images. Check my finances and have £15 I’ve been biting my tongue all morning but now, and “consider the USP”, next to which is a doodleleft; £10 will feed two children in Ethiopia for I think, is the time. I ask Prunella what type of of my weeping face. The speech bubble simply100 days. Sorry kids. I’m afraid you’ll have herbs. “Fennel” (snigger), “Mint” (chortle), reads, “Miss Leeds!” Rushing backstage my faceto wait another 150 and I enter one picture in “Sage” (here it comes), “Rosemary” (say it), pings taut, an instant hairspray Botox. The tonguethe AOP Open Awards instead. “Tarragon” (AND!). And that’s it. I’m sure I swells to the roof of my mouth. I look like detect a narrowing of Prunella’s milky blues. a permanent surprise. Throw up a backdrop,19th I am photographing the actress Prunella There is definitely no BASIL! lights and peer through the haze. Nubile loveliesScales, probably best-known for her role as singe and tinge, brush and fuss. There’s enoughlong-suffering wife Sybil in TV sitcom Fawlty 26th For the second year I have volunteered, yes fake tan to cast an army of Oompa-Loompas.Towers. The shoot is for a Telegraph Magazine volunteered, dear reader, as backstage snapper at They line up for their close-up. Straight into lensgarden special. I’ve shot some portraits and the Miss Leeds beauty pageant grand final. please, Adrianne Carter. Adrianne is sponsoreddetails in the back garden and accommodated Every reportage photographer should shoot a by Acorn Stairlifts, “Acorn can help you use yourthe writers’ request to photograph Prunella by beauty pageant. Ever since I saw Tony stairs again.” Adrianne says: “I want to makethe compost bin. We are now standing outside the Ray-Jones’s image Beauty contestants, Southport, people happy by making a difference, it’s a greatfront of the house admiring the smaller garden. Merseyside, 1967 it was on the shoot list. I was feeling knowing I have put a smile on someone’s hoping after Miss Leeds 1 that it might launch a face.” Can you look up to the light, Jade Garbett? career in event photography. There has been no Jade is sponsored by Exercise Express. Jade says: direct benefit. One of the 2011 contestants has “I am a happy bubbly person and love to see withdrawn after viewing my pictures. Before Miss other people happy too.” Chin down a touch, Leeds I’ve a meeting with Henry and Paul at Kelsey Sutcliffe. Kelsey is sponsored by Fastway Jamie’s Italian restaurant and spring up the steps Tour Bussing. Kelsey says: “I will show it doesn’t into the arms of a spritzer. Between the pinot and matter what size clothes you are.” Push your lips pasta it’s clear Henry and Paul have no idea what together for one please, Olivia Goulden. Olivia is I do or who I am. I have no idea what they do or sponsored by Dolphin Lifts, “A true family who I am. I think at one point they suggest I run a business.” She says: “Imperfections make you dedicated photography gallery under their perfect.” (Can someone please tell me why PETER DENCH mentorship and funding. I really should pay more stairlift companies sponsor beauty contestants?). attention. After the plus-three-hour pow-wow, I Kelsey (21) from Keighley triumphs and I cut flick back through my notes. I’ve written down through the curses to congratulate. “Hello again,34 www.professionalphotographer.co.uk
  • 31. the “Ever since I saw Tony Ray-Jones’s dench image Beauty contestants, Southport, Merseyside, 1967 it was diary on the shoot list.” Peter Dench Above: Sarah Baldwin poses for the camera during a Claire Simon-Kind (30) with bridesmaid and quick change backstage at Miss Leeds 2011. sister Sarah Simon (28). Nibbling a Mint Feast I Above left: Eight-year old Georgia Jackson crabbing in New Brighton with her Grandad Kenneth. snap graffiti proclaiming “Laura Loves Dick” and Left: New bride Claire Simon-Kind with her sister and imagine the happy couple canoodling in the bridesmaid Sarah Simon on New Brighton promenade. weather shelter where their love is carved. Bottom left: A family rests in Vale Park, New Brighton. Steve, out walking dogs Bobby and Rocky, slides in alongside. We talk about the history of New Brighton and what I can enjoy on my visit to the three flights and change on to the seabed-smelling Wirral. “You’d enjoy the fort.” I float the question. Wirral Line. Welcome to New Brighton. “And Birkenhead?” “I wouldn’t go there, the 20s-30s get a bit aggro like.” I’ve enjoyedit’s Peter, from London. Congratulations.” 28th-31st Four nights, I booked four nights. stomping in Parr’s footsteps. On my last night IKelsey hopes to visit London one day. She says: “I It’s blowing a gale and slapping rain, duck in to decide to get smashed. In the morning, siftinghave driven near it once on the way to Windsor.” Kevin’s Hairdressers for a trim and ask “Call me through remnant pocket clues I find a neatly Kev” where I should go for the day. folded square of paper and open it. Underneath27th One of the great things about being a “Not Birkenhead, they’ll batter-yer-head, ha-ha, the heading “New Project” it has one word inphotographer is you can create a project to drink I’d go to Liverpool.” Four nights! What was I capitals underlined, BIRKENHEAD. I check theand photograph where you want. Frantic in bed at thinking? Determined not to stray from New diary for the next planned visit to the in-laws. PPthe Mint Hotel, I’m racing through my ideas Brighton I visit the former site of the outdoorbook. This weekend is a bank holiday. The current swimming pool, former site of the pier andplan is a trip to the mother-in-law’s. I ring my former site of the tower. I meet local-born Ray,wife. “You know I’ve always wanted to go to New back in town for a friend’s 60th birthday and ask www.peterdench.comBrighton?” “No.” “Of course you do, the town what I should do. He doesn’t know. “But stay outthat Martin Parr photographed 25 years ago for of Birkenhead, they’ll likely give you a smack.” You can hear Peter in person each month onhis book, The Last Resort?” “Vaguely.” “Well, I’m I embed myself in New Brighton and photograph the Professional Photographer podcast,going.” I gather my kit and jump on the first lifeguards Gary and Matt, sea fisherperson Pat, available on iTunes or on our website atTransPennine Express to Liverpool, descend the the North West Concert Band and newlywed WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 35
  • 32. DOUBLESUBSCRIPTION OFFERSubscribe to both Professional Photographer andTurning Pro for as little as £10.05 a quarter. Subscribe by Direct Debit for just £10.05 every 3 months*, * saving 50% or Worth subscribe by £80.34 credit/debit card for ! £48.20, saving 40% on both magazines.** Interested only in Professional Photographer? IBE SUBSCR 35% Just £8.25 every quarter by ve and sa cover Direct Debit (saving 35%) or on the e. £37.80 a year by credit/debit card pric (saving 25%). **Both offers include FREE access to the fully searchable digital archive - worth up to £18a year!EASY WAYS TO ORDER www.subscriptionsave.co.uk/pp 01858 438840 Quote 07PA for both titles Quote 07PP for Professional Photographer onlyTerms and conditions: **Professional Photographer is published 12 times a year. Savings based on the cover price of £4.20 per issue. Turning Pro is published six times a year. Savings are basedon the cover price of £4.99 per issue. Direct Debit is UK only. Direct Debit guarantee is available on request. *£10.05 will be taken every three months via two Direct Debit payments – one for ProfessionalPhotographer and one for Turning Pro. For overseas orders please call +44 (0) 1858 438840 or visit www.subscriptionsave.co.uk/pp. Offer closes 27.07.11.
  • 33. CAMERA : SIGMA SD14 : ISO50, F4, 1/320sec | LENS: SIGMA APO 70-200mm F2.8 EX DG OS HSM : 200mm(70-200)SIGMA LENSAPO70-200mmF2.8 The very latest optical technology including FLD and SLD glass elements has been incorporated to produce superbEX DG OS HSM optical performance throughout the entire zoom range. This new high-performance lens benefits from Sigma’s unique Optical Stabiliser and HSM yet still retains aFor Sigma, Canon, Nikon, Sony and Pentax compact construction and is the smallestSupplied with fitted padded case, petal type hood, hood adapter and tripod collar lens of its type. Sigma Imaging (UK) Ltd 13 Little Mundells, Welwyn Garden City, Hertfordshire, AL7 1EW Telephone: 01707 329 999 Email: sales@sigma-imaging-uk.com Website: www.sigma-imaging-uk.com
  • 34. [ 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. ] /WATCH AND LEARNSEVERED DREAMSWritten, directed and edited by Ian Bucknole,Severed Dreams is a short film about a boy’smove from boyhood to manhood, accompaniedby his magical toy robot, which causes chaosin our protagonist’s life. This is a beautifullyshot film with nice cinematography, sharpediting and a well-balanced soundtrack thatunderscores the narrative – though it was indanger of becoming more a music video thana film. It was shot for less than £1,000 inCornwall on a Canon EOS 5D MkII andan EOS 550D. http://vimeo.com/22030283 IAN BUCKNOLETHE RAGEH OMAAR REPORTRageh Omaar is a journalist working with theinternational news network Al Jazeera. importance of journalism’s place in the world he has amassed a large amount of material andHe has moved into the world of DSLR film today and how DSLR film making gives was asked to put together a show reel of hismaking, something that is happening a lot these reporters another tool to get to the heart work. After watching it I think you’ll agree theamong journalists delivering news on of international stories. true power of DSLR film making appearsmulti-media platforms. Here a Canon EOS 7D www.professionalphotographer.co.uk/0709 here in all its guises – from amazing controlwas used as Rageh made a short documentary over depth of field to stunning compositionon the fate of an estimated 17,000 people RUBEN LATRE heightened by the quality of lenses used.missing in Lebanon since the end of the civil New York-based film maker Ruben Latre is This is one of the best examples ofwar there in 1990, a conflict which had a director and photographer. Since getting DSLR film making that I have seen so far.lasted for 15 years. This again shows the a Canon EOS 5D MkII a year and a half ago, http://vimeo.com/21673567TRAININGIf you are a photographer new to the world of convergence and with no background in film making, then don’t give up right away – there areplenty of opportunities to educate yourself and get into this exciting new way of expressing yourself, creating another string to your bowand possibly making you money in the long run. There are lots of courses that can get you started, such as the ones offered byHDDSLR-Training. If you know several other photographers eager to get into film, this company will set up a one or two-day tailored coursefor up to six people. With photojournalists, wedding photographers and events photographers in mind, this course is designed to providefast-track, hands-on tuition for people with an understanding of photography, showing how to shoot and edit using video-enabled HD DSLRcameras. A one-day course costs £285 and a two-day course is £425. http://hddslr-training.co.uk/info38 www.professionalphotographer.co.uk
  • 35. SOFTWARE very flat. This is because you want the high READ ALL ABOUT IT TECHNICOLOR CINESTYLE dynamic range to enable you to control colour American Cinematographer Most of you film makers will have struggled and contrast in post-production, which is achieved Manual when it comes to the dynamic range of your by shooting as a LOG C curve rather than Here are three books that will DSLR – balancing highlights and lowlights while Rec709. If you have never come across these serve you well when taking your maintaining detail is difficult at the best of terms and want to know the difference, visit first steps in HD DSLR film times. And when it comes to grading, pulling www.professionalphotographer.co.uk/0780 making. First and foremost is detail out of shadow is imperative if you don’t the book every DP in America want your film to look like a Rembrandt painting. BUT BE WARNED... don’t use this picture style will own, being the definitive guide for anyone Although I must admit that the use of crushed unless you intend to do post-production work, as looking at cinematography as a serious career blacks is sometimes a stylistic choice, on you will be disappointed with the results. choice. American Cinematographer Manual, occasion it would be nice to have a choice. But most directors of photography (DPs) and now in its ninth edition, is probably the most Now you do – if you are a Canon EOS 5D MkII editors will be salivating at the prospect of this in-depth guide around when dealing with light owner – because a new picture style called amazing new adaptation. DSLR kingpin Philip and lenses and depth of field etc, making it a Technicolor CineStyle can be downloaded on to Bloom says: “This is the best thing to happen to must-buy. It’s in two volumes – a reference your DSLR that will allow you to shoot with the Canons since the introduction of manual guide and a field guide – and we found them a high dynamic range. Be warned though: when control.” To download this picture style go to selling on Amazon for £39.90 and £26.60 you first shoot with this picture style it will look www.professionalphotographer.co.uk/0784 respectively. To read more about the book visit www.professionalphotographer.co.uk/0752/////////ON THE GRAPEVINE /// THIRD-GENERATION 5D? The Guerilla Film Makers Handbook The Guerilla Film Makers The worst-kept secret in the DSLR world is that Canon is ‘apparently’ sending out test Handbook, by Chris Jones and bodies of the EOS 5D MkIII to selected photographers. Though this is all under a huge veil Genevieve Jolliffe, did the of secrecy, the chatter has picked up. It is believed there are several variations of the rounds when I was in college. prototype out there, but a few things are being mentioned and repeated by different key If you are already familiar with all the constituent parts of the film-making process people. Firstly, the 21.1-megapixel count won’t change, but noise reduction and sharpness you probably won’t need this book, but for will be pushed, allowing for greater quality in high ISOs. As for the film-making side, we anyone getting to grips with pre-production, will have to wait and see, I’m afraid, but the fact that Canon itself is shooting TV budgeting, shooting, post-production and commercials with its own DSLRs (see News below) means it must be looking to improve finally marketing and exhibition, it is a great starting point. You’ll get to learn all the this side of things. I hope this will involve a good look at the sound recording capabilities - lingo and be able use it more as a starting an XLR input would probably be pushing it, but it would be a good start. point for research. RRP £34.99. www.professionalphotographer.co.uk/0785 NEWS produced entirely with Canon EOS 5D and EOS 7D cameras and a Panasonic Lumix DMC-GH1. Those of you wanting to look more deeply into the meaning of CANON CAN Car companies seem to be the forerunners in composition might want to go to Canon has finally embraced its own technology moving with the times and taking chances on new the many essays and books by by using its DSLRs to make an advertisement technology such as DSLRs for their commercials. French philosopher Roland campaign for the EOS range in Australia. Perhaps other big-money advertisers will follow Barthes, such as Elements of Reportedly made for both television and suit soon. Semiology and Writing Degree cinema release, these commercials are a huge www.professionalphotographer.co.uk/0762 Zero. Or you could try starting with Film acknowledgment that convergence is here Language: A Semiotics of the Cinema, by to stay. It will be interesting to see the final IN THE FRAME French film theorist Christian Metz. cuts of the four TV commercials. The adverts As mentioned in this month’s Watch and Both writers are at the heart of discussions went hand in hand with a poster campaign, Learn, journalists such as Rageh Omaar from about meaning within film. They have tried so I don’t see this as just a test, but more a Al Jazeera are making great short to break down how we as viewers perceive major part of a marketing strategy – pretty documentaries on DSLRs. The news network things through symbolism and semiology. ballsy but, as all of us independents using is promoting both photojournalism and film These books will help you shape your DSLRs already know their potential, it’s nice to making to produce stunning films reflecting understanding of composition and meaning have one of the major manufacturers putting what’s going on in the world. It has created a when cutting, as the constructs of film can itself out there. It should also help the new show called Frames which will run become confusing, especially when editing. company to develop and improve HD DSLRs two-minute character-driven films. It will help you understand why, when two based on personal shooting experience. Embracing multi-platform functionality, shots are cut together they seem to flow into these films are not just for the online world, one another, yet when the camera view is FULL SPEED AHEAD but are seen on TV around the world too, and altered by just a few degrees the balance of Filmed by Israeli cinematographer Ram Shani, are shot predominantly on DSLRs. the connected shots is lost and the cut can a new SEAT car commercial has become http://english.aljazeera.net/programmes/ become clunky and unfluid. the first of its kind to be shot in Israel, as it was frames/ www.professionalphotographer.co.uk/0712 www.professionalphotographer.co.uk 39
  • 36. frontline from the Need to put a face to a name, get the background story, the right advice and the inside track on how to get commissioned? This month we ask Choi Liu, art buyer at M&C Saatchi in London, about her photographic collaboration with the advertising agency’s creative team and what inspires her among the hundreds of portfolios she sees every year. Tell me a bit about your career background. Allinson bread, 2008. I started my career at McCann Erickson, Manchester. It was a matter of being at the right place at the right time; after a five-minute chat with the creative director, he offered me the job. After three years at the agency, I needed more of a challenge and decided the best place to be would be London, the city where I grew up. My next agency was Bates Dorland London. Again it was right place, right time; by chatting to an agent whom I was working with on a job I learnt that a well-known art buyer was lookingJONATHAN KITCHEN for an assistant. I went for the interview, got on brilliantly and was offered the job a month later. As they say, the rest is history. In the past few years, I have been honoured to be asked to judge Choi Liu the AOP Assistant Awards, Creative Review Photography Annual and most recently the photography category of the D&AD Awards. Art Buyer: M&C Saatchi Describe your role at M&C Saatchi. My main responsibility is to shape the look of the ads by working closely with the creative teams. My role isn’t a traditional art-buying one. I don’t Career history: get involved with the production side of art Art buyer: McCann Erickson buying, just the creative side, which is a huge Art buyer: Bates Dorland London responsibility, sourcing the creative talent for Freelance art buyer each brief. Once a concept has been brought by Art buyer: M&C Saatchi the client, I will discuss with the creative team the look and feel they would like to achieve, then I will call in the appropriate photographers. own book, they’re too close to their work and don’t always select the best images. Do you see many photographers’ portfolios? I see photographers’ portfolios on a regular basis. Is it better to include a lot of images in a book, This will range from one folio to five or more or a few carefully selected ones? folios in a day. It’s so important to be kept up to Definitely less is more. “It’s not always a good idea date with who’s doing what. Do you look often at photographers’ websites? for the photographer to put What do you look for in a book? I look at websites but get frustrated when they’re together their own book, I look for originality; a fresh way in their all-singing and dancing. I prefer it to be simple to they’re too close to their approach in shooting still life, portraiture, cars and so on. The images need to be exciting and navigate and for the work to speak for itself. work and don’t always select innovative. There are thousands of photographers Do you have time to see many photographers in person? the best images.” Choi Liu out there, so the portfolio needs to be a memorable one. It’s not always a good idea I make a point of seeing photographers, as I like for the photographer to put together their to hear from them personally, [hear] what they’re 40 www.professionalphotographer.co.uk
  • 37. Ribena, 2007. shots they did have, I was confident they were able to do the job. I guess it’s having the foresight “I think it’s best to be yourself, be original and not to think too [to do so]. much about what other photographers are doing.” Choi Liu Do you commission many emerging photographers? Yes, there are so many talented emerging Lucozade, 2008. photographers, it’s really exciting to be able to give them their first break. By doing so, hopefully it will open more doors for them. How can emerging photographers show a broad sense of work and creativity in their books? I think in the age of technology it’s so easy to look through websites and be influenced by what you see. I think it’s best to be yourself, be original and not to think too much about what other photographers are doing. Do you believe in the importance of personal projects? Definitely; it’s from their personal work thatmost passionate about. I will spend up to an hour extra something to a shoot, understanding of you get to know what a photographer is mostwith each photographer and get a sense of their the brief, the ability to work as part of a team and passionate about. It’s often personal work thatpersonality, and what they like and dislike. plenty of patience. inspires commissioned work.Do you take into account a photographer’s If the brief is very specific, do you seek out How do you personally keep up to date withpersonality for the client or shoot? photographers with that particular style photography?I do take into consideration the photographer’s because you know they’ll be able to achieve It’s a combination of going to shows, lookingpersonality before considering them for a job. the look you want, or do you ever choose through magazines (particularly fashionI will think about the personality of the art photographers who don’t have similar shots in magazines), books and websites. If I come acrossdirector and the photographer, because they need their portfolio but who you know will be able a photographer’s work in a magazine and I’ve notto work closely on a shoot, so they have to be to follow the brief? heard of them, I will make contact to see theiron the same wavelength to get the best result. If the brief is very specific then I would source a work. Magazines are a great showcase for photographer with that particular style. photographers because it allows them to be soWhat traits are ideal in a photographer and There have been occasions when I would much more creative than in commissionedwhat makes the working relationship easier? recommend a photographer who didn’t have work and through the magazines they’re able toI would say attention to detail, bringing that similar shots in their portfolio but, looking at the reach a much wider audience. PP www.professionalphotographer.co.uk 41
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  • 39. feedback.tell us what you think at feedback@professionalphotographer.co.ukDear Professional Photographer, adverse comments either from She was in a furious state after course pass rates of 100%. How doWhatever you are paying Peter readers or editors. I am sure that the discovering that a fellow student had they achieve this? What happens ifDench to write his column, double concept will conquer photography been awarded a distinction after you have an inept/substandard set ofit! In the current economic climate, as the SLR did half a century ago. failing to hand in any images but students in a year group ? All I canI was considering my subscription. Eric Houlder, via email instead writing a 2,000-word essay say is that lecturers are put in anNot now! It’s worth it just for the justifying their idea and what they intolerable position where manyDench Diary! By the way, I am not Dear Professional Photographer, would have done if they had had are forced to choose between theirrelated to Peter Dench, nor have I ‘Education, education, education’ is time to complete the assignment. ethics or their career.received any inducement to write the battle cry I am constantly I didn’t know how to respond; However, this must be contrastedthis eulogy. However, should you confronted with these days. To be I know I should have been with a common complaint that mosthappen to print this and Mr Dench honest, this word now only makes incredulous or angry, but my short professionals and ex-students havehappens to read it, mine’s a pint of me angry and belligerent. time in academia has taught me that voiced to me: the quality of theTimothy Taylor’s Landlord. Four years ago, I started my all things are possible. There seems course content that the majority ofJames Willis via email journey into the world of education now to be a greater emphasis on the the students encounter. In particular with much hope and optimism. ideas students develop rather than there is little emphasis on theDear Professional Photographer, I naively thought that photography how they implement them correctly. business element so students haveAgain I find myself a trendsetter for education still encouraged and Two years ago, I was confronted little or no idea how to marketthe second time in 50 years! In 1961 espoused the same views and by an HND student (at the end of his themselves when they leave college,I purchased one of the first Japanese principles which it had for me 25 first year) who was quite nervous let alone prepare a realistic businessSLRs imported into Britain, and years ago. In some small way, and agitated. I asked him what the plan. Another area which is rarelywas probably the first archaeological I hoped to add my own experiences matter was and he stated he had covered is the basics of lighting andphotographer to use one. and wisdom to the knowledge base overheard other students talking other essentials so they have at Recently I was so impressed by of the new breed of aspiring about an effect called ‘depth of least the key skills to survive in amy son-in-law’s Panasonic Lumix photographers. What shocked me field’ and wondered where he could competitive environment.G1, my wife bought me one for my was the anger and dispirited nature buy the Photoshop filter. This situation may seem70th birthday. One of the chief of the students I encountered At this point I realised something depressing now, but with thereasons for buying this camera is the initially. Their passion for had to be done but how and what? additional rise in tuition fees comingportability. I still have a full 35mm photography had all but drained When I was at college, there were and the reduction in contact hoursSLR kit and even a full medium away within the six months since only 12 photographic courses in the (some courses have reduced this byformat outfit, but the weight was joining their respective courses. UK but today there are at least 270. half this year), the prospectivebeginning to get me down, in more I was soon confronted with the Our group sizes then were between student could be facing a pretty rawways than just figuratively! reality of the situation which seems 20 and 24 pupils per year, our deal – hourly tuition in the first year Shortly after purchasing the to be consistent across most contact time with tutors per week costing £75 per hour, rising to £300camera, I bought a converter from students’ experiences. During my was between 20 and 24 hours, with per hour by the third year.SRB Griturn, which enables me to photographic education, I can barely unlimited use of the studios and So as a profession, what do we douse my Sigma 75-300mm lens of remember a day when we weren’t darkrooms. Today, an average year to help the 5,000 photographyindeterminate age with it. The lens expected to use our cameras. group is between 30 and 60 graduates entering the job marketbecomes a 150-600mm, and loses These days, students seem to be students, contact time (based on every year? Do we seek to reduceautofocus, autodiaphragm, bogged down in endless and a rough study I held early this year) the number of courses available oranti-shake and all exposure modes repetitive workbooks and journals, is between six and 12 hours in the do we try to educate prospectiveexcept aperture priority. This still where they must repeatedly justify first year before going down to students as to the true outcome ofleaves me well in advance of my their views and actions. In some as low as one hour in the third year. their expensive education that in1961 Aires Penta, which required cases, I was encountering students You must also realise the reality will only be a hobby for thema separate meter and blacked out who hadn’t taken a picture for over pressures the lecturers are under for with the occasional paying job?following exposure – no instant six weeks but had been slavishly their courses to survive. In most In the end, we do owe thesereturn mirror then. producing a workbook that would cases, funding for a course will be students the truth even if education What the CSC detractors do not represent 80% of their final mark. withdrawn automatically if a is failing to tell them the realisticrealise is the quality of the Lumix Early this week, a former student benchmark figure of a 58% pass rate outcome of their investment and Iviewfinder image. Images from my rang me to complain about a is not achieved. Many more for one cannot sit idly by.G1 have appeared in print with no situation at her current university. unscrupulous colleges claim arts Richard Southall, via email PP www.professionalphotographer.co.uk 43
  • 40. GUESSLIGHTING THEIn his blog, professional photographer Ted Sabarese tries to work out how other photographershave lit their images and offers his own unconventional theory on how the shoot went.In this issue he brings his lighting expertise and limited drawing ability to a shoot inspired byThe Wizard of Oz that Annie Leibovitz did for Vogue magazine.ANNIE LEIBOVITZ/KEIRA KNIGHTLEY,VOGUE, DECEMBER 2005Talk about a challenge. Vogue magazine posedthis to Annie Leibovitz: take The Wizard of Oz,one of history’s most important films, re-createthe iconic scenes, but add your own personaltouch. Looking at the photo story as a whole,I have to say Annie nailed it. Crushed it, actually(it certainly didn’t hurt having Keira Knightley ather disposal). Google the story. Each image ismore beautiful than the next. This shot ofDorothy, Auntie Em and Uncle Henry rushingfor shelter captures the cinematic feel whileadding Annie’s modern sensibility. It was createdwith one light and the help of the sun.CAMERA: Mamiya RZ67 with 50mm lens andKodak Portra 400NC film, handheld 15ft back.Shot at 1/60sec, f/16, ISO 400. ANNIE LEIBOVITZ / VOGUELIGHTING: To mimic a gloomy, tornado-ladenday, Annie underexposed the shot by two stops.The key light is a large Octabank at f/8 set highand 12ft to camera left. The sun at f/8 is high inthe sky and slightly to camera right, which addsfill and some flatness to the image. Two large Remember, this is calledwind machines are out of frame to camera right ‘Guess’ the Lighting. Therefore, all lighting,aimed head-high, adding to the stormy feel. camera, lens, grip,Though a stickler for realism, Annie did not f-stop, shutter speed etcwait for an actual tornado to touch information may not hold up in a court of law.down. The background was added in post. Any guesses as to what the featuredTED’S THEORY ON HOW THE SHOOT WENT: photographers were wearing, drinking orThe cute puppy, though a dead ringer for Toto, pondering while creatingwasn’t the most obedient pooch. While the rest the shots are notof the talent moved toward the shelter doors, necessarily subject to any reality other than myhe ran in the opposite direction, usually chasing own. Suggestions ofa vagrant squirrel or his own tail. After numerous marital problems,failed attempts, the prop stylist replaced hangovers, jet lag, disease or any otherhim with a stuffed fox. The dog’s features were contributing factorsretouched in post. PP should, likewise, be taken with the proverbial grain of salt. There is a lot of guesswork inwww.guessthelighting.com guessing – Ted Sabarese www.professionalphotographer.co.uk 45
  • 41. 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 PP8Could a Photo Imaging Apprenticebring new talent to your business?‘Designed by industry for industry.’01752 205 714 | business@plymouthar t.ac.uk
  • 42. exposure Images that have us thinking, talking and debating... This time of year sees an outpouring of photographic images from the country’s colleges, art schools and universities created by photographers eager to make their way in the world as professional photographers. This year we decided to look through as many as we could and give students the opportunity to send in their images for us to publish in our sister title, Turning Pro. To see the best of the work out there we are afraid you will have to buy the latest issue of Turning Pro, but this image, Metamorphosis 2, created by Kimberley Langstone from Southampton Solent University, certainly caught our eye, as did her portfolio and approach to the industry. PP www.kimberleylangstone.co.ukKIMBERLEY LANGSTONE www.professionalphotographer.co.uk 47
  • 43. Keeping it real ROBERT WYATT
  • 44. { WORKING PRO} British fashion photographer Robert Wyatt has built a reputation shooting the world’s most beautiful women for global brands. Here he talks to Julia Molony about the pressures of working in the fashion industry, his admiration for real women and the successful creative partnership with his wife. The Sunday Times Style magazine, 2010. www.professionalphotographer.co.uk 49
  • 45. { WORKING PRO}“The nature of our industry is to show an almost unattainable, aspirational quality to things tosell a product. I love doing that. But I would love to try to do it a bit more realistically.” Robert WyattR obert Wyatt loves women. Since he Reality is something of a buzz word for Wyatt, of the ways in which its values can be softened. started as a photographer, his work whose approach, even to the hyper-stylised “I appreciate we all aspire to look youthful,” has been a paean to them. All ages, discipline of fashion photography, has always he says, “but I think there is room for an element all sizes, the conventional beauties, been to deconstruct the myth ever so slightly; to of reality in fashion photography and I think weand the not-so-perfect. The supermodels and introduce an element of the known, the did that in the past and don’t do that so much anythe ladies on the street. But mostly proper, recognisable, the familiar. Though he has built his more. I think my whole career has had that. I likegrown-up women with character and reputation on shooting the world’s most beautiful to put in an older woman. From a very young age,strength – they are the forms, the subjects models and celebrities, and though this continues I looked at older women and found themand the characters of which his life’s work to be an aspect of the work he really loves, his attractive. There is an air of confidence abouthas become a study. signature is something more human, with more them, and I think there is a lot to be said for that. They are the recurring theme of his personal heart than simple, flinty perfection. I’ve always tried to do that in my career.”projects. The latest, At Home, which was recently “The nature of our industry,” he says, “is to Working with A-list models is, he admits, a joy,exhibited at The Gallery in Redchurch Street, show an almost unattainable, aspirational quality though not for the reason you might think.East London, is a collection of nude portraits of to things to sell a product. I love doing that. But I ROBERT WYATTordinary women, photographed at home, and is an would love to try to do it a bit more realistically.”exercise in tender reality – no make-up, no hair This view comes from a clear-eyed assessment Above: Muse magazine, 2008.styling, no lighting, no retouching. of the fashion industry and an understanding Opposite page: The Sunday Times Style magazine, 2011.50 www.professionalphotographer.co.uk
  • 46. “The big ones, they work hard,” he says simply. presents him with a problem. “When you are they are wearing,” Wyatt says. “There is an“When they stand in front of the camera they asking a model to give you something, that element of sexuality that you can portray or givemake your life so much easier. Because they usually has an underlying, very deep-rooted sense that helps sell those clothes and that help createknow what you want, they listen to you, they of sexuality in it. They’ve got to know what they a mood, or a vibe, and it becomes aspirational.understand what you are trying to achieve. and their body mean to a viewer, whether the It’s what a client wants, it’s what a photographerSome of them will look at the outfit in the mirror viewer is a woman or a man. It’s very difficult for wants. One’s job is much easier if a 21-year-oldand they will change it... people like Kate Moss, a photographer to ask that of a 15-year-old girl.” girl understands what clothes are being put onGisele Bündchen, they work like dogs. And it’s What’s more, he says, the chances are that her, and what you are trying to achieve within thatvery rare that there is any kind of tantrum, it’s “a 15-year-old girl hasn’t got that yet, because she shoot.” It was this realisation that led him to avery rare that they turn up late. These people hasn’t loved, sexually, or hasn’t lost, she doesn’t new focus in his work. “I just thought, ‘oh, this iswork bloody hard.” know what her body means to other people. all wrong. I can’t do this,’” he says. “Morally it’s However, it was working with models and his When you are 21, 22 [on the other hand] you wrong and sometimes I do have to do it andgrowing discomfort with an increasing emphasis understand what you mean to other people sometimes it becomes a challenge to be able to doon extreme youth that led Wyatt to something that sexually, and in very many other ways.” it. But I just thought, ‘wouldn’t it be nice to justcould loosely be described as an aesthetic This is important from an ethical standpoint, get back to photographing women?’”ideology. “For me, models are getting younger but also when considering the more pragmatic This sensibility has always been deep-rootedand younger,” he says. As a photographer, this goal of selling clothes. “It doesn’t matter what for Wyatt. Take, for example, one of his“I think there is room for an element of reality in fashion photography and I think we did that inthe past and don’t do that so much any more.” Robert Wyatt www.professionalphotographer.co.uk 51
  • 47. { WORKING PRO}“I never started out asa fashion photographer...[but] as a gallery-basedphotographer. My first-everfashion shoots, I didn’t evenrealise they were fashion.They were shoots that hadpeople in them and that wasjust the way I did things.”Robert Wyattfirst shoots – the inspiration for which camefrom a childhood fascination with the headyfemininity he witnessed while watching hismother get ready to go out. “The babysitter hadarrived and she was putting on earrings andhairspray. That was the 1970s. There’s a beautyin that, watching your mother when she was 40.It all comes back to the same thing. “I never started out as a fashion photographer,”he explains, of how his motivations havedeveloped over the years. “I started out asa gallery-based photographer. My first-ever ROBERT WYATTfashion shoots, I didn’t even realise they werefashion. They were shoots that had peoplein them and that was just the way I did things.”Above: 10 magazine, 2006.Right: GQ Style, 2008.52 www.professionalphotographer.co.uk
  • 48. www.professionalphotographer.co.uk 53
  • 49. { WORKING PRO}“In our industry you can’t be a jack of all trades. You have todefine yourself and your work. It has to be a master of one.For me that means that there is always a narrative.” Robert Wyatt Narrative, character and reality are his key It’s women of this calibre who have been theco-ordinates and every shoot he embarks on is points of orbit for Wyatt’s creativity, not least hisa journey around those points. Those were the wife, with whom he works regularly. Editors havequalities that got him recognised by the creative even started recognising the dynamism of theirteam at Prada, who, having spotted his collaboration. David Bradshaw, Editor of GQunconventional fashion photography in The Style UK, commissions them as a pair, knowingGuardian Weekend Magazine, commissioned him it’s the best way to get the most out of them both.to shoot its advertising campaigns. “When I work with Lucy,” Wyatt says, “she His success with the Italian fashion brand came could be a photographer. Everything thatfrom an appreciation of its esteemed director, I’ve talked about that I put into my photography,Miuccia Prada. “She is truly one of the most she puts into her styling. She wants a narrative,beautiful women ever. And she wears her clothes she wants to think about why the model isbetter than any other person wears them. She is wearing those clothes and what she can shemore attractive, I think, than anyone who ever add to it. She wants to produce something The Wyatt approach may not always strictlywears them. When I shot Prada I did the two that’s about something more than just dressing reflect high fashion, but that in itself, he argues,campaigns with my wife [the fashion stylist Lucy somebody. When we come together it’s great. is a strength. At the expense, perhaps, of alwaysEwing] and she would say the same thing. A lot of my best work is produced with her.” being on-trend, he has developed something moreEvery morning you would go for a meeting in Working so closely with one’s spouse presents important – a creative signature, a recognisableMilan. When Miuccia walked in, she looked its own challenges, but they are worth it. tone that is all his own.extraordinary. She is curvy and strong and “We spend so much bloody time together it’sbeautiful. My theory for the campaigns I did ridiculous, but I enjoy it. Irrespective offor her was that I wanted an element of what she whether or not we are married, I think she’s Above: A nude from the At Home series, 2010.gives in her campaigns.” just exceptional at what she does.” Above left: 10 Magazine, 2007.54 www.professionalphotographer.co.uk
  • 50. “When you are asking a model to give you something, that usually has an underlying, very deep-rooted sense of sexuality in it. They’ve got to know what they and their body mean to a viewer. Whether the viewer is a woman or a man.” Robert Wyatt “In our industry you can’t be a jack of all have a character and a narrative. That’s what “You’ve got to hold firm, or otherwise you are trades,” he says. “You have to define yourself I do. Once you realise that’s what you do, you’ve chasing something. And the second you start and your work. It has to be a master of one. got to do it, even if it’s not fashionable. And you chasing it, you are on the back foot.” PP For me that means there is always a narrative. tend to find that in the industry fashion I’m quite capable of doing a shoot with six or moves around, and eventually comes back to seven people in it, and each of them will where you were. www.robertwyatt.netROBERT WYATT FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 55
  • 51. Voted ‘Best Voted ‘Best Expert Photo Monitor’ by the Technical Image Press Association (TIPA), the SpectraView® Reference 271 is a hardware-calibratable, wide-gamut Expert Photo LCD display featuring a 10-bit P-IPS panel with 97 per cent usable AdobeRGB Monitor’ by TIPA colour space. With 24, 27 and 30” models, NEC SpectraView® is the ‘reference’ for demanding photographic image reproduction and video editing. SPECTRAVIEW® REFERENCE +44 (0) 870 120 1160 www.nec-displays.co.ukCopyright 2011 NEC Display Solution Europe GmbH. All rights are reserved in favour of their respective owners. This document is provided “as is” without warranty of any kind whatsoever, either express or implied.
  • 52. {SOCIAL MEDIA}SO YOU Editorial photographer Andrew Hetherington penned the first post on his blog What’s the Jackanory? from his New York apartment on 5 March 2007. More than four years and 1,075 posts later the website, known as WTJ?, has become a vital resource for art directors, professional photographers and the wider photographic community.WANNA As one of the winners of Life.com’s 2011 Photo Blog Awards, it stands shoulder to shoulder with the New York Times Lens blog and the seminal street style blog The Sartorialist. These days you can’t move online without being caught in the crossfire between blogs, posts and tweets. However, in 2007 it wasn’t automatically expected that a photographer would have a blog. Hetherington admits toBE A having been somewhat daunted initially by the idea of social networking. “I’m a little older. I mean, I’m not old,” he laughs, “but when all your assistants are on Facebook and Twitter, it’s easy to become overwhelmed by the whole thing and wonder how relevant it is to you, or how easy it is to get involved.” The search for a new platform coincided with the demise of his presenceROCK & in the darkroom due to the move towards digital. “Until a few years ago I primarily shot colour negative and printed my own images at a communal darkroom here in New York, so up until then in my photographic life, even as an assistant, I would go to this space, meet other photographers and see new work. I noticed that once I started shooting digital I was spending less time with other photographers and wasn’t seeing other work. The great thingBLOG about this place [I used to go] was you’d have starters as well as big-name photographers, so on any day you’d have lots of prints on the board by photographers such as Platon and Philip-Lorca diCorcia and it was an amazing way to see what was going on. This was before Facebook or social networking, so apart from the darkroom you had to go to the magazines to find out who was doing what.” Online he was reading through blogs such as the one on fine-artSTAR photography, Conscientious, witnessing all this work he was missing by not going to the darkroom. This made Hetherington curious about how, as an editorial photographer, he could make it worth his while to publish a blog. He knew his work wasn’t right for the art blogs, so instead as a litmus test he recommended the work of a friend to the author of Conscientious, Joerg Colberg, curious to see what might happen. “Conscientious did feature this friend’s work, so I asked him to monitor his website hits to see what would happen.” As it turned out, it had quite an effect. “His web traffic wentIn the vast sea of online blog posts off the charts, with people visiting from all over the world.” This was theand tweets, one photographer’s proof that Hetherington needed that the web was an effective way of getting his own name and work out there.blog has become an essential I wondered how, as a photographer, he trained himself to sit at a keyboard and write regularly. “It was hard in the beginning,” he admits. “At that timeresource for the photographic I was influenced by art photographers such as Alec Soth, who had ancommunity. Andrew Hetherington influential blog and I hadn’t really found my voice. I was now looking at all the other blogs out there and getting information I used to find at the lab,talks to Eleanor O’Kane about chatting to other photographers.” Stumbling across a blog post criticising a portrait taken by a well-knownbecoming an internet superstar. photographer at the New York Times Sunday Magazine proved to be the starting point for WTJ?. “I read this post and wrote a retort as an editorial photographer, explaining that it’s not always easy when you’re working for magazines. At this time no one was really talking online about what it was like to work for a magazine or commercially – from a fine-art perspective people were often missing the point. I wrote a post talking about shooting from an editorial point of view and, well, it took off. www.professionalphotographer.co.uk 57
  • 53. {SOCIAL MEDIA}Alec Soth picked it up and at the time he was writing for the Magnum blog. ‘What am I going to do? What am I going to do?’ and all of a sudden itAll of a sudden I’d found my voice and figured out what it was that I knew dawns on me and I think, ‘that’s great, I’ll do that’ and I can post it the nextthat I could write about.” day and hope it will resonate with a client. From then on things began to happen. “I started going to events and “In the beginning when I took pictures for the blog I usedgallery openings and I’d list photographers who were there. People would a point-and-shoot but now, when I have time, I use a DSLR. It has forcedask, ‘How do you know what they look like?’ and I’d say, ‘I used to see me to take better pictures: A, I want to take better pictures, and B,them all in the darkroom.’ I would come up with fun little things, such as you never know who’ll see it. It’s not every day I’ll devise somethingvideos, or I would take a snap of myself with my favourite photographers.” specifically for the blog but if something comes up, I’ll do it. I’m alwaysHe started to get noticed by other photographers too. “Foto8 asked me to taking pictures anyway, so it helps me take better ones.”guest blog for the opening year of the New York Photo Festival. It’s become With an average of 500-1,000 unique visits a day, some posts havean incredibly creative outlet.” provoked spikes of up to 10,000 visitors, including one about a shoot by Although it is ultimately about self-promotion, Hetherington decided early American photojournalist, film maker and writer Dan Winters for Wired.on that he wouldn’t make the blog just about himself. “I figured that people The post featured the magazine’s creative director, Scott Dadich, beingwould get bored really quickly if I did that, so I listed what was going on too. interviewed by Hetherington. Due to Winters’ huge following, the post was“I can have an idea and the blog forces me to be creative, it’s something I could never puton my regular site. At the same time you’re hoping an editor or an art buyer might see it and say,‘That’s a fun idea!’” Andrew HetheringtonI wanted it to be about other things; of course, it’s all about me but that can picked up across the photographic community, sending the stats soaring.get very boring if it’s all about you and your work. Up until I started the blog Another post, on the Tour de France, caught the attention of the cyclingI’d never really written anything and I began having a lot of fun writing, so it community, tapping into a wider, non-photographic audience that boostedbecame a new thing for me.” the viewing figures. Fast forward four years and WTJ? is beloved of art editors, photographers The blog has pushed Hetherington in many new directions.and fans of photography, not only for Hetherington’s dry-humoured take on “Photographers definitely get in touch with me when they’re in town to gohis own career but also for his updates on what’s happening in the world of for a drink and it’s also allowed me to approach photographers I admire andphotography. Recent posts highlight an upcoming show in Portland, Oregon, say, ‘Hello, I’m a big fan,’ awkward as that can be! I did a series where Ia contemporary art festival in Boston and a video installation at the Aperture photographed myself with other photographers. It was a bit tongue in cheek.Foundation in New York by photographer Tim Hetherington (no relation), I think photography can be a solitary profession, even when you have a bigwho was killed in Libya in April. Both Hetheringtons worked together on team around you so there’s a bond when photographers get together.”a short film for WTJ? entitled, suitably, Meet the Hetheringtons. There are From a commercial point of view, the blog has been a massive success.more videos on the blog, both Andrew Hetherington’s own and those he “Without a doubt it has paid for itself tenfold in terms of self-promotionpicks out from the sea of stuff on the internet. “It’s an opportunity to put out and I definitely push myself and my own work, perhaps with a little lessthings that interest me,” he says. “I don’t list everything, because I don’t commentary [than in the early days].”have the time or energy but I think the people who read WTJ? are interested On assignment for publications such as Wired, GQ, Details, Esquire,in the things I’m interested in.” Bloomberg Businessweek and New York magazine, he’s constantly on the Within the sphere of WTJ? his role has evolved and he is now road. Twitter fans (follow him on @ahetherington) keep tracks on him as hepart-photographer, part-curator, part-editor. “In many ways you’re playing simply tweets his flight and seat number every time he takes off or lands.the role of editor-in-chief because you’re looking for content. If I see Somehow, among all his commitments, he posts from hotels, on road trips,something or get an idea I’ll think about it and put the time in. It’s the same from shoots. Does the joy of posting ever wear off? Sometimes it’s hard, hewith the videos I do for the site, which are just for fun. As photographers we admits but he recognises the value of his efforts. “It’s been very good to me,are all under pressure to do some sort of motion and my thinking with the not only in terms of work but in terms of meeting people and affording mevideos was, ‘Well, I don’t hang around with 12-year-old skateboarders but opportunities that wouldn’t have happened otherwise.”I can make a little film on photography because that’s what I like and I’ve While his audience is loyal, it’s not mass market, which suits him.got somewhere to put it so it all made sense.’ Hopefully, it works two ways: “The site is not aimed at a mass audience, which is reflected in the numbers.that I’m happy with what I’ve done and that it fills that space where a client I’m fine with that because I’d have to alter the content to appeal to thewill see what I did.” masses. You have to find your niche, that’s the reason I’m still doing it. Last year, on a 1,000-mile road trip between jobs from Texas to New You have to have an idea of why you’re doing it, otherwise after a couple ofMexico, he decided to take a photograph every 100 miles, a project that got weeks you’ll give up. I do know that my audience is made up of arta great response. “I can have an idea and the blog forces me to be creative, buyers, editors, photographers, photo agents, gallerists. I know it’s a reallyit’s something I could never put on my regular site. At the same time you’re good audience and ultimately I’d rather have quality than quantity.” PPhoping an editor or an art buyer might see it and say, ‘That’s a fun idea!’” Has it got easier to come up with fresh ideas? “It’s always an effort,” helaughs,” but with the blog if you have an idea you can just do it. So I think, www.whatsthejackanory.com58 www.professionalphotographer.co.uk
  • 54. How much is yourAs professional photographers we are all susceptible to the lure of a weighty, beautifully printedour bookshelves get fuller, those long-ago purchases may be worth more than we ever thought.I’ll start with a problem. The problem. The big problem. It’s this: if, as photobook, that it is “an area of collecting which has seen dramatic growth inis certainly the case, photobooks have become sought-after – and in value and interest over the past decade.” As recently as the mid-1990s, yousome cases, extremely valuable – collector’s items, then there is an could pick up a first edition of Bill Brandt’s A Night in London for £20.inherent difficulty with our relationship to the photobook as a In more recent times one sold at Christie’s for £5,760. “Take a sample of 10collected art object. photobooks that are considered classics and they have tripled in value over the Buy a painting or a photographic print and, whether you pay 17p or past 10 years, compared to the rest of the book market, which at best doubled.”£17 million, you can put it on your wall and leave it there all day and all of the Becker is, as you’d expect of an associate director of Christie’s, a charmingnight. You might need to keep it out of the sun and not fry chips next to it too man. Well-educated, too – McGill graduate with an M Phil from Cambridge inoften. Perhaps put it behind glass. Otherwise, apart from a regular dusting and classical history and archaeology. Well-dressed, also – in the appealingly (andperhaps an occasional refurb, it’s yours to enjoy and savour whenever you want. amusingly) louche, demi-Eurotrash manner favoured in daylight Mayfair andMuch the same is true for sculpture and ceramics. St James’s. Contrasting shirt collar, for example. Fluent in French and passing But it’s not the case for collectible photobooks. As a physical object, a rare in Russian, he speaks English with an accent so individual as to be unplaceable.photobook’s value is directly linked to its untouchedness. As an art work, As well as being a world pioneer in photobook sales, he is responsible forthough, it requires opening and studying and leafing through and turning this Christie’s Valuable Russian Books and Manuscripts sales. Under his steerage,way and that. But doing that – extracting its meaning as an art work – a world record for a Russian book was set – £300,500 for the Coronationwill produce inevitable wear and tear. To appreciate the artistic merit Album of Tsar Alexander II. He used to take photographs himself. “But notof a collectible photobook has to involve its partial destruction – and since I’ve had to work for a living.” He has a Jamie Reid Sex Pistols poster onaccordingly reduces its potential sale price. In a very real sense, the financial his wall at home.value of a photobook depends on its removal from any exploration of it as an His first auction was in 2006. “I’d noticed over the last few years how theseart object. Unseen, untouched and pristine is the perfect state for a photobook books were becoming rarer and prices were increasing,” he explained at thecollection. The value of an artbook nearly always depends ultimately on its time. He pointed out – as you would, too, if you were in his position – that justartistic merit. Yet its dollars, pounds, euros value is directly correlated to the two years earlier you could have picked up a copy of Ed Ruscha’s Twentysixnon-appreciation of it as an art work. To explore, enjoy or investigate is to Gasoline Stations for £2,000. By 2006, you would pay at least £6,000. As ofdestroy. It’s a paradox that is unresolvable. now, a signed first edition is available for £23,990.60. A “fine” second edition And yet... Sven Becker of Christie’s, more than anyone, has been is yours for £2,672.10. Even a third edition in less-than-perfect condition wouldresponsible for pulling photobooks into the auction house world. He said, of the cost you more than £700.
  • 55. {THE THINK PIECE}bookshelf worth?monograph created by one of our favourite photographers, but as our careers get longer andPeter Silverton decided to find out why this is and what makes a good investment. “There is a real feeling that this is one of the last chances you are going to Not that collectible photobooks are just any old photobooks. Many of the get to buy some of these books at a comparatively low price. Generally, the greatest are available at the click of a mouse and the deduction of a few pounds market is undervalued, prices are comparatively higher than a few years ago but from your bank account. Robert Frank’s The Americans is almost everybody’s that is a reflection of the fact people weren’t aware of them. Some photobooks first choice as the greatest-ever photobook. On the day I was looking up prices are just as rare as books from the 16th century but their prices are very low in for this feature, the 2008 edition, which is beautifully printed – far better than comparison. If you look at them in perspective to photographs being collected the original – was available on Amazon for £14.54 (plus P&P). You could get then you see they are very cheap. a Chinese edition, from the same year, even cheaper, at £12.96 (plus P&P). “Books are wonderfully democratic. They are commonplace, everyday The spectacular rise in value is not limited to old photobooks. objects which are not normally made with any concern for collectibility. Paul Graham’s A Shimmer of Possibility was published, by Steidl, in 2007 in an So, simply by picking up a few books in a shop for the enjoyment of it, it’s edition of 1,000 – 12 thin volumes of different colours in a plain white box. possible to end up with a collection without really trying. And given time that It originally retailed at £130 but is now £750, from its publishers, Steidl. collection could become quite valuable.” Pause. “The trick, of course, is The New York outlet Anartist lists Paul Graham’s Beyond Caring, 1986, with picking the right books.” soft cover, at £634.68, Chris Killip’s Isle of Man: Book about the Manx, 1980, His own favourite photobook? “It keeps changing.” That day’s choice was a hardcover without dust jacket, at £634.68, and Wolfgang Tillmans’ Soldiers: modernist Dutch book from the 1930s, NKF by Piet Zwart. “It’s effectively a The Nineties (deluxe edition), 1999 at £4,125.42. trade catalogue but it’s stunning. You would never think something as simple William Wegman’s Man’s Best Friend, 1982? One of the most popular – and as a piece of wire could be so desirable.” A copy sold last year, at Christie’s, best – collections of portraits of one of the most popular subjects, pictures of for £11,250 – against an estimate of £6,000-£9,000. dogs? £3.17. As ever, with photobooks – and other multiples – rarity is all. Photobooks are nothing new, of course. They’ve been around almost as Not quality, popularity or originality. Rarity. Or at least relative rarity. long as photography itself. For much of the 19th century, the photobook was David Strettell started Dashwood Books, of 33 Bond Street in downtown one of the main – to use an anachronistic phrase – income streams of the Manhattan, in 2005. According to him, the photobook has grown professional photographer. “exponentially” since then. His speciality is small-run Japanese and European The first biggie was William Henry Fox Talbot’s The Pencil of Nature of artist books. Prices are rising. Alec Soth’s Sleeping by the Mississippi, 1844 – a collation of 24 calotypes. It’s now worth £250,000. Many of published in 2004, a collection of pictures of various people doing just what it the 19th-century prints which are now in museums and collections come from says in its title, now sells for more than £500. Even a third edition is £350 on broken-up books and albums. its publisher’s website – Steidl again. Well, it would be if it weren’t out of print.
  • 56. “Signed and inscribed: that’s a real value adder. A lower-quality book with a significant Two thoughts. One, this means that the book is becoming physically photography’s art-world status. Challenging the central importance given toinvisible outside the collector’s market. It’s possible that this will happen to the print and the art gallery, they elevated the status of the photobook,other photobooks. Like paintings – as opposed to reproductions of them – their promoting a view of it as the essential photographic art object. They echoedpublic presence will depend on the generosity of collectors. Until a reprint Cartier-Bresson: “The wall is for paintings. Photographs belong in books.”comes along anyway. Two, that means it might make sense to invest in the Adopting a word that was used by French critics to praise and canonise afourth edition when it comes along. Or visit Soth’s website if you want to generation of Hollywood directors, Parr and Badger referred to photobookinvest in one of his new, self-published books. makers as auteurs. As with those French writers before them, this involved That is the lower end of the market. There is also a higher end. Strettell also their creating an in-and-out list of photographers. Certain famous – andsees value there. “If you have half a million to spend, you can have a pretty significant – names don’t appear because even their best photobooks don’tserious and complete collection of photography books,” he told art news match Parr and Badger’s delineation of what constitutes an excellent – andwebsite Artinfo. “For the same money you could only buy maybe half a dozen therefore valuable – photobook. For example, there is no room for Steichen’simportant photographs.” First Picture Book, 1930. David Bailey’s cohesive and rapturous Goodbye Baby When did the photobook market really kick off? Well, it’s been around for and Amen: A Saraband for the Sixties is excluded. Nor are any Martin Parrmany years but, as with many other small-scale markets – particularly in the books featured. He’s being a bit hard on himself, I think. The Last Resort, inbook world, with its tradition of Byzantine practices and archetypes, obsessive particular, brought a new way of looking at Britain, an upsetting of thebuyers and eccentric, paranoid dealers – it was warped and retarded by its black-and-white documentarist dictatorship.un-modern condition. Becker: “People have been collecting photobooks To define the essential quality of the photobook, Parr and Badger chose toactively since the 1970s but until the late 1990s the bibliographical knowledge quote the words of Dutch artist and writer Ralph Prins, in a 1969 interview.was closely guarded by dealers, who could make money on the information “A photobook is an autonomous art form, comparable with a piece ofdiscrepancy and by collectors, who also had a vested interest. In effect, the sculpture, a play or a film. The photographs lose their own photographicchange began with just two books.” character as things ‘in themselves’ and become parts, translated into printing First, in 2001, Andrew Roth’s The Book of 101 Books: Seminal Photographic ink, of a dramatic event called a book.”Books of the Twentieth Century. Itself now out of print and rare, a new copy For a brief delineation of what makes a great – and therefore collectible –is worth around £1,000 (against an RRP of £57). Even a reasonable photobook, they turned to American photobook maker and collector, Johnone is £200. Then came, perhaps even more significantly, The Photobook: Gossage. “Firstly, it should contain great work. Secondly, it should make thatA History, Volume 1, an even more extensive survey produced by Magnum work function as a concise world within the book itself. Thirdly, it should havephotographer Martin Parr and photography writer Gerry Badger. Published in a design that complements what is being dealt with. And finally, it should deal2004, it was followed two years later by Volume 2. “They changed with content that sustains an ongoing interest.” Parr and Badger added:the perception of photobooks more than anyone else,” said Becker. “Every facet of the bookmaker’s craft can contribute to the success of a“Photobooks were previously unrecognised and therefore undervalued,” Parr photobook – the binding, the jacket, the typography, the paper.”told the Financial Times in 2009. In an interview with The Guardian at the time, Parr gave a looser, less Parr and Badger’s book, too, is now valuable. It was originally priced at formal account of the artistic merits of the photobook. “The photographic book£49.95, for which you can still get the latest printing. If you want a first is a great teacher, not least because it’s where photographers learn aboutedition, though, you will need to pay £232.41 for “a Brand New copy, which photography. I remember being at college in the 1970s when there were not thatwas only opened for the authors to autograph. Flawless, and in perfect many around. I saw a taster of Robert Frank’s The Americans in Creativecondition.” There’s an unsigned “fine” copy for £87.35. If I were an investor, Camera magazine, and I went straight out and bought the book. It was aI might consider both. It’s a book that is used by most people who buy it. moment of revelation. In the best ones, there’s a narrative that brings the workThey thumb through it, they look things up in it, they show it to people. alive, and then there’s the fact that they tend to be beautifully designed. A bookI reckon the wear-and-tear rate will be higher than usual. So high-quality copies ensures that the work lives long after a show, and, most important of all,will be rarer than for most photobooks. Volume 2 fetches about the same. perhaps, that the ideas travel. A book really is the perfect medium for images The two books described and outlined a canon of photobooks which has set as well as words.”a generation’s tastes and, by extension, the books’ market value. Perhaps the Parr himself is one of the world’s largest collectors, certainly in Britain.most significant thing they did was question the previous markers of In 2004, his collection contained six or seven thousand photobooks – worth, in
  • 57. {THE THINK PIECE}inscription will be worth more than a better-quality one without it.” Peter Silverton his estimate, £1.5 million. Perhaps his most valuable single book was Les Jeux That sale was the first-ever of a one-person photobook collection, put de la Poupée, German-born surrealist artist Hans Bellmer’s sexual images of together by a real estate developer, Richard Frary. The highlight was probably a large, naked, distorted female puppet. Published in 1949, a copy was on offer Edward Weston’s copy of the American edition of Cartier-Bresson’s Decisive at Swann Galleries in New York in 1991 for $20,000-$25,000. In 2003, Moment, inscribed “à Édouard avec l’amitié de Hank”. Two greats of one fetched $59,000 at Christie’s. At Swann’s in 2008, the estimate was photography connecting. “That’s something special,” said Becker. $75,000-$100,000, the same year as a copy fetched $115,000 at Christie’s. As the Frary collection was put together in just a few years, it’s possible, Sex sells, of course. Though not as much as you might expect. maybe even probable, that it was designed with investment gain in mind. As the Although books of women’s naked bodies have always been a commonplace first such single-person collection to come to auction, it was also a good test essential of even the most serious photobook makers’ work practice – Weston, of the market. And? Against an estimate of $1.5 million-$2.2 million, for example – they are not a major part of the collectible photobook market. the sale as a whole raised $2,602,450. Weegee’s Naked City went for A first edition, in “très bon état” of Henri Maccheroni’s 1978 collection, Cent $37,000, more than twice its already high estimate. A fine copy of the first US photographies choisies dans la série ‘Deux mille photographies de sexe d’une edition of Robert Frank’s The Americans fetched $32,200 – compared with femme’ – of which Parr and Badger write “through boundless repetition the $13,800 in a May 2006 sale at Swann’s. As Stephen Perloff, editor of the book achieves its strange, unexpected poetry” – can be found for just over Photograph Collector, pointed out, the buy-in rate was very low, too – just £200. It is, perhaps, possible that an explanation can be found in the typical eight per cent. sexual orientation of photobook collectors. Shortly after the auction, Becker commented: “Our inaugural auction in In The Guardian interview, Parr mentioned that he had bought six copies of New York in the hotly-collected field of photobooks saw highly competitive Ray’s a Laugh, Richard Billingham’s 1996 collection of images of his bidding from determined American and international buyers in a busy room alcoholic father and jigsaw-playing, chain-smoking mother. Then they were and on numerous phones. The enthusiastic support of photograph collectors worth £200. Now an “As new in publisher’s shrinkwrap” copy is upwards of and the strong results reflect a deepening appreciation of photobooks as not £450. There are quite a few around and on sale, though. Maybe they are all only reference, but as significant works of art in their own right.” Parr’s. Or maybe too many people invested in too many copies – either when So what are the criteria? What makes for a collectible photobook? it was first published or when Parr and Badger’s books appeared and began to Well, generally, the basics are obvious – the quality of the photographs and the define and shape the market. design. What then, though? How do you separate the merely sought-after from You can mark Parr and Badger’s effect on that market by the way they are the genuinely valuable? quoted in saleroom catalogues. In a June sale, Christie’s had on offer a first Well, almost always, it will be a first edition. There are exceptions, though. edition of Kishin Shinoyama’s Hareta Hi (A Fine Day) – Parr and Badger Most notably, Robert Frank’s most famous work, The Americans. Though it notably did more than anyone to celebrate and raise the profile of Japanese first appeared in France, as Les Américains, that edition is less valuable than photobooks. And there is the reference: The Photobook, Vol I, p.303. the second, American edition – essentially because Frank removed the “There are hundreds of people who are buying based solely on what is in captions added by the publisher Robert Delpire. Parr and Badger,” Chicago dealer Stephen Daiter told Artinfo in 2008. Very occasionally, later editions can have value. Again, Robert Frank offers “They check off titles as if each one is a variant. They’re ‘completists’, who the clearest example. The 1993 Japanese edition fetches a significant premium want to have everything.” – because of its exquisiteness. There is also the 1998 edition which fetches a The first auction house sale devoted to photobooks was at Christie’s London slight premium – more than £100. His signature helps, too, of course. A signed in 2006. It was put together by Sven Becker, who said at the time: “Until now, copy of the 2008 edition is around for £1,200 plus change – but that compares books with photos were sold in photo sales, and they were a poorer cousin. with a top price for a signed Frank of £43,250 at Christie’s in May 2010. Here, we’re treating them as a valid art form.” Signed and inscribed: that’s a real value adder. A lower-quality book with a Two years later, in April 2008, he organised a sale at Christie’s New York. significant inscription will be worth more than a better-quality one without it. “The book is a perfect format to look at photographs,” he told Artinfo. Typically and ideally, the inscription should be from the photographer-auteur “The images, the layout, the materials, the bindings – all these elements come to another name photographer. Sven Becker: “The desire for something special together to create a specific experience. Unlike a work of literature that you is a function of the modern world. When you can Google anything immediately, may read once or twice, you can keep photobooks on your shelf, take them there is a clear attraction to something that stands out in that vast sea.” In this down and remind yourself what you like about them.” case, “a multiple that’s been made individual.”
  • 58. “A certain fatigue has set in... The more you see, the more it all seems the same. People Rarity, too, is obviously important. Real rarity, that is. Sven Becker: Photographs of a Man-Altered Landscape at the George Eastman House in“The internet has changed the definition of rarity. You know where books are. Rochester, New York. Featuring 168 images, the show effectively launchedIf you can find five worldwide, it’s not a rarity.” such photographers as Robert Adams, Stephen Shore and the Bechers. Story and back-story, particularly the photographer’s: these, too, are Though sparsely visited at the time, the show’s influence is demonstrated by thesignificant factors, often underestimated or elided. An example? In 2010, fact that a cut-down version appeared six years later, in 1981, at the Arnolfinivarious experts were asked to nominate their favourite photobook of the in Bristol, co-curated by Paul Graham. At the time, Graham, who has just hadprevious 25 years. In second – close second, it’s true – was Nan Goldin’s fa- a major career retrospective at the Whitechapel Gallery, would have beenmous 1986 collection, The Ballad of Sexual Dependency. A fine hardback first working on his own first significant photobook, A-1: The Great North Road –edition is yours for £763.92. a signed first edition of which now commands £1,200. But in first place was something from the same year which is far less widely The New Topographics catalogue was cheap, just $7 – nothing even then.known, the Japanese photographer Masahisa Fukase’s Karasu (Ravens). It’s a It was tiny and barely represented the show, just 48 pages and 27 photographs.collection of images of birds – ravens – taken, from a train window, in the But the print run was only 2,500. So it’s now rare and valuable – heavilyaftermath of the collapse of Fukase’s marriage, as a kind of attempt at patrolled and controlled by George Eastman House which stops websites andself-therapy. That book will cost you a little more than a high-quality Goldin blogs reproducing anything more than the cover. An “absolutely crisp copy”– upwards of £2,000 if it’s signed. Whatever its intrinsic and artistic merit, fetched $650 at auction in 2007. I found a “very good” one at £1,129.74 andthough, I suspect its marital break-up back story is a significant factor in its the current record is £1,875 at Christie’s in May 2010.value. Particularly what happened next. In 1992, Fukase fell down some Nor are deluxe editions a good buy. Becker: “If you want to be a realbar-room steps and has been in a coma ever since. Twice a month, he is visited capitalist, don’t buy them. It’s the regular trade editions you want.by his former wife – who has since remarried. She is reported as saying: Deluxe editions are not a good return on investment. They are always more“With a camera in front of his eye, he could see.” But now he couldn’t. available. They might only have been an edition of 500 but they don’t suffer the“He remains part of my identity. That’s why I still visit him.” And thus the same rate of degradation.” Quite simply, most of them will be kept in mostlybook’s saleroom value. You are bidding for a physical record of tragedy – and pristine condition – which is what is sought after but which is also much rarerthe romance of tragedy. in the regular editions which are looked at, handled, appreciated, enjoyed. As it says in the catalogue for Christie’s Fine Book auction of 13 June, it is So what is the current state of the market? What are the trends? One recent“The post-Provoke masterpiece of Japanese photobooks.” (Provoke was an auction might indicate a slow-down, maybe something even deeper. On 19 May,influential limited edition Japanese photography magazine first published in there was a fair-sized auction at Swann’s in New York. Many items remained1968.) “The imagery is beautiful, surprising, haunting, but ultimately it is unsold, failing to reach their reserve. Of those that did sell, a good numberFukase’s masterly handling of the narrative and rhythm that makes it so failed to match the estimate. A copy of Irving Penn’s Moments Preserved,memorable.” Or rather, that is the catalogue quoting The Photobook, Vol I, estimated at $500–$700, only fetched $325 – against £900 on Amazon todayp.306. Parr and Badger’s book laid out the genre, defining it and and $650 in the 2002 edition of the Ahearns’ Collected Books. A package ofdetailing its contours. Now it is used, almost universally, to benchmark and 20 Araki titles made $1,400 against an estimate of $1,500-$2,500. Muybridge’sjustify value. Though the glassine jacket is missing, this copy does have Horse in Motion fetched $550, against $700-$1,000. And Annie Leibovitz:Fukase’s signature, “in paint pen on front blank”. Estimate: £2,000-£3,000. Photographs 1970-1990 just $200 compared to an anticipated $300-$450. What then are the counter-criteria? What makes it less likely that a book will Does this represent a significant bump in the market? Possibly but probablybe valuable? Almost universally, the interest is in photobooks as fine-focused not. It’s possible that the books that didn’t sell just weren’t in great condition.works. So retrospective summations of a photographer’s career are rarely Also they just weren’t that special. As Sven Becker told me: “The name of thesought-after. Nan Goldin’s I’ll Be Your Mirror, from her 1992 show at the game is comparative rarity.”Whitney in New York, is on offer for £79.34, more than when it was published What’s his view of the current state of play? “Most book buyers areand something of a minor investment success but nothing to get excited about. conservative. They are always looking back to establish the price structure. Exhibition catalogues are almost never valuable. The exceptions are few. So it doesn’t have the wild fluctuations of the art market. But books haveOne though, is the catalogue from the pivotal 1975 show New Topographics: consistently outpaced the market as a whole. Between the late 20th century
  • 59. {THE THINK PIECE}light up if you show them something they’re not familiar with.” Sven Becker and 2008, they rose steeply. Since then, though, there has been a big in the June issue of this magazine. When I called, his home phone message polarisation in prices. The top-quality books are surging ahead. The more told me he was away in Kabul until August. He was working, I knew, on a kind mundane are falling by the wayside. And the others have plateaued. of follow-up to his award-winning 2002 book, Afghanistan: Chronotopia. People have been aware of the Parr and Roth books for five to 10 years now. On the off-chance, though, I tried his mobile. He was walking down a main A certain fatigue has set in. Most people have an acute visual memory. road in Wood Green, north London, on the way to lunch with his wife. He had The more you see, the more it all seems the same. People light up if you show forgotten to change the phone message for a year or so. He had left it when he them something they’re not familiar with. When Parr and Roth drew attention went off east to do the final stretch of work on what has become Burke + to Japanese material, lots of collectors poured in. Now that’s tailed off.” Norfolk: Photographs from the War in Afghanistan, a show at Tate Modern What might change this, of course, are new delineations of the canon – some (until 10 July) and a book (£40 but £28 on Amazon). Both British printings of new, previously unknown photobooks. That’s coming. Parr and Badger are Afghanistan Chronotopia have sold out. A first edition will now cost you north working on Volume 3, which will focus on South America. There are also of £400 and a second something over £200. specific surveys of German and Japanese photobooks on the way. Later this He’d just come from signing 100 copies of the new book. How do year, there is the fourth annual fotobook festival, at the documenta-Halle, photobooks fit in as an income stream? He laughed, loud. “It’s my fourth book. Kassel, Germany. Martin Parr is speaking at it. I’ve never made a penny from them. I make money out of print sales. So what is undervalued? Daile Kaplan is in charge of the photo department People pay me a lot of money for prints. I’ve never seen books as something at Swann’s in New York. “It’s a robust market,” she told Artinfo. “But when to make money.” you consider its youthful nature, photobooks in general are still undervalued. He doesn’t even have a formal contract with his publisher, Dewi Lewis, It’s the artists who, in a sense, make the market. A number of photographers Britain’s leading producer of photobooks. “All I ask is that he convert the who began working in the ’60s and ’70s saw the book as an appropriate venue.” money into more books. I mail those out to raise my profile and build my art Janette Ray owns and runs a new and antiquarian bookshop in reputation.” For him, books are part of thinking strategically and long-term. York specialising in the visual arts. I asked her: what’s undervalued? “The fact that I’ve had three books published by a proper publisher is very “Everybody apart from the top-line names. There seems to be a big gap impressive. It’s a lever.” He also just likes the idea of books. “As I get older, I between those and everything else. The rest are bargains.” like the permanence of a book. I have a sort of confidence in pieces of paper I asked the same question of Sven Becker. “Fashion photography. that I don’t feel about anything electronic yet.” It’s surprising how cheap they are, given the way they focus on the whole So, finally, what have I found on my own bookshelves? Well, there’s package. One I like personally is Paco Rabanne’s Canned Candies.” He also The Sex Pistols Scrapbook from 1977, a copy of which was lot 144 in the cited Dick Jewell’s Found Photographs, pictures found discarded alongside Christie’s Rock & Pop Memorabilia auction in South Kensington on 14 June, photo booths. “Despite Parr giving it a tip of the hat, it is still grossly with an estimate of £400-£600. My copy was given to me – at the time of underrated.” It’s featured on the cover of Parr and Badger’s Volume 2 and there publication – by its creator, the photographer Ray Stevenson. He didn’t sign it were only 500 in the first edition but a top-notch copy is still £500. but there is some of my own writing in it, an extract from a piece I wrote for a Becker explained its appeal and significance. “It makes you think a lot about pop music weekly. Provenance like that would certainly add a bob or two. self-perception. These are images discarded by subjects because they didn’t Another couple of lots in that Christie’s show, however, vividly demonstrate match their self-perception. There’s a tension about identity being addressed in the relative cheapness of even collectible photobooks. Lot 64 was a small a particular way. So simple and so effective.” grab-bag of Jimi Hendrix stuff, with its star item being the tone knob of the Other current trends? “The things I love collecting now are self-published. Fender Stratocaster that Hendrix played at the Starlight Room, Boston, Lincs, It’s brought back a real pleasure to collecting which had started to fade. on March 25, 1967. Estimate: £1,000-£1,500. Lot 118 was Dee Dee Ramone’s You used to buy with your heart. Self-published books have brought that back. bass: £8,000-£10,000. They are made for love. Editions are very small. Sometimes they can only I did, though, also find – or, at least, re-find – on my shelves a copy of Dick afford to print a few. It’s a no-brainer.” Jewell’s Found Photographs. It’s number 274 of that first 500-copy edition and What about the photographers? The ones who are creating modern, it’s signed. It’s not in the best of condition but it’s all there and fairly clean. prize-winning photobooks. I phoned Simon Norfolk – one of the Best of British The bidding starts at... Well, make me an offer. PP
  • 60. Old School RulesAlthough for many the romance and passion surrounding photography havebeen replaced by a quest for the latest new thing in the digital world,there remains a refuge for the beautiful, refined and exclusive near Boston,Massachusetts. Julia Molony spoke to the guys at 21st Editionsabout their passions for photography, publishing and bookbinding.21st Editions is much more than just a publishing press. The process of creating a 21st Editions book is, according toIts aim, to produce lavish, limited-edition, integrated Steve, always unique, always organic.art-pieces which combine photography, literature and the The photography tends to be the starting point. From there, Stevefinest craftsmanship in bookmaking, is a labour of love, works with John and his select group of binders, typesetters andbuilt on the shared passion and aesthetic sensibilities of printers to assemble a volume that has the highest standards oftwo best friends. excellence and creativity built into its very fibre. From the imagination of Steve Albahari and through the editorial The crux of John’s role is as a sort of editorial alchemist. He drawsstewardship of poet and academic John Wood, 21st Editions occupies on his prodigious knowledge across many different artistica unique position in the worlds of both publishing and photography. disciplines to illuminate some previously unseen connection between “From the way we talk you would think we were lovers,” admits the visual and the literary. Take, by way of example, a project theyJohn, editor of 21st Editions, of his bond with Steve. We are completed with the Peruvian poet Raul Peschiera.connected via conference call, Steve in Cape Cod, Massachusetts, “We did this book based on his work on Abimael Guzmán, theand John from his office in Vermont. “But we’re not.” founder of the Shining Path, the radical Peruvian Maoist movement,” Although, in fact, each explains John. As a match, he came up with the German/American has been happily married photographer Brigitte Carnochan, “whose work is all about the for many years, there is an beauty of woman and flowers. Now, what is the connection between intensity in their working them? Well, Abimael Guzmán was more obsessed with Augusta, the and personal relationship woman he loved, than he was with Marx. And everything about that seems almost romantic, Guzmán was really about her, his love for her, his love letters for her, mostly because it is fuelled and so this book becomes a celebration of woman and love and floral by so much shared passion. beauty, even though it seems like a strange pairing.” For the 13 years of With a match decided upon, the book is developed component by 21st Editions’ existence, component, with the help of a crack team of master craftsmen and Steve and John have been women. “Steve gives the binders and everybody else certain amounts guided by a creative goal of freedom,” John continues. that stands alone. So in the case of the Guzmán project, the binder sourced They produce not “an Asian transparent cloth that was held together by some kindphotography books, but collector’s items. Through the highest of string fibres – it was really quite beautiful,” says Steve,production values, the object strives for a level of beauty equal to its but crucially, “could suggest something from Peru,” adds John.contents. This is no small task, considering the calibre of the artists’ “Then the typesetter, who is quite an artist at typesetting,” adds awork bound within. Sheila Metzner, Herman Leonard, Greg Gorman contribution. In this case “what it looks like at first is an erratic kindand Sally Mann have all been featured by 21st Editions. As for the of presentation of the columns, but you begin to notice very quicklywriters, there are Nobel Prize winners and eminent philosophers that they suggest the Andes. Little touches like that are the kind ofamong their number, as well as central figures from the canon: things that have marked these books of ours.”Shakespeare, Rilke, Blake, Whitman. In this way, the many composite creative elements involved in “Steve is very inspired by the Kelmscott Chaucer [of 1896],” a 21st Editions publication are laid down and it is these exactingJohn explains. “William Morris taking the work of the greatest 21ST EDITIONSmedieval poet, and setting it and producing it in a volume like no Above, left: Yamamoto Masao, photographs by Yamamoto, with texts andother book of poetry was ever produced in. And that’s what we have a poem by John Wood, Deluxe Edition. Right: 21st Editions features the workdone with photography.” of leading photographers, writers, poets and philosophers.66 www.professionalphotographer.co.uk
  • 61. {GET PUBLISHED} www.professionalphotographer.co.uk 67
  • 62. “Great artists deserve a beautiful presentation of their work and photography clearly is the art formstandards of aesthetic and quality that have made the press’s publications “Great artists deserve a beautiful presentation of their work,” John goes on.collector’s items around the world. “And photography clearly is the art form of today... Though there are “Over 50 institutions worldwide collect our books,” says Steve, reeling off contemporary painters whose work I am fond of, I think, for the mosta list, “the Museum of Modern Art, the British Museum, the Getty Museum, part, the most exciting work out there is coming from photography...the Museum of Fine Arts in Boston... you name it. And it’s not because they In general there are more great photographers than there are greatare buying photographs. They are buying a package that makes sense to contemporary painters, I think.”them, that fits into their collection because it’s something they don’t have.” In the age of the Kindle and digital photography, where physical objects Needless to say, these are not books that you would find on many coffee such as books and prints seem almost to teeter on obsolescence, it’s bothtables. The prices have, until recently, been prohibitive to anybody but the thrilling and reassuring to see 21st Editions is thriving, with its credo ofmost specialised collectors. It’s not unusual for them to retail at around elevating the material, the tangible, to the highest level of significance.$9,000. However, last year Steve introduced a new imprint, Prism, aimed at Throughout an eclectic career that saw him working in luxury leatherexpanding its client base. Though still “virtually handmade”, the latest book manufacturing, as a wedding photographer and selling prints at flea markets,in the Prism series, featuring photographs by Mitch Dobrowner, has a larger the seed for 21st Editions had long been germinating in Steve’s mind.edition of 280 copies. To make it work, however, he knew he would need to recruit some seriously At $750, the Prism books are “a bit more democratically priced,” says heavyweight talent. A mutual contact suggested John; academic, poet,Steve. “But they are still produced unlike anything else that is out there. polymath and, according to Steve, “probably the most intelligent man, onOur standard is very high.” more subjects, than I have ever met in my life. It takes that kind of “They are bound in velvet-cased boxes, include signed prints, and are 21ST EDITIONSautographed by the photographer,” John chips in. Above: Yamamoto Masao, photographs by Yamamoto with text and a poem by John At the centre of John and Steve’s working relationship lies a shared Wood, Prism Series Book Number 1. Opposite page: Moth and Bonelight,conviction about the primacy of photography in all modern art forms. photographs by Jerry Uelsmann with poems by Steven Brown, Platinum Edition.68 www.professionalphotographer.co.uk
  • 63. {GET PUBLISHED}of today... for the most part, the most exciting work out there is coming from photography.” John Wood knowledge to pair literature and visual imagery together where it ultimately “It’s about not just having people from the photographic community and can make sense to more people than just John,” he explains. photography historians,” he says. “We have poets, novelists, philosophers: It took some time to win John over, however. “Steve wanted to create the the philosopher and poet Frederick Turner, Pulitzer Prize winner Annie most lavish journal of photography since Alfred Stieglitz’s Camera Work,” Dillard, Robert Olen Butler, Edward Albee. We took some of the very best John explains. [21st Editions began in 1998 as 21st: The Journal of writers, because everybody has something to say about photography today. Contemporary Photography]. “I was a college professor and also did a lot of It’s the omnipresent art form. We live with photographs. Probably most of us writing on photography and a lot of books so I was always busy. I thought, have a few little photographs in our pocket, like secret icons we carry with you know, editing a journal of photography is going to be a lot of trouble, it’s us. We all know photographs because we’ve lived with them so intimately going to be hard. And it was hard. But it was incredibly rewarding. And I for 100 years or more.” ended up getting the best friend I have in the world out of the deal.” Though both are respected experts in their field, the impetus for Steve and Before it had even launched, 21st Editions seemed to have hit on John stems it seems from an almost childlike sense of wonder at the form. something, to have answered some unexpressed need. Steve was still As Steve puts it: “We’re just a bunch of artists and writers trying to do what working out of his garage and had yet to produce a single book when the we do but in a way we can put it into the world and share it with others.” PP Wall Street Journal published an article about the enterprise, hailing its artistic significance, under the heading ‘In Stieglitz’s Footprints’. “For the first two weeks, the phone would just ring... Something clicked and we started to take orders for something we hadn’t even created yet,” www.21stphotography.com remembers Steve. More than a decade later, the demand remains incredibly strong. “We sell many of these books before we even make them,” he says. The power of the oblique or unexpected is a crucial part of the package, FOR ADVICE ON GETTING YOUR WORK PUBLISHED READ ARTICLES which is reflected in John’s choice of writers who contribute to the books. ONLINE AT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 69
  • 64. BEINGTHERESPECIALThemanwhoknewhowJohn Hedgecoe was the photographer who toldphotographers how to take photographs. His bookssold over nine million copies and his portrait of theQueen has appeared on 200 billion stamps but asPP Editor Grant Scott discovered there was moreto John Hedgecoe than many people realised.John Hedgecoe died on 3 June 2010. During his life he had photographed andwritten well over 30 books on how to take photographs, which had beentranslated into countless languages; he had established the photographicdepartment at the Royal College of Art in London in 1965; he had been theprincipal portrait photographer for Queen magazine (now Harper’s Bazaar)throughout the 1960s; he had shot architecture, fashion and landscape for theSunday Times, Observer and Telegraph; he had photographed nationaladvertising campaigns; he had been a close friend of many iconic artists,including the sculptor Henry Moore; he had created important booksphotographing these artists and amassed a substantial fortune which he hadused to restore an impressive 16th-century palace just outside Norwich.But he had never felt that his work had been truly recognised and given theimportance he believed it deserved. Hedgecoe had a presence about him, a physical presence. He was forthright andstrong-minded. He spoke in statements and expected a response. He had achieved a lotand expected that to be respected. He was not easy. So when in 2001 Hedgecoe’spublishers Collins & Brown needed to fulfil a contractual obligation to him and publisha monograph of his career’s work, they decided the job needed someone who couldwork with him, organise his archive and create the book. They called me. Top: Artist Francis Bacon, 1969; Above: Sculptor Dame Barbara At the time I had a reputation for designing photographers’ monographs and also for Hepworth in her familiar fur coat, 1970; Opposite page: Artist Davidworking with photographers such as William Klein, Bailey, McCullin and Donovan. Hockney in his Bayswater studio, 1972.70 www.professionalphotographer.co.uk
  • 65. “Hedgecoe had a presence about him, a physical presence. He was forthright andJOHN HEDGECOE strong-minded. He spoke in statements and expected a response. He had achieved a lot and expected that to be respected.” Grant Scott www.professionalphotographer.co.uk 71
  • 66. BEINGTHERESPECIAL All of them great characters but none of them suffered fools gladly. Hedgecoe sat comfortably in this camp. The decision was made that I would travel up to Norwich to meet him for the first time to see what state his archive was in and how he saw his first monograph coming together. I set off with an assistant and, having spent the night before the big day in a hotel, we travelled to his Norfolk pile filled with anticipation. It was a sunny, breezy day and as we drove up the wide gravel path to a house that resembled a mini-me Hampton Court Palace (complete with orangery and lake), Hedgecoe bounded out, filled with energy, hand outstretched. My initial impression was not of someone who was going to be difficult but instead of someone who was desperate to get started on the project ahead. After a quick coffee he took us back outside and into a cavernous barn next to the house where he had arranged his entire archive. Well I say archive, the truth is that what lay before me were lines of extremely tatty cardboard boxes, each one piled high with indeterminate packages. There appeared to be no labelling, structure or order, but he was proud that he had managed to get his entire career’s work into such an ordered state. There was nothing for it but to start at the end of one line of boxes and work my way methodically along the lines. It had already been decided that the book would focus only on his portrait work so at least that gave me a starting point for what to focus on, but as IFashion designer Mary Quant, 1964. carefully removed the often dusty, very musty-smelling packages it quickly became clear that they had not been touched for decades. As with so many photographers who had worked through the 1960s and 1970s when photography had little if any resale value, Hedgecoe had simply shot and stored images with no expectation that what he was creating would have any financial or historical relevance. Original prints were discovered without negatives to allow reprints, there were contact sheets without negatives or prints and negatives that had long lost their prints or contact sheets. It soon became clear that this was going to be as much about what we could salvage and use as anything else. Working through the boxes we revealed images of some of the great cultural figures of the 20th century, including Agatha Christie, Henry Moore, Francis Bacon, David Hockney, Vita Sackville-West and, most bizarrely, a portrait of Percy Shaw, inventor of the ‘cat’s eyes’ that appear in the middle of our roads. Slowly but surely a book began to take shape as we laid out the images that we had found and could use in a rough order on the dusty barn floor. Long-forgotten celebrities were dismissed for their lack of relevance and negatives were edited by holding them up to the Norfolk light. It was a day of discovery for both myself and Hedgecoe, and I did not find him difficult in any way, just passionate about the project, firm but fair. At the end of the day we agreed that we had the basis for a book and he presented me with a signed original print of Francis Bacon as a thank you. I headed back to London with all of the material we had chosen and began to design the book which was to be simply called Portraits. The design, layout and approval process was simple and straightforward, and the book was launched with an exhibition of the work we had found at the Royal College of Art. Later that year Hedgecoe asked me to design another book for him featuring a recent commission to photograph the artist Ana Maria Pacheco creating a sculpture from beginning to installation. It was another easy, joyful experience. Now just a year after his death an exhibition of his work is being held at the Sainsbury Centre for Visual Arts at the University of East Anglia. An email about the exhibition landed in my inbox to tell me so and reminded me of that sunny, dusty day 10 years ago. The images in the exhibition and those accompanying this article are ones we found in those boxes. It just goes to show that photography is a small world. PP Turn to page 23 for details of the exhibition. JOHN HEDGECOESir Noël Coward, the playwright, GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OFactor and composer, 1969. PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK72 www.professionalphotographer.co.uk
  • 67. Bringingit allbackhomeAlison Baskerville is aphotographer.A photographer currentlydeployed in Helmand,Afghanistan. She is adefence newsphotographer workingwith the Ministry ofDefence Combat CameraTeam. She is humbleabout what she does butclear about what she hasseen. This is her story.I joined the RAF Police when I was 21 years ofage because I wanted to travel, and remainedin the military for 12 years, seeing service inNorthern Ireland and Iraq. While in Iraq Ibought my first camera, an old film Nikon. SERGEANT ALISON BASKERVILLE RLCIt was after six months there that I decidedI wanted to be a photojournalist. After 12 years in the military you get an optionto get out and a small payout. I took both optionsand they helped to pay for me to do an MA inphotojournalism at the University of Westminster. British soldiers phone home from Afghanistan.I jumped in with both feet. I knew I wanted to be74 www.professionalphotographer.co.uk
  • 68. { WORKING PRO} “I never wanted to be a war photographer, never! But I am inspired by warphotography because my background is in the military and conflict.” Alison Baskerville www.professionalphotographer.co.uk 75
  • 69. Dog handler Jess and her highassurance search dog, Ninjo.a photojournalist. Initially I thought a Masters them in Afghanistan. I knew the truth and I into the Media Operations Group, which is awas too ambitious but I was looking for a course wanted to let it be known. voluntary reserve [Territorial Army] regiment.that was only a year long, so I took my portfolio When I had finished my MA I started to try I went along for a chat with them and they askedalong for an interview. Even if I had only got and get commissioned and find my voice, but I if I would come to Afghanistan for six months.some advice that would have been okay with me, fell into the trap of doing everything I could in an A lot of things crossed my mind before I agreed,as there seemed to be a lot out there for effort to make some money. I wanted to get stuck particularly the question as to whether I wouldphotojournalists, but I was looking for the right in to a longer piece of documentary work, so I lose my objectivity by working for the MoD.advice, which is hard to find. To my surprise they started working with a disabled-led theatre However, the embedding process which is nowsaid they would let me on the course because of company called Graeae, based in London, in operation for photographers means they aremy background experience. photographing them training, rehearsing and extremely tightly controlled, whereas I seem In a way I was a bit of a cliché, in that the first facing up to their physical difficulties. I was to have more freedom than they do, which isbook I bought was Tom Stoddart’s iWitness, then getting paid but also creating the work that I strange. There is no doubt that coming hereI bought Larry Burrows’s Vietnam. Then I started wanted. I started to do more of this kind of work was a risk to my creativity and for my conscience,to look at the work of the obvious influences – and still do when I am in the UK. but I have no regrets.Don McCullin, Philip Jones Griffiths, Robert Now, however, I am a photographer in I never wanted to be a war photographer, never!Capa and also Lee Miller, one of the first female Afghanistan who is responsible for photographing But I am inspired by war photography because my SERGEANT ALISON BASKERVILLE RLCwar photographers. But I had been to war and everything that the Ministry of Defence wants to background is in the military and conflict. I don’twhen the acclaimed photographers Adam cover but I am also free to go out and find my understand the current fashion to photograph warBroomberg and Oliver Chanarin came to speak to own stories which I can suggest to them. They can and I really hope that the recent tragedy with Timus about their war photography I ended up having say yes or no to my ideas but the images I am Hetherington and Chris Hondros hasn’t madea huge row with them. I found their approach to creating are about the work which is being done people feel that it is a glamorous profession.war to be rude, inconsiderate and thoughtless. with the Afghans, which is really important. I don’t want to see a ‘gung ho’ photographyI knew the army photographer who had escorted I came across the job last year when I was looking generation. There is nothing that is romantic76 www.professionalphotographer.co.uk
  • 70. { WORKING PRO}Members of the Afghan Uniform Policeprepare for their graduationceremony in Lashkar Gah, Afghanistan.Below: Afghan woman.about covering conflict, it’s pretty awful. The artto covering conflict is to show as many different “If you are going to do it well, you have to do it intelligentlyangles as you can, which is what Tim used to do,but you still have to put yourself into dangerous and with empathy.” Alison Baskervillesituations and sadly he paid the ultimate price.I hope that people learn a lesson from that. If youare going to do it well, you have to do itintelligently and with empathy. I would neverchase a conflict and I have been fortunate thatover the two months I have been out here it hasbeen very quiet which has given me theopportunity to look at things differently.The images I am creating are not kinetic orabout shooting and people being blown up. Photographers still turn up in Afghanistanhoping to shoot the same things they would havedone right after 2001 or earlier. They are after theconflict and come back after a day out looking forit and say, “That was rubbish, I didn’t see anyaction.” I have to remind them that coming backin one piece is a good thing. I think they forgetthat you can easily lose the reason as to why weare here and get caught up in chasing the action.
  • 71. A soldier takes a breakafter a patrol inGereshk, HelmandProvince.“...I have a human being in front of me who has been blown up and I alwaysremember I am there to show what the medical team are doing, not to win medals.I don’t need medals – I already have six.” Alison BaskervilleToo many are chasing the sexy war image that the indigenous population. Afghanistan has been what I see by making sure I know what happenswill get them the World Press Photo Award. eye-opening for me. There have been issues I next. The brutality of conflict is intense and if theI could shoot incredibly powerful images 10 times have seen which I cannot shoot, primarily because only time you see a person is when they haveover while being with the medical team but I I know if I start photographing a subject I will be been brutalised, then that is the only image youwon’t because I think about the ethics of what unable to stop. At moments like that I step back will have of them and be left with. But if you can,I’m doing, I have a human being in front of me and think about returning to the subject later. follow them through surgery and rehabilitation,who has been blown up and I always remember Now I am a freelancer I feel like a visitor in which can give you some form of closure.I am there to show what the medical team are this country and although I am working for the It is definitely true that the camera is yourdoing, not to win medals. I don’t need medals military I feel I have an opportunity to change barrier to what is going on around you. I don’t SERGEANT ALISON BASKERVILLE RLC– I already have six. You have to crop out of the things from within, which is what I have always want to get in the way of what is going on andframe what you know you can and should leave wanted to do. Rather than battle the military as what people are doing, so I just try to keep out ofout, and retain what is necessary. the media does, I decided to join it to change it, their way and get the picture and engage people. I definitely have a moral barometer. I don’t which I think is working, if only slightly. As a photojournalist I am trying to create imagesshoot for my own fulfilment, which keeps I am aware of the damage that working within which stop people, images which are not easilyme balanced. I love human issues, the mix of this kind of conflict can have on a photographer discarded or dismissed, images that create ancultures here, the intricacies of interacting with both mentally and physically, and I deal with awareness, that tell stories. The images I am78 www.professionalphotographer.co.uk
  • 72. { WORKING PRO}A soldier from theHousehold Cavalrytalks to a local man at abazaar in Gereshk.shooting here will not make me money; I’m paid When I come back [to the UK] I will feel very I don’t agree with Simon Norfolk when he saysby the military, but I hope one day to see them as satisfied with my time in Afghanistan and I hope that war photography needs a new language but Ian exhibition or a book. to return a more rounded photographer able to do think that it needs to be more open-minded, I’m the first woman to be deployed in the approach some of the agencies such as Reuters, which is hard when a photographer needs to getCombat Camera Team and I think that I have Getty and AP with the idea that my work here will an image of combat for his agency to sell. It’s abrought something different to the tour because show that they could send me on assignment difficult situation. Some of the most memorableI’ve been looking at female engagement and anywhere knowing that I could do a good job. moments of war photography have come fromthe way in which women are treated out here, My military career was colourful and I saw moments of conflict but what Tim Hetheringtonwhich is often appalling. But the way in which quite a lot. I have been exposed to a lot and there did with his Sleeping Soldiers images is a goodthey treat me is as if I am a third sex, completely are a number of things I saw in Iraq which make example of what can be done.separate from men and Afghan women. They are me feel I do not need to return to a combat area as If there is a thought that I would like to sharefascinated by me and stare an awful lot but once a photographer for the excitement. In fact what I with other readers of the magazine it wouldyou get used to this it’s not a problem. They love saw makes me want to see less. I’m not addicted be to think before you think about being a warphotography and the camera, in fact so much to war photojournalism. I think that’s partly photographer. PPso that we are now training an Afghan Combat because I am a woman; I lack the testosterone, ICamera Team. have completed that side of my life. http://thelaughingphotographer.blogspot.com www.professionalphotographer.co.uk 79
  • 73. Cynthia McAllister and herhusband Phillip camp oppositeWestminster Abbey. Crowds outside Buckingham Palace watch the Royal Kiss.
  • 74. {WORKING PROS} Pete & Clive live PETER DENCH Central London is packed. No one moves. A man sobs, another coughs, birds flutter, Every month our regular columnists Peter Dench and CLIVE BOOTH A dawn chorus of alarms and texts wakes me at 4am. The Addison Lee car service silence returns. It’s just after 9am on driver will arrive at 4.30am. I have that sick September 6 1997. A giant screen in Hyde Park Clive Booth bring us their feeling in my stomach and desperately want shows a gun carriage taking the coffin of Diana, Princess of Wales, on a four-mile procession to contrasting experiences as to go back to sleep, having got to bed just three hours earlier. I lie there for a moment Westminster Abbey. Every minute of the journey professional photographers. trying to remember why I have to be up at this a single bell chimes. On top of the Royal Standard wholly unreasonable hour. Something to do with draped coffin are lilies from her brother and sons, As any regular reader will the Mail on Sunday, Sky TV and You magazine’s Princes William and Harry; a poignant card reads ‘Mummy’. After the service, I joined the route of know, their clients, Eve George commissioning me... The Royal Wedding! It all comes flooding back, along with the funeral cortege that would take Diana on her final journey to the Spencer family home in approaches and work are the usual apprehension of going to shoot the unknown. Quick shower, pick up the very Northamptonshire and waited for the shot. very different from each lightweight (for me) camera bag (Lowepro 160 I had been in London for just over a year trying classified bag, three lenses – Canon 35mm f/1.4L, to find my vocation as a photographer. I thought other, so when they were 85mm f/1.2L and 135mm f/2L – along with two an iconic image of the hearse would be a valuable addition to my portfolio, to show commitment, asked by separate Canon EOS-1Ds cameras), a banana and I’m off. The driver is chatty but I want to sleep, while dedication and the ability to identify important historical moments. As I waited, the price sticker clients to shoot the Royal not wanting to be rude. He tells me he used to be in the newspaper business and was on the presses on the sole of a shoe worn by a woman kneeling Wedding we could not resist when Diana died. “We all knew about it as soon nearby caught the eye. I crouched to frame, there as it happened, way before the general public did.” was quiet applause and the twirl of tossed the temptation to find I ponder on that dreadful day, one when we all long-stem roses, a whoosh, and the hearse had gone, along with both picture opportunities. out how they both got on. remember exactly where we were and what we were doing. Today, of course, will be another one On the long walk to find the nearest open pub of those days but thankfully for different reasons. (it was on Upper Street three-and-a-half miles We pass Westminster Abbey and I wind down away) I photographed the flags flying at the window; there is a party atmosphere and half-mast and considered whether breaking everyone is chatty, people shout hello and as weCLIVE BOOTH / PETER DENCH news photography would be my discipline. sit in a 5am traffic jam I’m holding conversations Two years later confirmed it would not. with royal well-wishers, most of whom have been On assignment for the Sunday Times Magazine there for days. To my surprise we arrive outside shooting reportage on the Queen’s tour of South Buckingham Palace at 5.10am and I find myself Africa, I travelled with the royal press pack. standing among police, security and crowds of On one occasion we arrived at a school in people of all ages, colours and cultures. www.professionalphotographer.co.uk 81
  • 75. This page, clockwise from top right: Amelia Coe wears a customised T-shirt as she waits on the Mall; Dalia Yousif sits on the shoulders of her partner Panos to take photographs of guests arriving at Westminster Abbey; Crowds line the street in Whitehall; Revellers in Parliament Square.“My brief is to document the commoners who line the route; to do a Dench...” Peter DenchPD Alexandra Township outside Johannesburg. At 10am on the day before, I meet Jessica who their respects at the Queen Mother memorial.The pack rushed from the coach to secure a will be writing detailed captions for the Opposite Westminster Abbey a more feveredsimilar vantage point and waited. I was unfettered photographs. This could be irksome for Jessica, crowd lies in wait. Cynthia McAllister propels ato explore with my camera. Hours later Betty a respected staff member deployed to shadow giddy cackle at her husband Phillip, whose wararrived. The township’s children were a snapper. If she is irked, it doesn’t show and we medals clink together. Further along, Darcieverywhere; they danced and sang to the Queen strut as equals towards Buckingham Palace. Richards entertains Granny with a strum on theand waved her off with their little flags. A man in I tried to convince the Editor to let me do the guitar. The mood has been jolly and the 7,000a suit then collected the flags and boarded the words and pictures. I’m glad she declined. accredited press respectful. We wait for Americancoach. A departing, scuffed, huffed cloud of dust Jessica is thorough and discreet, and the company news channel CNN to finish their broadcasterased any evidence we had been there. is welcome. On the way I learn that heavyweight before our turn with one family of revellers. It is with good cheer then, that I anticipate the photographers Zed Nelson and Simon Roberts TV presenter Tim Vincent waits for his withmore joyous occasion of the Royal Wedding will also be contributing, adding a bit of friendly Amelia and India.between Prince William and Catherine competition for page space. I repeat-remind The alarm bell rejoices at 5.45am. Like beforeMiddleton. A two-day reportage for the Telegraph myself to shoot verticals to try to nail a cover. any big day, it has been a fitful night’s sleep.Magazine has been in the diary since January, Along the route we gather micro-features from Jessica and I have decided to dress smartly and toremoving the pressure to be officially involved, the royal fanatics with Roald Dahl character meet in the last carriage of the 06.30 Victoriaand delivering a handsome pay day. I even had to names embedded on the front line of Great Line tube train at Highbury and Islington station,turn down German news magazine Stern when a Britain. Americans Christine and Olivia Wofford a plot scene worthy of An Affair to Remember.dual-shoot compromise couldn’t be agreed. carry a large yellow W and K to photograph at We are concerned about access and movement soMy brief is to document the commoners who line picture postcard locations. Rosalind Lumb and have decided to get in early. We vacate the tube atthe route; to do a ‘Dench’, reveal the gritty Wendy Huffwaite peruse a book of Royal Victoria and make our way through St James’sunderbelly of life as a royal supporter and Wedding poems. Dulwich public school girls Park to the south side of the route where we willproduce the antithesis of the inevitable schmaltz Amelia Coe and India Marlow-Prince quaff fizz work between Parliament Square and the Mall. PETER DENCHto be paraded across the pages of the Daily Mail in their customised pink ‘Will & Kate Forever’ Photographing yesterday was crucial. The tentsand Daily Express newspapers. Well, that’s how I T-shirts while, across the road, tiara-topped have been packed away and the rows are deep.interpreted the brief and it’s right up my Mall. Amelia Asquith and Charlotte Dunsmore pay I shoot and weave among the royal masks,82 www.professionalphotographer.co.uk
  • 76. {WORKING PROS} This page, clockwise from top left: radio presenter Simon Bates; Eamonn Holmes and Charlotte Hawkins of Sky News; Tom Allen at the helm in the Sky gallery; the Sky TV Studio. “It’s one of those rare occasions when all the usual human barriers are down...” Clive Booth CB There is a bevy of brides, a whole crew of The media area is fascinating and compared to fashion correspondents, and fellow Sky presenters Kate Middletons, in full air attendant uniforms, the crush of the crowds it feels like I’ve entered Dermot Murnaghan and royal expert Dickie complete with travel cases, and everywhere I look some kind of exclusive Royal Wedding Day club. Arbiter. Among the news teams there is a feeling there is red, white and blue. It’s one of those rare Everywhere I look there is celebrity and soon of everyone playing for the same team; you would occasions when all the usual human barriers are Lucy is introducing us to Eamonn Holmes and almost think it was one TV station. All agree it’s down and everyone is chatting as if we have Charlotte Hawkins, the Sky News anchors for the quite possibly the most important event of their known each other for all of our lives. I take a big day. Both are easy-going, relaxed and careers. We walk past the American NBC Today moment to soak up this collective community genuine, and if they are nervous, they don’t show Show studio and it’s easily the biggest here. atmosphere and feel the anticipation and it. Eamonn has that disarming Irish charm, Walking through this town of studios, outside excitement. If I hadn’t been shooting I wouldn’t combined with sharp wit and charisma, that I’ve broadcast trucks, Winnebagos and a sea of be here. Not because I am against the Royal seen so many times in the Celts. He seems to put satellite dishes, I am reminded of the global Wedding but because I don’t really like crowds, all in his path under some kind of spell and significance of this event and the hundreds far preferring the peace and quiet of my home in standing next to him all I have to do is bring up of millions of people expected to tune in to Derbyshire. But now I am glad that I am here and my camera and shoot the poor hapless devils as watch history in the making. experiencing this first-hand, they are drawn to him, all smiles and flailing The Sky gallery, a multi-million-pound truck The iPhone chimes. It’s Amy Williams, the arms, men and women alike. It is impossible not (one of many), has two rooms lined with monitors journalist from the Mail. We meet at Gate 4 to like this man with his mischievous, informal and video feeds from dozens of key locations. outside the temporary town of TV technology. nature and he is obviously well-respected and It reminds me of the bridge of the Starship Bright blue-eyed, with beauty, youth and liked by colleagues and peers alike. In contrast, Enterprise and at the helm is studio director Tom experience, Amy has organised the whole shoot, Charlotte is quietly confident, demure and has a Allen. “Cue camera one... camera three, have a different angle on the day from behind the kind of innocent beauty. There is no mistaking the another look for something interesting in the scenes with Sky News. Lucy Ellison, director of thinking behind selecting this partnership. crowd… thanks Eamonn, can someone get him News PR for Sky News, then appears with our We walk through the streets of this temporary a bacon sandwich… where’s that edit?” Shields upCLIVE BOOTH press passes. Lucy is to spend the day with us... media town and bump into the BBC’s Huw and warp factor three, Mister Sulu. As 11am two blonde twenty-somethings and me; Edwards and Fearne Cotton, and radio presenter approached, I was half-expecting a voice to say maybe the alarm hasn’t actually gone off yet? Simon Bates, along with a host of royal and she “canne take any more captain”... www.professionalphotographer.co.uk 83
  • 77. This page, clockwise from top left: American tourists Christine and Olivia Wofford outside the Palace; A young girl wearing a tiara waves from a taxi on the Mall; Royal supporters facing Westminster Abbey; Two young women show their patriotic colours alongside the procession route.“I assess Martin Parr’s effort on the Magnum website and think, perhaps I may have edged it...” Peter DenchPD maple leaf bunting, sleeping men, women Mr Higgins chuffs his pipe, 21-year old Rhyll de proactive, called Stern to see if it was too late todressed as brides, the alfresco plastic urinals and Teglia has a solitary moment and a woman picks send some their way. The subsequent eliminationoccasional outburst of royal rage as late arrivals up dog-poo. There’s a Little Britain-village fete- of Bin Laden had squeezed out wedding pages.encroach on established viewing positions. Henman Hill kind of feel to the proceedings. I get six images on to the Corbis website forWe talk to the impeccably suited Harry Arthur Over the two days I shoot 686 frames, FTP an syndication and upload 50 to Alamy, but it all(eight) and brother Rory (five), and the more edit of ‘as shot’ 82 to the Telegraph Magazine, feels a little bit late. Twenty are posted on mydishevelled Berry Collins and Gloria Doherty, and then head off for a day’s clay pigeon shooting website, I tweet the link and put an album onwho slept under the stars and have ‘appropriated’ in the Oxfordshire countryside. On return, the TM Facebook. Responses are good: Martin O’Neilla tent for shelter. They complain that, unlike at has edited 13 images to be delivered as polished, thinks them “Most amusing”, Sam Christophera wedding in their community, they haven’t even ready-for-publication files. This is encouraging. Cornwell, “Great stuff ”.been offered sandwiches and a drink. My hopes are for six consecutive pages with a Wincing back a double vodka tonic I find Zed’s As Big Ben tocks towards wedding o’clock double-page opener. I text my friends and call my six images over two pages and Simon’s one imageI decide the best place to photograph will be from Mum. Finally, I think she will have something over two pages treading water in the Getty poolParliament Square. There’s a massive cheer; Dalia produced by her son to be proud of to frame and publication. Slightly embarrassed at myYousif is hoisted on to the shoulders of Panos. hang in the spare bedroom. I assess Martin Parr’s exclusion, I text my friends and call my MumI snap frames of his thigh-clenched face and ask effort on the Magnum website and think, perhaps with the news. It seems even the staunchestwhat Dalia can see. It’s the litter pickers on one I may have edged it on the day. cynics have been seduced by the occasion (exceptfinal round. Another cheer and she grabs a frame Saturday 7 May, the day the Telegraph me). The wedding is to be remembered andof Prince Harry, the first I’ve seen of the A-list Magazine Royal Wedding souvenir edition is revered as a right royal fairy tale (except by me).wedding guests. As William took Kate up the published. It’s with leaden feet that I head out to I now know why I don’t officially shootaisle, I was probably only a straight 100 metres buy a copy. Three days after the wedding I had weddings. You wouldn’t want me at your weddingaway. Cocooned in a living cordon I photograph received a call delivering the ‘AWFUL news. ’ and, in all honesty, I probably wouldn’t want to PETER DENCHwhat I can. Ten-year-old Callum Lewis uses a None of my photographs would be published; come. I raise a glass to the hundreds of millions‘Blighty’ periscope to scan for action. Ben Fowler zero, nought, nowt, nada. I’ve been around long who watched TV coverage of the weddingand William Fox-Staeton picnic on the grass. enough, just, not to take this personally and got and consider instead, the next royal funeral.84 www.professionalphotographer.co.uk
  • 78. {WORKING PROS} Tourists Gabriela Hills and Joe Peterson imitate that kiss. CB I was mesmerised by how this combination the ramparts and the guard finally cracks and normally have been a quiet hell. Yet this is calm of technology, intellect and experience made what switches sides. I shoot the scene and then rush for and orderly, allowing me to shoot pictures all must be immensely complicated look so easy. the gates, careful to avoid any more fluorescent the way. In a slow-moving river of one million It had the feeling of a military operation and yet party police. Outside in the crowd there is calm as people I swim to reach the bank and am pulled in the midst of the key moments, none of the we wait for the couple and the kiss on the balcony. ashore by the newly-recruited security guard, significance of the event was lost on the 20 or so One million cameras are facing the Palace and now happy to see me as I enter the tranquillity of team, camera phones (or were they phasers?) one is facing the crowd as I completely miss the the press area. taking pictures of the monitors. kiss but get some very pleasing crowd scenes. There is just time to meet up again with Outside, as I walk past groups of gaffers, grips The atmosphere is a surprise... no whooping or Eamonn and Charlotte, who have been cooped up and sparks watching any available TV monitor, shouting, just reserved flagwaving and cheers, in a studio for the past six hours. There is a sense there is calm and quiet everywhere. It was like along with laughter, tears and, what seemed to me of both relief and obvious pride as Eamonn is still another sci-fi favourite, The Day the Earth Stood at least, genuine joy. Up until now I had remained taking pictures through the studio window of the Still (the original 1951, Michael Rennie version, relatively detached emotionally from the romance dispersing crowd, while Charlotte discusses her not the 2008 one!) and just as with the film, but soaked up the atmosphere and fun of the day; feelings at having witnessed a very real romance everything jumps back to life as the newlyweds after all I was here to shoot pictures. That was and all the girls chat. As I go to leave, I bump into approach. Swept along with the excitement and to until I heard the hum of the British, liquid-cooled Simon Bates again, now back in his office and get a better angle of the crowd, I jump on to V-12, 27-litre piston aero engine, known as the packing his bags but still making time to extol the a not-insignificant wall overlooking the Palace, Rolls-Royce Merlin. Or, to be precise, six Merlins virtues of his antique brass microphone. closely followed by a security guard. He had powering the Spitfire, Hurricane and Avro Both Simon and his Coles Electroacoustics 4104 obviously been given strict instructions to repel Lancaster bomber of the royal flypast. The sound commentator’s ribbon mic seem to me to be part all aggressors, but then another two, then three, and resonance of this world-saving piece of of broadcasting history, and it is somehow apt that then 10, follow my move, and he is literally British engineering excellence, combined with all my lasting memory of the big day is of the two jumping up and down when radio legend Simon the past history it represented, along with the of us enthusing over his means of recording the Bates follows and makes a somewhat undignified, pomp and pageantry, finally bring a lump to sound and mine of taking the pictures. PP yet confident approach, taking his historic mount my throat. Kisses over and the Sun’s Arthur You can see more of Clive’s Royal WeddingCLIVE BOOTH for Smooth FM (if the security guard is of my Edwards happy, I try to make my way back to the generation then he will not dare mess with Bates). press area. It’s a stone’s throw away and yet takes pictures by going to www.clivebooth.co.uk/ I offer help to an elderly lady as she joins me 40 minutes, which, as I hate crowds, would royalwedding www.professionalphotographer.co.uk 85
  • 79. TheJakeChessumOlympus XZ-1New YorkPortfolioWe put the much-acclaimed Olympus XZ-1into the hands of New York basedphotographer Jake Chessum, then askedhim to hit the streets and push theXZ-1 to its limits to create a portfolio ofimages. What he sent back confirmed ourbelief in the camera and in Jake.I ’ve never been a tech-head, rarely read the manual, don’t often check out the latest stuff… I don’t have a jacket covered in pockets, a wallet filled with different filters. Everybody knows it is the eye, notthe camera, that sees the image, but I nearly alwayscarry a camera about on the street with me when I’mnot on assignment. But which one to take? I’ve been through prettymuch everything. It’s tough trying to decide what touse, which camera to take on the flight or to have slunground my neck all day. What if I don’t have a cameraand miss something? Forgetting to take a camera out is usually kind ofworrying. I always wondered how much of WilliamEggleston or Harry Callahan’s work exists because86 www.professionalphotographer.co.uk
  • 80. OLYMPUS XZ-1 NEW YORK PORTFOLIO Teargassing, Canton, Mississippi, 1966.
  • 81. OLYMPUS XZ-1 NEW YORK PORTFOLIOthey just happened to be in the right place at the right time and A few years ago I shot a campaign for a point-and-shoot digital.had a camera. The ads ran through a few of the issues that the average happy The only way to be out and about without a camera is to stop amateur encountered on their daily quest to surmount the problemslooking. Go about your business, but don’t look. Otherwise, you will when trying to shoot a picture in a variety of situations too boring tosee something and be gutted that you can’t get the shot. go into. I held off on the inevitable for a while but then added the extra I was really taken with the versatility of a small digital point-and-pressure of starting a blog that I, perhaps foolishly, called The Daily shoot. Not only could you get a decent picture, the features made itChessum. It put me under immense pressure to get content up… you a great ‘note-taking’ tool… I would be able to use it in a variety ofguessed: daily. The only times I have missed is when I messed up the contexts: it was immediate and really cool.queuing system or waited until too close to midnight to post and So here I am now, proudly walking about with an Olympus XZ-1.missed a day. Maybe I forgot a couple of times. The versatility of this camera is the best bit. Wide lens, big zoom, It was then that I brought a digital compact into my life. f/1.8, insane macro.88 www.professionalphotographer.co.uk
  • 82. And it’s got video! Even better, one-touch video. And you canzoom while recording. Great for grabbing those cute moments withthe kids. Ah, the kids… any camera like this has to do double dutyfor me because family photos are critical. Shutter lag is prettyminimal, especially if you make a good and definite punch on thebutton: excellent for grabbing that shot on the swings. And thereis a great feature that does a burst of frames, almost like astop-frame animation. The Olympus XZ-1 is a great camera. It delivers. I shot all thesepictures on it. It’s a compact but who cares when it’s such a greattool. Now I know what to hang round my neck.www.jakechessum.com www.thedailychessum.com
  • 83. OLYMPUS XZ-1 NEW YORK PORTFOLIO BIOGRAPHY Jake Chessum is a professional photographer based in New York. Born in south London he studied photography at CentralSt Martins College of Art & Design beforestarting to work for magazines such asThe Face, Arena and ELLE. He then moved toNew York where he now shoots for leadingUS magazines, on international advertisingcampaigns and for various movie companies.
  • 84. OLYMPUS XZ-1 NEW YORK PORTFOLIO The Olympus XZ-1 combines the image quality and adjustability of a system camera with the portability of a digital compact camera. It’s the perfect camera for ambitious enthusiasts, advanced photographers andprofessionals alike. The XZ-1 offers superior, best-in-class image quality and features a superb i.ZUIKO digital lens, excellent low-light capabilities and stunning bokeh. Full manual control lets you set aperture, shutter speed, ISO, white balance and more. The Olympus XZ-1 is available in white or black. RRP £399.99. www.olympus.co.uk
  • 85. stop press...We’re always keeping our eyes open and our ears to the ground to make sure we bringyou the latest news, industry rumours and kit from around the world... PANASONIC LUMIX G3 FORT KNOX Panasonic has ioSafe has introduced a 3TB version of the launched SoloPRO external hard drive. This rugged and the third disaster-proof device enables users to store up to incarnation 1,500 hours of DVD-quality video or more than in its 500,000 digital images. It features a choice of compact eSATA and USB 3.0 connections which provide DSLR transfer speeds up to four times faster than range with USB 2.0, supporting both Windows and Mac the Lumix G3. desktop operating systems. Not only is it fireproof The camera is 25% smaller than its and waterproof, the SoloPRO also protects against predecessor and weighs just 336g data loss at temperatures up to 1,550ºF or being body only, but is packed with enough submerged to a depth of 10ft for up to three days. technology to keep even the most It is also available in 1TB and 2TB capacities. advanced photographers happy. The 3TB SoloPRO is priced $499.99 (£305) Its 16-megapixel Live MOS Micro Four from www.iosafe.com Thirds Sensor is capable of recording up to four frames per second. There is also a fast autofocus function with up to 23 focus areas, full HD movie BIG BROTHER quality at AVCHD 1,920 x 1,080, 50i, a Studio photographers will be happy to hear that the latest multi-shot Hasselblad H4D-200MS, built-in electronic viewfinder with which was first announced at Photokina in Cologne last September, is now shipping. Based on Live View and the ability to manage the H4D-50MS platform, the H4D-200MS uses Hasselblad’s patented piezo frame module, the ISO range from 100 up to 6400. which now captures six shots and combines them into a huge 200-megapixel file. In addition to Trying to make light work of its extended multi-shot capabilities, the H4D-200MS features standard multi-shot and single- capturing an image, touch screen shot modes as well. Naturally, it has all the benefits of the H4D family of control is available. This compact cameras, such as True Focus, Ultra Focus and Digital Lens Correction, to little camera features technology that name just a few. Upgrades for H4D-50MS cameras are also was once found only in large, heavy available. The H4D-200MS is available now for 32,000 euros DSLRs. It is priced at £549 body only (£28,120), plus tax. H4D-50MS owners have the option of or £629 with 14-42mm kit lens. upgrading their systems for 7,000 euros (£6,150), plus tax, by www.panasonic.co.uk sending the camera to the factory in Copenhagen, Denmark. www.hasselblad.com/H4D-200MSAPPLE OF MY EYE customers to choose Core i7 processors up toThe latest signature all-in-one iMac has finally 3.4GHz. The processors feature an integratedarrived. It includes next-generation quad-core memory controller to speed up response timesprocessors, powerful new graphics, Thunderbolt when opening programs and a powerful newI/O technology for high-speed transfers and media engine for high-performance videoa new FaceTime HD camera. The new iMac is up encoding and decoding. New AMD Radeon HDto 70% faster and the latest graphics deliver graphics processors give this iMac the mostup to three times the performance of the previous powerful graphics ever in an all-in-one desktop.generation. The new iMac features quad-core Prices start at £999, including VAT, fromIntel Core i5 processors with an option for www.apple.com/uk/imac www.professionalphotographer.co.uk 95
  • 86. stop press...SIGMA SD1 DSLR a 23.5 x 15.7mm APS-C X3 direct image RAW images per sequence in continuousOffering the quality of a medium format but sensor and dual TRUE II image processing shooting mode. ISO sensitivity can bethe convenience of an SLR, the new SD1 engines. The combination of the selected from 100 to 6400 and theflagship digital SLR has arrived with a high 46-megapixel sensor and processing autofocus system features an 11-pointprice tag to match. Adopting a lightweight engines ensure the twin cross sensor. Quality plusyet solid magnesium alloy body and O-Ring high-resolution images are convenience doesn’t come cheapsealing connections to prevent dust and processed quickly, offering with an RRP of £6,199.99, includingwater getting inside the camera body, the continuous shooting speed VAT. The UK release date was setSD1 makes the perfect companion of five frames per second for June. For more information visitfor use in harsh conditions. It features and capturing up to seven www.SIGMA-SD.com/sd1 TURNING OVER A LATELY WE’VE BEEN NEW LEAF HEARING... Leaf, the manufacturer of digital backs, has introduced the redesign of the Aptus-II User G Apparently using an iPad can increase Interface with the release of Leaf Capture your business output, according to a 11.5 Intuitive software. The latest version survey by London digital agency Seven delivers a newly designed touch screen GUI which says that the iPad owners it (Graphic User Interface) which claims to be questioned claimed to be spending more intuitive and 10% more time grafting since buying user-friendly, improving the tablet… workflow processes and G We spotted this limited providing quicker access to edition Martin Parr plate for important tools through TRUE COLOURS sale on the internet. its new menu – favourite Datacolor has released the first, free Good enough to eat your dinner off or settings. The release includes support for application to colour calibrate iPad the perfect thing to bring to a night out lens calibration when shooting to a CF card displays. Users who download the at a Greek restaurant?... and extends the existing Leaf Capture SpyderGallery app can colour correct G The May issue of US Vogue featured a automatic lens calibration feature from images and create custom colour profiles tribute to Alexander McQueen with a bevy tethered mode to enable its use while on their iPad. This app is aimed at of savage beauties such as Stella Tennant shooting on the go. The new Leaf GUI’s professional photographers who want and Karen Elson shot by Steven Meisel in outdoor theme helps exterior shooting by the convenience of using an iPad to some of the deceased designer’s finest improving visibility when facing high glare display their portfolio without creations… and reflections. The Leaf GUI is available for compromising colour accuracy. G Pimp my all models in the Aptus-II series, including Datacolor’s SpyderGallery is available rangefinder. the new arrival, the Aptus-II 12, an for free download from the App Store on Fans of the 80-megapixel digital back. Leaf Capture 11.5 iPad on www.itunes.com/appstore/ Fujifilm FinePix is free and available for download from Leaf or for more information visit X100 have been at www.leaf-photography.com http://spyder.datacolor.com snapping up accessories on eBay and Amazon that fit the rangefinder, from soft releases to hot shoe covers G Rub-a-dub-dub G Fast and furious designed for Nikons… The LensPen OutDoorPro Kit has four key items Photographers wanting to take advantage G Think Juergen Teller and you don’t to keep your camera clean, including the original of high-speed cards in post-production automatically imagine wide-open Suffolk LensPen and MiniPro II, which clean in the same should check out the new Lexar landscapes but that’s exactly what the way. Use the brush end first to remove all loose Professional USB 3.0 dual-slot reader. fashion photographer has been shooting dust and dirt from the lens or eyepiece, then, if It provides file transfer speeds from card to recently as well as showing his work at fingerprints remain, the other end has a flexible computer of 500MB per second – up to five June’s Aldeburgh Festival… chamois tip – which is impregnated with a carbon times faster than USB 2.0 – and enables G Actress Eva Green has been in the compound – to tackle the toughest prints. The kit photographers to move large volumes of spotlight recently, photographed by Paolo also contains the MicroKlear, a soft microfibre high-resolution images and HD video more Roversi for the May issue of Interview cleaning cloth, and FogKlear, a natural fibre quickly than ever. The reader can transfer magazine and by Swedish fashion cloth which gives strong anti-fog protection. content from both SD and CF cards photographer Camilla Åkrans for Everything is packed into a compact nylon case simultaneously and allows for easy file Harper’s Bazaar in June’s issue… and is available, priced at $34.95 (£21.40), on the transfer from one card to another. It is maker’s website at www.lenspen.com priced at £39.99 from www.lexar.com96 www.professionalphotographer.co.uk
  • 87. online - www.sim2000imaging.comemail - info@sim2000imaging.comcall us today - +44 (0) 1707 27 37 47 HALF PRICE PARENT & GUEST BOOKS ALBUMS 50 % PAR ENT OFF BOO& GUES KS T MARKETING • POSTCARDS • TRI-FOLDS • FOLDERS • CD SLEEVES • BUSINESS CARDS 20 % OFF CD CASES ACRYLIC BLOCKS NOW ONLY £15 FROM ONLY £21 Personalised & branded to your own design. 25 % OFF 30 % OFFRegister with us online at www.sim2000imaging.com to experience our online clientarea. Orders can easily placed, tracked and updated using our centralised online FOLLOW US ONmanagement system, enabling you to see your order status and history at a glance. FACEBOOK & TWITTER* Terms & Conditions apply, see website for details, offers end 31/08/2011. Maximum of 4 Parent or Guest Book Packs per order.
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  • 89. 1971 - 2011www.ParkCameras.com/pp Tel: 01444 23 70 68 Free Delivery to UK Mainland on Cameras/ Printers/ Scanners! £799.99 £1,049.98 SEE WEB FOR OUR LATEST OUR LATEST PRICE LOW PRICECanon EOS 600D Canon EOS 7D Canon EOS 1D Mk IV 12.1.2009 Our Price £359.99 Our Price £615.00 Our Price £1,179.99 Our Price £3,599.00 £399.99* + 18-55mm IS £688.99 + 18-135mm IS £1,449.99 + LP-E4 Batt £3,703.00 £896.00 £1,079.99 £1,089.99 £1,679.99 Park Cameras’ 40th Anniversary Imaging Festival Saturday 09 July 2011 www.ParkCameras.com/40 Y 09 JUL Limited Fantastic savings Product experts Free School of Photography Workshops Free Prize draws Free Park Cameras vouchers to all that attend on the day Olympus Tough Climb FrameAll 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
  • 90. 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 2343869 ALL OUR KIT IS GENUINE UK STOCK - NOT GREY IMPORT - “We now sell ZEISS” PROFESSIONAL EQUIPMENT STOCKIST UK STOCK “D A L E S S E N S O R C L E A N ” S P E C I A L O FF E R 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 , 39 9 EOS 550D Body £30 cashback £ 51 9 TSE 17mm f4L £1 ,9 9 9 2 X EXTENDER II £ 2 89EOS 1D MK4 £ 3, 79 9 EOS 550D+18/55 IS £ 64 9 TSE 24mm f3.5L II £1 ,7 7 9 300mm f4L IS £ 1 ,2 19 2 Ye a r Wa r r a nt y -1 DSM K 3 + 1DM K 4 EOS 600D Body £ 61 9 24mm f1.4L II £ 1 39 9 400mm f5.6L £ 1 ,1 605D MKII Body £1,899 EOS 600D+18/55 IS £ 68 9 50mm f1.4 £3 0 9 400mm f2.8 L II IS £ 9 ,9 995D MK II + 24 -105mm IS £2,599 10-22 EFS £ 69 5 85mm f1.2L II £ 1 ,8 4 9 400mm f4 DO IS £ 5 ,3 445D MK II + 17 - 40mm L £ 2, 49 9 17-55mm EFS £ 84 5 70-200mm f4L £539 500mm f4 L II IS £ 8 ,9 995D MK II + 24-70mm f2.8L £ 2, 84 9 17-85mm EFS IS £ 38 9 70-200 f4L IS £9 2 2 600mm f4 L II IS 1 0 ,9 995D MK II + 16 - 35mm f2.8L £ 3, 19 9 18 - 200mm EFS IS £ 439 50mm f1.2L £1 ,3 3 5 1.4 X EXTENDER III £ 4 79EOS 7D Body £ 1, 34 9 60mm Macro EFS £ 38 0 70-200 f2.8L IS MKII £1 ,9 9 9 2 X EXTENDER III £ 4 79EOS 7D +18-135mm IS £ 1, 59 9 16- 35mm f2.8L MKII £ 1, 24 9 100-400L IS £1 ,2 4 9 430EX II Speedlite £ 2 19EOS 7D + EFS 15 - 85 IS £ 1, 89 9 17-40mm f4L £ 66 2 70 - 300 IS £4 5 7 580EX II Speedlite £ 3 99 FR E E B AT T E RY WI T H EO S 7D 24-70mm f2.8L £ 1, 14 9 70-300 f4-5.6L IS £1 ,2 6 9 MR14 EX Speedlite £ 4 79EOS 60D Body £ 8 69 24-105 f4L IS £ 98 9 100 f2.8 Macro £4 5 6 BG-E6 GRIP - 5D MKII £ 2 09EOS 60D + 17 - 85 IS £1 1 20 24-105 f4L IS White box £ 79 9 100mm f2.8L Macro IS £7 7 9 BG-E7 GRIP - 7D £ 1 41 PROFESSIONAL V is i t o ur “H 4 D Ro adt r i p” even t Dealer W ed 2 2 J un e 1 1 . 0 0 un t i l 4 . 0 0 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 ,1 4 9 D5100 Body £ 619 600mm f4G AFS VR £7,433D300S + MB-D10 Grip £1, 348 D3100+18-55VR£40 cashback £ 4 49 1.4x/1.7x Converter £323 H4D - 40 + 35-90mm £17,730D300S + 10 - 24mm AFS DX £1 ,7 9 9 MB-D11 GRIP £ 2 69 MB-D10 Grip £254 H4D - 50 + 35-90mm £24,388D300S + 18-200 AFS VRII £1 ,7 5 9 14-24mm f2.8G AFS £ 1 ,3 67 10.5mm f2.8G DX £555 H4D - 40 body £12,877D300S + 16-85mm AFS VR £1 ,4 5 9 24-70mm f2.8G AFS £ 1 ,2 59 24mm f2.8 AFD £349 H4D - 50 body £19,536D300S + 17-55 f2.8 AFS DX £2 ,2 2 9 PC-E 24mm f 3.5 ED £ 1 ,4 49 New 24mm f1.4G AFS £1,735 H4D - 60 body £27,984D700 Body £1 ,8 9 9 10 - 24mm G AFS DX £ 6 83 35mm f1.8G AFS DX £175D700 + 50mm f1.4G AFS £2 ,1 9 9 16-35mm f4G AFS VR £ 8 77 50mm f1.8 AFD £112 CFV-39 for 500 series £9709D700 + 14 -24 f2.8G AFS £3 ,2 4 9 24-120mm f4G AFS VR £ 8 99 50mm f1.4G AFS £307 New CFV-50 for 500 series £11,336D700 + 24 -70 f2.8G AFS £3 ,1 6 9 28 - 300mm G AFS VR £ 7 79 35mm F1.4G AFS £1,499 28mm f4 HCD Lens £3,126D700 + 24 -120 f4G AFS VR £2 ,7 8 9 16-85mm f3.5-5.6G AFS VR £ 4 69 New 85mm f1.4G AFS £1,428 35mm f3.5 HC Lens £2,662D700 + 28 -300 AFS VR £2 ,6 6 9 12-24mm f4G AFS DX £ 8 55 60mm f2.8G Micro AFS £408 35-90mm f4 -5.6 HCD Lens £4,962D3S Body £3 ,6 9 9 17-55mm f2.8G AFS DX £ 1 ,1 09 85mm f3.5 Micro AFS DX £426 50mm f3.5 HC II Lens £2,910D3S + 24-70 f2.8G AFS £4,8 49 18 - 200mm f3.5-5.6G DX VR II £ 6 24 105mm f2.8G Micro AFS VR £639D3S + 14-24 f2.8G AFS £4 ,8 9 9 70-200mm f2.8G AFS VRII £ 1 ,6 89 SB900 Speedlight £342 HTS Tilt+ Shift Adapter £3,774D3S + 70 -200 f2.8G AFS VRII £5 ,2 4 8 70-300mm f4.5-5.6G AFS VR £ 4 49 NEW SB700 Speedlight £259 80mm f2.8 HC Lens £1,711D3X Body £5 ,1 9 9 80-400mm f4.5-5.6 AFD VR £ 1 ,0 49 SB-R1 Macro flash £420 100mm f2.2 HC Lens £2,370D3X +14-24 f2.8G AFS £6 ,2 9 9 200-400 f4G AFS VRII £ 5 ,1 99 SB-R1C1 Commander kit £608 120mm f4 Macro HC II Lens £3,310D3X + 24-70 f2.8G AFS £6 ,1 9 9 200mm f2G AFS VRII £ 4 ,4 32 SU 800 Commander £280 150mm f3.2 HCN Lens £2,478D7000 Body £8 9 9 300mm f2.8G AFS VRII £ 4 ,2 65 WT - 4B Transmitter £539D7000 + 18-105mm VR £ 10 4 9 400mm f2.8G AFS VR £ 6 ,9 99 GP1 - gps unit £189 210mm f4 HC Lens £2,586D5100 + 18-55 VR £6 8 9 500mm f4G AFS VR £ 6 ,1 53 MC-30 /MC-36 £69/£145 300 f4.5 HC Lens £3,083 Nikon/Canon fits OUTSTANDING IMAGE QUALITY NEW SIGMA 8 - 16mm DC HSM £549 FOR YOUR DSLR SIGMA 10-20mm f4-5.6 EX DC £429 SIGMA 10-20mm f3.5 EX DC £499 18mmf3.5/Nik ZF.2 £1,098 LEICA M9 Black body £ 4,8 99 SIGMA 12 - 24 mm f 4.5/ 5.6 EX £642 18mm f3.5/Can ZE £1,055 LEICA M9 Steel Grey body £ 4 , 8 9 9 SIGMA 24 - 70 f2.8 EX DG HSM £639 21mm f2.8/Nik ZF.2 £1,395500C/500C Classic + Free Triggers £ 8 1 6 Bowens 200/ 200 Kit £49 5 “DEMO M9 TEST DRIVE” SIGMA 70-200 f2.8 EX DG OS £999500R /500R Softbox/brolly Kit £86 9 Bowens 400/ 400 Kit £56 4 21mm f2.8/ ZE £1,395 28mm f2 Summicron - Blk £ 2 , 6 0 7 SIGMA 70-200 f2.8 EX DG II £599 25mm f2.8/Nik ZF.2 £780250R /250R Softbox/brolly Kit £82 1 Bowens 200/ 400 Kit £56 4 35mm f2 Summicron - Sil £ 1 , 8 9 7 SIGMA 70 - 300mm f4 /5.6 DG OS £289 28mm f2/Nik ZF.2 £1,006500R /500R Travel pak Kit £1, 32 6 NEW 200/200 Travel Pack Kit £85 9 50mm f2 Summicron - 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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 H4D - 40 + 35-90mm HCD £ 13 9 95 Mamiya 645 105mm f2.8 £179 Leica Elmarit R 180mm f2.8 £449 Zeiss 100mm f2 Makro ZF.2 £ 1, 21 5 Hasselblad H4D - 40 body £ 9 , 2 95 Mamiya 645 210mm f4 £225 Leica Elmarit R 135mm f2.8 £249 Zeiss 18mm f3.5 ZF.2 £ 89 5190XDB £59 804 RC2 head £59 Hasselblad HCD 28mm Lens £ 2 , 6 95 Mamiya 645 210mm f4 £149 Nikon D2XS body £895 Zeiss 85mm f1.4 ZF.2 £ 82 5 Mini TT1 CE Canon £199190XProB £ 112 808 RC4 head £110 Hasselblad HCD 35-90mm £ 3 , 4 95 Pentax 300mm f4 SMC 6x7 £249 Nikon D1X body £395 Nikon D70 body £ 12 5190XDB 804RC2 Kit £99 410 head £160 Hasselblad HC 150mm Lens £ 1 , 6 95 Pentax 645 200m f4 SMC A £295 Nikon D200 body £375 Nikon R1C1 Flash Kit £ 49 5 Flex TT5 CE Canon £210 Hasselblad HC 210mm lens £ 1 , 8 95 Pentax 200mm f4 SMC 6x7 £295 Nikon D60 + 18-55 VR £299 Nikon SB R200 Flash £ 14 9 1xMini 2xFlex Canon £520190XDB 496RC2 Kit £99 701 HDV £89 Hasselblad HC 300mm Lens £ 1 , 9 95 Mamiya 7 - 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  • 91. NEW LEICA X1 LEICA • 12.9 megapixels • LEICA ELMARIT 24 mm f/2,8 ASPH X1 • 2.7" LCD screen • 11 AF segments • Simple Handling, Complete Control £1395.00 New firmware has improved X1 ACCESSORIES Ever Ready case X1 Viewfinder £160.00 £259.00 2011 PHOTOGRAPHERS CALL FOR ENTRIES this camera further X1 handgrip X1 Battery BP-DC8 £90.00 £70.00 £40,000 OF ART PRIZES M SERIES LEICA D-Lux 5 LEICA £599.00 LEICA M9 M9 with18 Million Pixels, ENTER UP TO 6 WORKS ONLINE NOW A true Leica, not only in allows the utilisation of the www.thenationalopenartcompetition.com terms of its elegant full 35mm format. design but also in its SUBMISSION CLOSING DATE 18 SEPTEMBER 2011 superior optical M9 Black Body £4900.00 performance. M9 Grey Body £4900.00 D-Lux 5 Accessories Sponsored by Towry, the Wealth Advisers www.towry.com D-Lux 5 battery D-Lux 5 EVF-1 Viewfinder £63.00 £275.00 LEICA 35mm ADMINISTERED BY THE CHICHESTER ART TRUST CHARITY NO 1067096 MP Body Black or Silver D-Lux 5 Handgrip £63.00 £3500.00 D-Lux 5 Leather ever-ready case £135.00 M7 Body Black or Silver £3500.00 NEW LEICA V-Lux 2 M Lenses £649.00 M Tri Elmar 16-18-21mm f4 & The super-zoom Viewfinder Set £3999.00 compact for travel and nature photography. M 18mm f3.8 Super Elmar ASPH £2200.00 M 21mm f1.4 Summilux £4399.00 V-Lux 2 Outdoor Case £135.00 M 21mm f2.8 Elmarit £2999.00 M 24mm f1.4 Summilux £4399.00 M 24mm f2.8 Elmarit USED & EX DISPLAY LEICA M 24mm f3.8 Elmar ASPH £2699.00 £1699.00 Very rare, very collectable M 28mm f2 Summicron £2799.00 Used M6 Titanium Body, M 35mm M 28mm f2.8 Elmarit £1399.00 f1.4 Summilux Titanium, M 90mm M 35mm f1.4 Summilux ASPH £3440.00 f2.8 Elmarit Titanium, 2x Filters M 35mm f2 Summicron £1999.00 M 35mm f2.5 Summerit £1179.00 Complete Kit £4500.00 M 50mm f0.95 Noctilux ASPH £7348.00 Ex-display M7 A la carte body M 50mm f1.4 Summilux £2550.00 M 50mm f2 Summicron £1400.00 £2500.00 Call for detailed spec M 50mm f2.5 Summarit M 75mm f2 Summicron £949.00 £2380.00 M 75mm f2.5 Summicron £1179.00 Wilkinson M 90mm f2 APO Summicron £2600.00 M 90mm f2.5 Summarit £1179.00 M 135mm f3.4 APO TELYT £2290.00 Cameras M Macro Set 90mm f4, Angle Finder M & Macro Adapter M Flashguns £2750.00 www.wilkinson.co.uk SF24D SF58 £260.00 £539.00 DIRECT SALES LINE NOW OPEN 7 DAYS 01772 252188 Email Orders: sales@wilkinson.co.uk www.wilkinson.co.uk Preston Blackburn Burnley Bury 27 Friargate Walk, 42 Northgate 95 St. James’s St 61 The RockSt. George’s Centre 01254 581272 01282 424524 0161 7643402 blackburn@wilkinson.co.uk burnley@wilkinson.co.uk bury@wilkinson.co.uk 01772 556250preston@wilkinson.co.uk Carlisle Kendal Lancaster Southport13 Grapes Lane, 19A Westmorland James Street 38 Eastbank St The Lanes Shopping Centre Marketgate Southport 01228 538583 01539 735055 01524 380510 01704 534534carlisle@wilkinson.co.uk kendal@wilkinson.co.uk lancaster@wilkinson.co.uk southport@wilkinson.co.uk NEW STORE, Now open in Warrington 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.
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  • 95. legend Larry Sultan1946-2009 “...witty, funny even, finding the surreal in the ordinary, rooted in (and fascinated by) daily American life.” despite a successful commercial career, he was As with Eggleston, a surface sheen of irony always part of the art rather than the photographic conceals – yet, in its knowing superficiality, hints world. From 1988, he was a professor on the at and echoes – a deep level warmly free of irony. photography programme at California College of This is something Sultan said: “I realise that the Arts in the San Francisco area. beyond the rolls of film and the few good His first published work was a book, Evidence, pictures, the demands of my project and my done in collaboration with artist Mike Mandel. confusion about its meaning, is the wish to take It was a collection of 59 uncaptioned photographs photography literally. To stop time. I want my they’d dug out from the archives of government parents to live forever.” Which makes me, at least, departments, big companies and research think of Practising Golf Swing – his father doing institutions. They are really odd pictures. A man just that in his shorts, in a room with the TV in a space suit face down on an office floor. on in the corner and the net curtains drawn. A gloved arm holding a loop of rope. They have And of what Irving said about it, too: “It’s such a been described, from an art world perspective, as shitty swing that I cringe every time I see it.” “a seminal foundation for a new conceptual Around the turn of the century, Sultan took the practice based in photographic mediums that pictures for his next book, The Valley – images ofPeter Silverton looks at the life attempt to decentralize the once-triumphed porn films being made in the San Fernandoof Brooklyn-born photographer pinnacles in photography-as-art: narrative and Valley, which is where most of them are made, inLarry Sultan, whose authorship.” A good point badly made. rented houses just like the one he grew up in. Right away, even though he never actually There is no sex in these pictures. Well, probablyextraordinary images captured clicked the shutter, there is, in Evidence, the not. Sometimes, there seem to be things going onthe ordinary in American life and essence of Sultan’s photography and style: witty, in the bushes. You peer at them, strainedly, ofwere celebrated by the art world. funny even, finding the surreal in the ordinary, course. And you hear Sultan in your head, going: rooted in (and fascinated by) daily American life. gotcha. The all-too-human drive to look at otherLarry Sultan was born on 13 July 1946, in His next major project was photographing his people having sex has pushed you into a moralBrooklyn. Three years later, his parents ageing parents, Irving and Jean, at home. trap. And you also think: there goes a youngermoved to what would become his The book, Pictures from Home, published in Sultan hearing odd noises coming from hisinspirational landscape, California’s San 1992, also included genuine Sultan family parents’ bedroom.Fernando Valley. Mostly, he photographed pictures, stills from home movies and his parents’ His last major work used day labourers, hiringhomes. Or rather ‘homes’, turning images of comments on being photographed by their son. them and setting them against a landscape of hispeople and places into ideas of people Mostly, they didn’t like it, particularly the way adult years – the edge of the Bay Area suburbs.and places. An obituary described his he got them to pose and not smile. The act of paying was as central to the image aspictures as “engaging ideas of truth, fantasy, Often viewed – and described – as critiques of anything done in the camera. Which raises theand artifice in the context of home and the suburban life, the pictures are far more main question about Sultan’s work: is it dependentmiddle-class domesticity”. complex than that. When we look at old Dutch on exposition? If we didn’t know that it was his If that makes his work sound dry and abstract, masters’ interiors – Vermeer’s Soldier and a father practising his golf swing (in his underwear)it’s not. It is saturated with emotion, personality, Laughing Girl, for example – we don’t see them and if we didn’t know that his father bitchedjokes and the deepest, most personal of colour as sardonic commentaries but as richly detailed about Sultan pushing him to do it, what then?palettes. You wouldn’t mind living in a Larry and worked studies of life as it is lived, with My answer? It would still be a great picture,Sultan picture. Wallpaper* magazine figured that all its contradictions, of power, lust, status and, echoic and universal – “planted squarely”, asout and used him as its regular star photographer well, chair design and fashions in wall covering. Sultan put it, in “that rich and fertile field thatof fashionable and quirky interiors. He also So, too, with Sultan’s pictures. The apple green stretches out between fascination and repulsion,worked for W and Vanity Fair. wall and matching shag pile carpet of his parents’ desire and loss.” He came to photography from the art world – home is a thing of wonder. Honestly. To see his He died on 13 December 2009, in California.with a political science degree, too. In fact, work as merely ironic is to miss its true irony. He was in his own home. PP GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK106 www.professionalphotographer.co.uk