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Professional photographer uk 2011-09

  2. 2. CONNECTYOURIMAGINATIONMANFROTTO 290 SERIESA long lasting solution with a solid performance.The ideal tripod to develop your skill and passionfor photography and video further.Essential performance!Increase the accuracy of yourpictures with the innovative3-faced design column.A rock solid and reliable supportwith professional grade,adjustable aluminum leg locks.
  3. 3. Everything in life changes, including editors on magazines. We are all living and working in an industry that is founded on change. And certainly for working photographers we need to look at change as an opportunity. I am under no illusion that many of you will not be overly worried that one of the magazines you buy has a new captain at the wheel, but I do as this is my life, my passion and represents more than 75 hours per week of my time. From my point of view, as the new Group Editor of Archant’s Imaging titles and Editor of PP, the opportunity is very much to evolve the magazine, to get to know its readers and to build a legacy. From a reader’s perspective, the opportunity is to get involved in the magazine and help to shape its future. I genuinely mean that: whether it’s in contributing words and images, sending in your ideas and thoughts or asking us to look into an element of the imaging business that you need answers about. After all, we are journalists and should act like them! Yes, there are going to be changes in the magazine’s content and look over the coming months, from new feature ideas to the layout and design of PP, but I believe the changes will be for the better for readers. THIS MONTH There are some exciting things going on this month, apart from me joining the team, including the launch of our Professional Photographer of the Year 2011 competition, a new columnist in the form of Martin Middlebrook and some rants from working pros about the age-old issue of Weekend Warriors in the wedding business and dealing with clients asking for free stuff. In addition, Brian Adams (no, not the rocker) has shot an assignment entirely on an iPhone 4 and in a new feature, What Pros Want, a portrait shooter looks at some rather expensive Bowens lights to see if he can ‘justify’ the expense. If you are looking for some pure inspiration, check out Ben Duffys amazing portraits of the world’s sports superstars in our Big Interview. Another new september columnist is Selina Maitreya, a US-based marketing expert who has been working with professional photographers for the past 30 years. We wanna see how the Yanks do things and if we can learn anything from them. I hope you enjoy the issue and please feel free to send your constructive feedback, feature ideas and pitches, picture stories, thoughts and musings to us here. Have a great month. Adam Scorey, EditorTHIS IMAGE AND COVER IMAGE BEN DUFFY FRONT COVER I love this shot by Ben Duffy of Rory McIlroy, the 2011 US Open golf winner. It is perfect for the cover because of its feedback@professional fun, yet striking expression.
  4. 4. NEW PHOTOGRAPHY8 Student PortfolioWe take a look at the winning graduates in the Fresh Faced & Wild Eyed 2011 competition29 Editor’s ChoiceNew PP Editor Adam Scorey chooses his favourite image from the online portfolio sectionNEED TO KNOW22 Professional Photographer of the Year 2011 COMPETITIONWe launch this year’s PPOTY awards; which categories will you enter?35 It’s Not All Glitz and Glamour NEW COLUMNISTMartin Middlebrook explains the reality of a hard-working pro who will do anything to pay the bills42 The UndercuttersWedding photographer Mick Cookson reignites an age-old debate about ‘Weekend Warriors’48 Stand Your GroundPortrait photographer Craig Fleming explains why the profession needs to get tough51 The Right Stuff NEW COLUMNISTIn the first of a new series, marketing guru Selina Maitreya reveals how to tackle branding and style55 How Much? NEW SERIESHollywood A-list photographer Andy Gotts reveals how one image earned £100,000 for charity56 FrontlineLisa Pritchard, of Lisa Pritchard Agency, discusses the relationship between photographers and agents58 Policing the PressPeter Stevenson examines the world of photojournalists and their dealings with the policeINTERVIEWS & CHATS WITH...60 The 12th ManCommercial sports photographer Ben Duffy talks about the journey to the top of his game70 iDoWe talk to the professional photographers who shot a wedding on an iPhone 474 Through My Own EyesFine-art photographer John Kenny talks to PP about using a large-format camera on a project in Africa106 HeroesIn a variation on our Legend series, Mick Cookson reveals why Bill Brandt is his ultimate idolNEWS & REVIEWS15 ClickThis month’s line-up of the best news, books and exhibitions81 What Pros Want...We get working ‘togs’ to test the gear they want to buy. This month it’s Bowens’ new Gemini 500R TravelPak89 GadgetsOur pick of this month’s most exciting gizmos and gadgets90 Imagenomic Portraiture 2Portrait photographer Karl Shaw takes a closer look at a post-production plug-in for Photoshop103 Stop Press...The latest essential news, gossip and kit from the pro worldKEEP IN TOUCH31 FeedbackYour thoughts, your opinions, your page32 PodcastEvery issue we record a free podcast discussing a topic from the world of professional photography46 SubscribeSave 35% with our latest subscription offer so you never miss an issue
  5. 5. KARL SHAW
  6. 6. Metroprint: Everythingyou always liked aboutMetro, now even bettervalue onlineMetroprint is a simple and fast way and white resin coated prints andto get properly colour-managed technicians ready to help if and whenphotographic prints from desktop to you need them, Metroprint redefinesdoor. With unique features such as self-service online printing.supersize mural prints, genuine black
  7. 7. contributorsADAM SCOREY REBECCA STEAD KELLY WEECH SIMON REYNOLDSThe new Group Editor of Archant Art editor Rebecca has five years’ Features assistant Kelly joined Simon was a sub-editor onImaging has eight years’ of experience in magazine the team in 2009 and continues newspapers for more than 30experience editing and 10 years’ design and has been with the PP to be passionate about years. His knowledge meansas a professional photographer. team since September 2010. all aspects of photography. our words are in safe hands.JESSICA LAMB MARTIN MIDDLEBROOK BEN DUFFY LISA PRITCHARDJessica is the guardian of our Based in the Midlands, Martin is Ben was a sports photographer Lisa owns Lisa Pritchard Agencywebsite, Facebook and Twitter a commercial photojournalist for an agency before swapping and represents a wide rangepages, and keeps the readers and has been a contributor to PP press deadlines to specialise in of photographers. This monthup-to-date online. for the past two years. commercial sports images. she is our Frontline subject.KARL SHAW BRIAN ADAMS CRAIG FLEMING ANDY GOTTSKarl, a portrait and fashion Brian is a wedding photographer Specialising in editorial-style Hollywood A-list portraitphotographer based in the with more than 10 years’ portraiture and beauty, Craig has photographer Andy is best knownnorth-east, is only happy when experience. He lives in Florida been a professional photographer for his black-and-white imagesshooting with his Nikon D3s. but works all over the world. for the past seven years. of actors and singers.JOHN KENNY MICK COOKSON PETER STEVENSON SELINA MAITREYAPhotographer John has travelled Manchester-based Mick shoots Peter has worked in insurance American Selina has acted asextensively across Africa since weddings in the UK. Before that for more than 30 years and is now a consultant to commercial2006 and captured images of its he owned a production company director at InFocus, a specialist in photographers for 30 years, andremotest communities. making TV commercials. insuring photographers. is also a lecturer and author. Like what you see here? Why not check out our sister title, Photography Monthly? The October issue will feature expert tips from the pros to help you shoot in low light in any situation, as well as the secrets of subtle HDR. 7
  8. 8. The Photographers’ Gallery’s Fresh Faced & Wild Eyed competition, now in its fourth year, showcases the portfolios of students who have recently graduated from imaging degree courses. Here we give just a taste with one image from each of the 20 winners. Complete portfolios can be seen at RENHUI ZHAO Course: MA Photography, London College of Communication Zhao’s work is based on doubt and uncertainty, through the history and development of what he calls the zoological gaze, ie how people view animals. He tests the principles behind the dissemination of knowledge and acceptance of truths. Here he presents a series of photographs showing leaf insects (part of the phylliidae family) on their food/host plants taken from the 2009 Leaf Insect Competition in Tokyo. The best of these leaf insect breeds are shown every year at the Phylliidae Convention in the city, where the species are shown along with their foodplants and owners. Pictured left, Winner, from The Great Pretenders. wwwcriticalzoologists.org8
  9. 9. ALIS PELLESCHICourse: BA VisualCommunications(Photography), BirminghamCity UniversityFashion Icons was inspiredby the notion that anyone canbe a fashion icon, and anyonecan be beautiful. Two pensioners pose intheir own homes wearingKling by Kling’s designerclothing. While the outfitsappear incongruous on thesubjects in their everydaysurroundings, they alsobecome the ‘fashion icons’ ofthis photographer’s work. Alis Pelleschi’s interest inpeople and charactersinforms her fashion andportrait work; her widerbody of work includes manyunusual self-portraitsetups.Pictured left, Usha, fromFashion Icons.www.alispelleschi.comTEREZA ZELENKOVACourse: BA PhotographicArts, University ofWestminsterSupreme Vice evolved fromthe photographer’s interestin the revival of the occultin the Western worldduring the 19th century.The work considers oursusceptibility to irrationalbeliefs that often growfrom the desire to makesense of the natural(dis)order of things.However, while this projectreflects on the 19th andearly 20th centuries, theimages invoke death as theonly objective truth of ourexistence. Nothing is real,everything is permitted,according to Zelenkova.Pictured right,CanonDocre, from Supreme 9
  10. 10. JUNG-WOOK MOKCourse: BA Photography, London College of CommunicationThe experience of being unable to revisit demolished andredeveloped areas of the South Korean capital, Seoul, wherethe photographer grew up, inspired this project. Working with footage taken from various sources,Mok tries to reproduce the diverse moments of ‘explosivedemolition’ as a significant symbolic event andtransformation of the urban environment. Triggering lostmemories, the intention is not only to capture the wholepassage of demolition in one picture, but also torevisualise the abstract, ambiguous character of thetransfiguration by using a long exposure.Pictured below, Figure 01 from The Urban TopographyResearch project. LUCA GIACOSA Course: BA Documentary Photography, University of Wales, Newport “Wolves are presences, worries in the shepherds’ minds, their eyes are like glowing embers in the darkness,” says IDA ARENTOFT Luca. In the past 20 years they have Course: BA Fine Art Photography, returned to the Western Alps; this was Glasgow School of Art made possible because while wolves, deer, chamois and wild pigs were The important elements in the series reconquering the Alps, thousands of Passing are a recurring sense of mountain-dwelling people were an absence or a mere trace of a abandoning the region for the factories presence. The images resonate and suburbs of Italian cities. a stillness, where subtle actions Wolves have become the scapegoat happen and emerge in glimpses. for problems that afflict these areas, Finding or creating spaces of and coexistence seems like a utopian indeterminacy through the time of ideal. The aim of this project is year, the sombre shades of night, to explore and document the battle or the glaring light of the flash, play between nature and humans. important roles and help to build Pictured above, the chestnut forests a sense of time moving both forwards that surround the village of Snive, in and backwards. north-west Italy, have been used by Pictured below, Untitled (Red House various wild animals to spread from 53) from Passing. valley to valley in the last few decades. From Pian del Louv.CHIARA TOCCICourse: BA Documentary Photography,University of Wales, NewportLife After Zog and Other Stories is a portrait of Albania20 years after the collapse of Communism, as the countrytries to throw off its past and move forward. It portraysa nation on the verge of change, wanting to join theEuropean Union, and longing for what is new and modern. Tocci visited the northern mountains, the cities, schoolsand prisons, discovering an enchanted place inhabited bypeople who “share the land with their ancestors’ ghosts.”Time and history often seem to have stopped abruptly, butblood feuds and disillusionment persist. Pictured above,Roses, Donika, 13 from Life After Zog and Other Stories.www.chiaratocci.com10
  11. 11. YOSHI KAMETANI Course: BA Photography and Film, Edinburgh Napier University SYLWIA KOWALCZYK An organised collection of visual Course: MFA Photography, Edinburgh information, Plastic Spoon has College of Art evolved from four years of building relationships with the residents of Kowalczyk’s Temporal Portraits Muirhouse, Edinburgh, one of the developed in reaction to society’s most deprived public housing estates obsession with celebrity and in the UK. ‘identifiable’ portraits. Her work, by The scheme has suffered high contrast, is not interested in drawing unemployment rates and issues with attention to the individuals identity. drugs and violence. It is located on the The images are deliberately outskirts of a city that – conversely – unaccompanied by a name or title,KYLE ZETO has one of the highest numbers of compelling the viewer to completeCourse: BA Fine Art, Central Saint Martins College of Art and Design millionaires per capita in the country. the image themselves as they are The photographs capture individuals, at times confronted with just a lock ofHuman imagination and nature have intersected throughout cultural history. landscapes, objects and domestic hair at the back of a neck orFrom the English poet and artist William Blake to Canadian poet Bliss Carman and settings that communicate the feeling a fragment of face emerging fromAmerican writer and philosopher Henry David Thoreau, biological systems have of isolation, alienation and a sense of behind a curtain of hair.provided stimuli to human fantasy. For Zeto a representation of nature has a vision eccentricity specific to Muirhouse. Pictured below, Untitled, no 9 fromprojected on to it. Anthropomorphism is attributing human characteristics to Pictured above, Playground from the Temporal Portraits.something inhuman or perhaps inanimate. “Nature, to us, is both those things.” Plastic Spoon series. www.sylwiakowalczyk.comPictured above, Hivehead from Folk Logic. www.mryoshi.comGITTE HOETBJERGCourse: BA Fine Art Photography, Glasgow School of ArtHoetbjerg’s work explores intimacy through the fragile borders between distanceand closeness. Uncompromising in her approach, Hoetbjerg tries to engagedirectly with the intimacy of her subjects, creating both graphic and more subtleimages, hinting at the affective and reflective nature of human beings.Pictured above, Boys from A 11
  12. 12. CAMERON HAYNES Course: MA Photography, London College of Communication Haynes explores the interplay between identity and classification with individual and collective consciousness, and examines how these inform our understanding of visual representation. More interested in the perception of things than how they look in themselves, Haynes uses found portraits which he manipulates. SONAL KANTARIA The surface of the photograph is Course: MA Photojournalism, University of Westminster rendered opaque, leaving small areas of original colour exposed in order Against the backdrop of an India emerging as a major player in to highlight the skin of the subject, global markets, millions of people have been involved in human thus creating absurd taxonomic trafficking. Girls as young as 10 years old, frequently from the schemes which aims to highlight the poorest backgrounds, are being kidnapped and sold to brothels, inaccuracy of data collection when sometimes by their own families. used to define individuals. This project explores the stories of a number of girls and young Pictured left, Yellowish White, from women who have been rescued from the brothels of Mumbai and What it Means to Be. nearby Pune to be reintegrated into society and, if appropriate, returned home. The work touches on the social, economic and cultural issues that affect contemporary India. Pictured above, Arati from Naseeb: Trafficked. ANDREW BRUCE Course: BA Photography, University for the Creative Arts, Farnham “We divide the landscape and exclude nature from our day-to-day existence; we barely notice the ‘thud’ against our vehicle when we literally come into contact with animals,” says Bruce. His work takes this moment of contact, the ‘road kill’, as its starting point. Tender is a meditation upon morality and our increasingly detached relationship to nature. There is an ambiguity in the title; on the one hand it is about intimacy, on the other it makes reference to pain. The work is made methodically,ELISA NOGUERA LOPEZ using an 8 x 10 view camera and life-size analogue handprints.Course: MA Photography, London College Pictured above, #01, from Tender.of Communication elements from an imaginaryhousehold, Noguera Lopez places hersubjects in the centre of the photograph, FAN CHON HOOraised with small footstools as if they are Course: BA Photography, London College of Communicationresting on plinths. The curtains andupholstery materials, used as a backdrop, This work responds to the Willow Pattern developed by Englishflatten the image and accentuate the craftsmen in the late 18th century. Fan Chon Hoo is interested inamorphous positions adopted by sitters. how a foreign cultural form can be appropriated and translated By presenting both anonymous people into an exotic collectable. He creates paper ‘earthenware’ printedand unidentified pets, the intention is to in cyanotype and embellished with imaginary landscapes showingemphasise the ordinary details, textures oriental architectural structures found in the UK. Fan Chon Hooand shapes within the images, and to wants to challenge cyanotype’s association with the ‘blueprint’ byabstract the relationship between considering the question of origin and fluidity of cultures.the human and the domesticated. Pictured left, Article #3, Teacup, from The Blue and WhitePictured above, Untitled 1, from Perhaps Collection.Finally Alone. www.fanchonhoo.net12
  13. 13. AMI BARNESCLARE HEWITT SAMANTHA HARVEY & Course: BA Photography in the Arts,Course: BA Commercial Photography, Arts University College, ANNA BROOKS Swansea Metropolitan UniversityBournemouth Course: BA Graphic Design and Photography, Kingston University Photography can be used toIn Britain the law relating to assisted suicide is in a state of confusion document life; but it can also playand has recently been the focus of extensive public debate. The ethical issues and paranoia a role in shaping experience. In this Through producing these portraits, and interviewing her subjects, surrounding the law on work Barnes seeks to challenge theHewitt has tried to make a more humanistic link between individuals photographing children in todays traditional role of the camera asand the wider arguments. The work examines how compassion and society are controversial and have passive observer and highlight it asunderstanding at a personal level interact with society’s moral, legal, caused confusion. This collaborative an active agent in personalmedical and sociological values. project questions the point at relationships with those around her.Pictured above, Raymond Tallis, retired professor of geriatric which photographing children will The series First Dates is themedicine, from The Value of Life and Death. be completely forbidden. collaborative result of Pictured above,Class Portrait. and interactions with the people who appear alongside Barnes. It is an exploration in control, the experience of the self through another and the potential of the camera to merge art and reality. Pictured below, Stéphan, a video still from First Dates. www.amibarnes.comOCHI REYESCourse: BA Photographic Arts, University of WestminsterReyes’s own body and thoughts are the basis for a criticalexamination of society’s expectations to do with identity.The thoughts scratched on to her skin are related to not fitting inand the feeling of anxiety arising from this displacement. Fresh Faced & Wild Eyed 2011 is the It is not only this malleability of the skin that interests Reyes, but Photographers’ Gallery’s annual competitionalso the idea that skin absorbs information from the outside world; it for recent graduates. Entries were submittedis the interface between the self and others, both separating us and online and judges then chose the work for thebecoming the physical link between our bodies. website exhibition. To see more images in all ofPictured above, 27th May 2010, from Revelations. the winning photographers’ portfolios, go 13
  14. 14. PP - CLICK - SEPT 10/08/2011 10:35 Page 15 click A tribute to Tim Magnum Photos is to represent the archive of the late photojournalist Tim news/books/exhibitions Hetherington, who was killed by a mortar shell in Libya on 20 April this © GUY BOURDIN year. A vote to accept the British Charles Jourdan photographer’s work, which includes advertisement, still and moving images from his spring 1979. fateful trip to Libya, was held at Magnum’s 64th annual meeting in Bourdin in your pocket Paris. Hetherington was celebrated The work of the influential and often controversial French fashion photographer Guy for his groundbreaking approach to Bourdin is traced in a new pocket-sized hardback. It presents 55 photographs in photojournalism, which embraced chronological order, including some of his most famous work as well as previously many mediums, as well as his fearless unpublished images. Bourdin worked for French Vogue magazine for more than 30 years, storytelling. His legacy includes the from the mid-1950s to the mid-1980s, shooting campaigns for some of the biggest names in 2010 Oscar-nominated film Restrepo, fashion. The impact of his imagery, which rejected product shots in favour of a more which he filmed while embedded with atmospheric, often surreal style, is still felt today in both commercial and fine art the US Army in Afghanistan. To read photography. Guy Bourdin, by Alison Gingeras, published by Phaidon Press, £7.95, our interview with Hetherington ISBN: 978-0-7148-6258-3. from the PP’s October 2010 issue, visit Lichfield in the limelight Patrick Lichfield was known for his iconic images of public personalities and royalty, and as the Queen’s cousin he enjoyed access Back to its roots to a glamorous world. A new book covers his Hasselblad has been bought by career from the 1960s to his death in 2005, Ventizz Capital Fund IV, a private and includes more than 300 colour images. equity firm based in Switzerland and A linked exhibition will be held at the Chris Germany. Its acquisition brings the Beetles Gallery, London, in December. Swedish-founded manufacturer back to its European roots after Patrick Lichfield: Perceptions, by Martin eight years of ownership by the Harrison, published by Quadrille on Hong Kong based Shriro Group. 3 October, £30, ISBN: 978-184400948-0. 15
  15. 15. click A look on the bright side We know you’ve seen his 1984 image, Afghan Girl, a thousand times, but that doesn’t make its impact any less powerful. Steve McCurry, Magnum master and king of colour, is the latest to have an exhibition of work at Chris Beetles Fine Photographs in London. Largely featuring McCurry’s images of India, the exhibition also journeys to places as varied as Bhutan in South Asia, Kuwait and Cuba, as well as showing Afghan Girl. A common thread is McCurry’s skill at capturing humanity news/books/exhibitions and strength in the most unlikely of places, from a refugee camp in Pakistan to a sandstorm in Rajasthan. © STEVE McCURRY Steve McCurry, Chris Beetles Fine Photographs, 3-5 Swallow Street, London W1B 4DE, 6-24 September. Jodhpur, India, 2005. South African witness A touring exhibition in Liverpool is showcasing more than 90 images shot in South Africa by Magnum photographer Ian Berry. Covering the period from 1960 to 2004, they document the collapse of apartheid, the appointment of Nelson Mandela as the country’s first black president, and its aftermath. The display includes images of the Sharpeville massacre in 1960; Berry was the only photographer to document the scene when armed police fired on crowds protesting against the apartheid regime, killing around 70 people. Living Apart: Photographs of Apartheid by Ian © MAGNUM PHOTOS Berry, International Slavery Museum, Albert Dock, © HENRY WESSEL An impromptu Liverpool L3 4AX, until 6 November 2011, pavement dance, admission free. Johannesburg ,1961. Nothing but the Crosby Street, SoHo, New York, Hawaii Seven-O 1978. Struth If you haven’t had a summer holiday this year, immerse The Whitechapel Gallery, London, yourself in Waikiki, a new book is staging an exhibition of work by by American documentary German art photographer photographer Henry Wessel that Thomas Struth; his first solo documents the sun-soaked show in the UK for almost 20 Hawaiian capital of Honolulu. years. Struth was taught by Shot in the 1970s, the pictures © THOMAS STRUTH Bernd and Hilla Becher in showcase Wessel’s gift for Düsseldorf, which shaped his capturing shape and form style. He began his career perfectly. Don’t expect capturing the streets of cities tourist-style picture postcard such as Düsseldorf, Brussels, London and Naples. In the past three decades he has turned shots; rather a series of subtle his attention to photographing family portraits, technology sites − such as Kennedy Space moments, captured beautifully. Center − and places of faith and belief. This is a rare opportunity to see Struth’s work Waikiki, by Henry Wessel, exhibited in the UK. The collection includes large-scale photographs – some up to four published by Steidl, £50, metres wide – as well as his early black-and-white images of European cities. ISBN: 978-3-86930-300-0. Thomas Struth: Photographs 1978-2010, Whitechapel Gallery, 77-82 Whitechapel High Street, London E1 7QX, tickets: £9.50/£7.50 concessions. A vine Oliviero Toscani, the genius behind the controversial Benetton campaigns (featured in the January issue of romance PP) has brought his creativity to the wine trade. The Italian photographer and Tuscan vineyard owner’s OT wine is made from a blend of Syrah, Cabernet Franc and Petit Verdot grape varieties. 16
  16. 16. © Airy Goullet © JURGEN DABEEDIN FOR ORIGINALS“Light Blue has changed my life, for the better– it keeps everything organised and easy tosee. I cannot impress enough how easy it is touse and how important it is to me, and howgreat the customer service is, too.”Matt Pereira, Light Blue userDesigned for all types of photographers, from one-personbusinesses to studios with several staff, Light Blue is aflexible piece of business management software thatlets you keep on top of shoots, orders and contacts. It’sbursting with clever things to help you to run a busy andsuccessful photography business.Download a free, fully functioning 30-day trial from ourwebsite, and discover Light Blue for yourself.Light Blue Software is proud to be sponsoring the Student categoryin the Professional Photographer of the Year Awards 2012. AWARD-WINNING MUSEUM QUALITY PAPER
  17. 17. PP - CLICK - SEPT 10/08/2011 10:37 Page 19 click Louis Smith, Huntingdon Gymnastics Club, Cambridgeshire, The D-Lite-it March 2011, © FINLAY MACKAY / NATIONAL PORTRAIT GALLERY / BT ROAD TO 2012 PROJECT news/books/exhibitions D-Lite-it Kits Going up a gear from £470 inc vat BXRi Road to 2012: Changing Pace is the second exhibition at the National Portrait Gallery, London, in a three-year cycle funded by BT, and documents Britain’s top athletes and their supporters, as well as key figures behind the London 2012 Olympic and Paralympic Games. The 37 images on display are by Emma Hardy and Finlay MacKay, the latest photographers to be commissioned for the project. Subjects include London 2012 chairman Lord Coe, film maker Danny Boyle, who is artistic director of the opening ceremony, and world triple jump champion Phillips Idowu. Road to 2012: Changing Pace, National Portrait Gallery, St Martin’s Place, London WC2 0HE, until 25 September 2011, admission free. Raising the bar The overall winners of the first Bar-Tur Award, a prize that recognises new talent in the photographic world, have been announced. Open to students and graduates of University of the Arts London, it has been established in BXRi Kit from memory of Ann Lesley Bar-Tur (1947-1984), £785 inc vat RANGER RX a talented British artist and alumna of Chelsea College of Art and Design. The judging panel, which included portrait photographer Platon Q UADRA Antoniou, selected Briony Campbell in the Alumni category for her project Eating Dad’s Dinner, which she began after her father was diagnosed with terminal cancer. Sam Ledger © SAM LEDGER was the winner of the student award for his black-and-white image 7982619518114.0 (pictured). Canon Pro Solutions Show 2011 It’s back! This year’s Canon Pro Solutions Show will take place on 25 and 26 October at the Business Design Centre in Islington, London. It’s the third year for this show, which is aimed at video, still image and broadcast pros, and features the latest Canon products. With the convergence of still and moving image having a big impact on the industry, this will continue to be an important element of the 2011 event. Free seminars by Canon ambassadors and well-known photographers and film makers will take place over the two days and trained professionals will be on hand to inspire visitors. The Professional Photographer team will be there too, so drop by and say hello. Entry to the show is free if you pre-register online at Quadra Kits from £1085 inc vat E&EO
  20. 20. SIONALRAPHER2011 To celebrate the talent in the UK’s photographic community, we are officially launching our Professional Photographer of the Year awards for 2011. The response to last year’s competition was amazing, and we say a huge thank you to the sponsors, judges and readers for their hard work andTHROUGH OUR WEBSITE commitment. We’d love to build upon thisWWW.PROFESSIONAL success and create a competition in whichPHOTOGRAPHER.CO.UK the whole industry wants to participate 23
  21. 21. 2011 OF THE YEAR AWARDSKeeping things simple is often the best way photography magazines, websites andto handle complex scenarios, and this year’s social media outlets. He was a professionalcompetition will be kept as straightforward newspaper and TV photographer for moreas possible. It will be hosted on the than 10 years.Professional Photographer (PP) website,and each issue of PP, from next month to ANDY GOTTS has been a photographer toFebruary 2012, will feature some of the Hollywood A-list actors, from Brad Pitt tojudges’ favourites that have been uploaded Daniel Radcliffe, for the pastso far. In April 2012 we will host an official 21 years, and many have become friends.prizegiving ceremony and party for the He is also president of the British Institutewinners, judges and sponsors. More on of Professional Photographers (BIPP).the party in future issues. The May 2012 issue of PP will include TOM CATCHESIDES is a leading UK weddinga PPOTY Special Edition showcasing images photographer who also does portraits,from the winners and runners-up in corporate events and PR work. In 2009 hea 24-page section, including interviews, founded Light Blue Software, one of thecomments from the judges and images from sponsors of the PPOTY awards this year.the winners’ party. Opposite page: Winner of the ProfessionalTHE COMPETITION Photographer of the Year title and of the FashionThis year we are having 13 categories, award 2010, Arseniy Semyonov.with a winner and a runner-up in each. Right: Winner of the Editorial award 2010, Rebecca Litchfield. Below: Winner of theThere will then be a final judging to Advertising award 2010, Tim the Professional Photographer ofthe Year. To enter just log on submit your entries in the givencategories. You don’t have to enter allof them; you may pick just the oneswhere you feel strongest. The deadlineis Friday, January 27, 2012.THE JUDGESPAUL SANDERS has been the Picture Editorof The Times since 2004. As well as beinga keen photographer himself, he is equallyobsessive about cycling, and blogs about itat cyclingdisorder.blogspot.comBEN DUFFY is an internationally renownedcommercial sports photographer whohas shot just about every A-list sports star.His impressive client list includes adidas,Nike, the Premier League and EA Sports.ADAM SCOREY is the Group Editor forArchant Imaging and is responsible for theeditorial direction of its portfolio of24
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  24. 24. 2011 OF THE YEAR AWARDSTHE CATEGORIESWe have 13 categories for photographers toenter and the titles are generic to encourageas many as possible to take part. There willbe a winner and runner-up in each category,plus Best Portfolio winner and theProfessional Photographer of the Year title.You may enter as many categories as youlike but are limited to one image in each,with the exception of the Portfolio Award.1. HIGH FASHION – from a head shot to a full length, we want to see images oozing style2. STREET PHOTOGRAPHY – raw, candid, colour or mono, a visual comment3. THE WILD WORLD – show Mother Nature’s true character4. COMMERCIAL CLIENTS – from abstract architecture to industrial Britain5. IN THE STUDIO – show us your mastery of light Opposite page: Winner of the Travel award6. ON LOCATION – from gritty urban scenes 2010, Paul Thurlow. Above: Winner of the to polished city portraits, we want to see Weddings/Social Reportage award 2010, Sacha Miller. Right: Winner of the Contemporary you show skill at using the surroundings Art award 2010, Sergey Lekomtsev. to enhance your image7. SPORTING ACTION – show us your perfect timing, amazing lens control and how you capture the passion WHAT DO YOU WIN?8. REPORTAGE WEDDINGS – are you the We would like to think that becoming next Jeff Ascough? Professional Photographer of the Year 2011,9. STILL LIFE – let the judges see your or a category or Portfolio winner, are strong control of lens choice, depth of field enough reasons for entering. Yes, there will and composition be an exclusive winners’ party with sponsors10. STUDENT OF THE YEAR – an open and judges, plus magazine staff, but we also THE SPONSORS category for anyone in full-time education feel that you need to get something a bit studying a photographic discipline extra. So, each winner will receive an11. EDITORIAL/NEWS – from hard to soft, exclusive logo to promote themselves to the show us your skills at interpreting a brief industry and to their clients, which can then and responding to events as they unfold be used to help market themselves through12. BREAKING THE MOULD – another open websites, stationery and business cards, category for everything weird, wacky and as a mark of distinction and a sign of quality. avant-garde – have some fun! In addition, there will be a section created13. THE PORTFOLIO AWARD – this goes to on the PP website profiling the PPOTY the photographer with what the judges winners, using this logo as a reference point, consider the strongest overall portfolio so potential clients can visit and discover of three images. The category and their awardwinning photographer. subject matter are open, and we This would be used as a click-through encourage you to submit new images from the winners’ websites back to the from one or more shoots PP website. PP 27
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  26. 26. Scorey’s favourite from this month’s Portfolio uploads You may think I picked this shot because it’s of an attractive woman in a skin-tight wetsuit. Partly. But on closer inspection you can see the crafting of the light, the subtlety and balance Chris has used that shows a real understanding of lighting - I particularly like the rim lights. There are multiple lights in use against the dark wetsuit with a contrasting face and swimming cap. It’s tricky, exposure-wise, but what I like about it, more than anything, is its simplicity and its symmetry. The lighting really enhances the subject, rather than overpowering it. Very nice. PP www.christopherneil NEIL LLEWELLYN Want your image featured here? Upload your shots to 29
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  28. 28. { feedback } tell us what you think via Twitter @prophotomag or Facebook Pro Photo Mag or by email PRO PHOTO MAGDear Professional Photographer, see as ‘art’, mainly as each image Dear Professional Photographer, loads of photographers specialisingI read with interest your article that we take and see needs some I just wanted to say another big in unusual types of work out there.‘Call it Whatever You Want but form of interpretation. The old thank you to Professional Tim ShawDon’t Call it Art’ in Professional cliché can be brought into play here Photographer magazine forPhotographer (June 2011). in that the beauty (or otherwise) is selecting me as a winner of the Dear Professional Photographer,This subject has absorbed me for very much in the eye of the Shoot the Catwalk Competition Great magazine, have beensome time, and I discussed it in beholder. For me, I’d rather have earlier this year. Are you guys subscribing for a few years,my 2008 book Photographic some form of response than apathy. planning another FW comp? always something new.Composition. Basically I think Apathy is a nasty, horrid thing and (Id love the opportunity to shoot George Daviessome photography IS art, but a lot creates what I call ‘holes’. NY Fashion Week!)is not. Even some ‘art’ is not art! Some form of response allows us Margaret Yescombe Dear Professional Photographer,To make progress I think you need to learn and, ultimately, grow. Excellent magazine. Great to seea definition against which to Personally, I’d love photography Dear Professional Photographer, fellow photographers’ work,measure. In my case I use creativity to become ‘cool’ again – if I can Love the mag, even better when I techniques and experiences.(essential) plus craftsmanship (with use that word. But this would mean get a picture printed in the Alastair Bellsome flexibility) plus emotional we may need ‘leaders’ or icons to Portfolio section. Thanks. Greatresponse (essential). I find help show us the ‘way’ – a Banksy issue this month. Dear Professional Photographer,this quite reliable – for pictures, or Jamie Oliver type. The biggest Paul Thurlow Who is the new Editor of thesculpture, music etc. I have no time problem I can see, other than the Professional Photographer Mag?for photography which just apes sheer volume of people shooting Dear Professional Photographer, Maria Draganpainting, or some of the more now – and what they’re shooting on Excellent read, but I am starting tovacuous ‘arty’ work. But I do like – is that ‘cool’ is as cyclical as the think I am the only photographer Dear Maria,to be moved by a photograph, be it fashion industry. Does photography doing construction and civil The new Editor of Professionalreportage, abstract or avant-garde. lead art or visa versa? Or, as I engineering. I would like to see Photographer is Adam Scorey.I feel we are a bit stuck in this suspect, is it that events to which more varied work, other than Pro Photo Magformulaic ‘contemporary’ phase of we as photographers respond really fashion, weddings; there must beconceptual constructions and blank dictate things?face. As I said in my earlier letter I guess we now also have to bring(PP, December 2010) what we need in technology as part of the process;is not snob photography, but good new developments (from camera @prophotomagphotography. This applies to all sensors to Speedlights) andgenres, including the commercial. software can massively affect our Some nice interviews in latest since some of regular contributorsGeoff Roe, via letter inspiration and what we can now do @prophotomag Kalvar, Mollica, will no longer be in it. with our creative juices. Hansen and Georgiou all @jamiewillmottDear Geoff, A point I feel strongly about, and #Goodstuff. @lensgruntI understand your point fully; what one you have mentioned, is that of @prophotomag question: ifdo we call our pictures now – the importance of craftsmanship. Praise from @peterdench for everyone’s practically leaving theimages or photographs? Technically I think this is an essential Press & Editorial Photography mag as said in this month’s issue, what’s to look forward to nextthey are not photographs... Perhaps ingredient that should be fostered graduates’ London show in Aug’s month? @jamaminiwith a more formal definition, this and grown in all of us. I love @prophotomag p35 – “work istransitional phase we are all in and technology, gear and gadgets, but good and democratic”. @jamamini Still plenty to lookcoming to terms with may be easier it should be up to the photographer @UCFalmouth forward to in the next issue. Theto understand/handle. However, I how best to employ all of them. philosophy of the magazine willdo think we all need to keep an Adam Scorey, Group Editor, @prophotomag I’m interested to remain the same: by pros, for mind and treat everything we Archant Imaging see what the next mag will be like, @prophotomag PP 31
  29. 29. PP - Podcast - SEPT 10/08/2011 10:55 Page 32 podcast ON YOUR WAVELENGTH Every month we record a free-to-download podcast in which we discuss, debate and talk around a subject featured in the magazine. We post them on our website and you can subscribe for 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 July 2011 Issue May 2011 Issue September 2011 Issue HOW MUCH IS YOUR BOOKSHELF WORTH? CONVERGENCE AND THE FUTURE NEW PPOTY AWARDS LAUNCHED The podcast contributors talk about collecting OF PHOTOGRAPHY New PP Editor and Imaging Group Editor photography books. They examine why some The impact of HD DSLR film making on the Adam Scorey is joined by Jeff Meyer, who has books have not only held their price but world of professional photography is the podcast just taken over at the helm of our sister title, dramatically increased in value while others have topic this month. With many stills photographers Photography Monthly, to discuss the been relegated to the dusty shelf of obscurity. now being asked to shoot video, the debate Professional Photographer of the Year 2011 Long-time photo book collector Grant Scott focuses on problem areas such as narrative, Awards and the latest developments in the explains his passion and the discussion turns to sound and editing, and how stills photographers world of photography. the ways of spotting a good investment. are reacting to this new world. AND THOSE YOU MAY HAVE MISSED… June 2011 Issue April 2011 Issue August 2011 Issue THE BEST OF BRITISH PHOTOGRAPHY GETTING YOUR WORK EXHIBITED HIT THE STREETS The podcast discussion this month revolves The podcast contributors discuss the world The previous PP Editor, Grant Scott, and his around the Best of British list published in the of exhibitions. As curator and exhibitor deputy editor, Eleanor O’Kane, discuss PP June issue. The team look at some of the respectively, Grant Scott and Peter Dench share the renaissance of street photography with great names of British photography through the their experiences and look at the wider benefits photojournalist Peter Dench. He explains his decades, stand up for their own personal of making an exhibition of yourself. passion for this type of work and talks about favourites and ask why some periods have seen photographers who have influenced and a proliferation of great British photographers. You can subscribe for free and download the inspired him. They are joined by editorial If you feel a photographer who deserved to be podcasts from iTunes by typing professional photographer and PP podcast fan Chris Floyd, included has been left out drop us an email at photographer into the search tab or listen via who shares his thoughts on the subject. feedback@ PP 32
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  32. 32. MIDDLEBROOK IT’S NOT ALL GLITZ... ...AND GLAMOUR Straight-talking pro MARTIN MIDDLEBROOK asks us to sympathise with the unglamorous reality of hard-working pros who will do any assignment to pay the bills, but then blows it with talk of basking in the heat of the south of France enjoying a large beer for lunch This year I have 10 articles, and I also work as a consultant my bitch, is this: it’s not how it used to be. photographed a door and to an advertising agency. I took myself off to Hell, what am I saying? I don’t really remember a fireplace, a skin care Mumbai to gather images that might form how it used to be, but they tell me it was splendid conference and a man part of a new humanitarian project, but and fine – how lovely! dressed as a banana – that are presently just being used to fill the oh, and one dressed as a pages of articles I have to write. WHERE’S THE CASH? strawberry. I have also It’s not all glitz and glamour, not everyone There are too many photographers and too fewexhibited at the British Museum and am is Nick Knight or Rankin, so most of us grab budgets; the maths are simple, and so you havelaying out a book on my Afghanistan project. what we can to fulfil our lives creatively and to to think a little laterally about how you mightI have redesigned my website and written pay the mortgage. This is our reality. So my gripe, continue to make a living. Everyone says you 35
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  34. 34. need a website, so you do that. But it’s not MIDDLEBROOKenough. Get a blog and a Facebook page too,but you probably need to sell the kids to producethat vanity coffee table book – a giveaway thatwill bring you no work, but massage yoursensitive soul. You had better get your headaround convergence as well, it’s coming for sure,they keep telling you; so HD is your latestupgrade, and Final Cut Pro. However, you are spread too thinly, you can’tdo any of it well – some of it you can’t do at all– and all the time, what you get paid for this workis tumbling out of control because some upstartis offering to photograph weddings for £150.You can’t compete with that, what with themortgage and the camera upgrade you have justtaken, and your legal obligation to feed the kidsand not use them as collateral against yourmisguided investments. As circles go, it’sbecoming harder to square. It gets harder, too, to remind ourselves whywe do this; that old creativity chestnut looksa little worn out when you are photographinga man dressed as a banana and, if I am honest,the fireplace shoot didn’t rock my boat.FOLLIESThe wonder of the human condition is the “The equation is as follows: Banana suit + foreign travelunquenchable desire to put yourself through it + skin care + social media (yawn) + no daily commuteall, again and again, even though common sensesays you are just stabbing yourself in the eye. + earning just enough to live = A damn happy life!”So I am off to Provence to continue a personalproject on bullfighting that I began about six Martin Middlebrookyears ago. Another self-financed folly thatwill swell my portfolio and make me feel goodfor a while, but won’t bring me the adulation ofSebastião Salgado, just an infected mosquito bite.BUGGERED IF I KNOWSo why do we do it? Why do we still have faith init all? Why do we risk so much, often for so little?Well, I’m buggered if I know, but I think it’ssomething to do with not really wanting a properjob. We insist that nothing will kill our ‘verybeing’ more swiftly and efficiently than aharassed daily commute and a tyrannical boss;we believe that somehow our skills should provideus with a life outside of that little loop, thatwe deserve it, that we are somehow superiorpeople – but, of course, we are not! We couldn’t hack corporate life if we tried, sowe capitulate and swim like swans; all grace andsplendid beauty above the surface, but a frantic,negligent paddle below. And I should know, I havebeen eking out that little parody for longer thanI can remember, always on the edge of glory,or an abyss. The worst part is this: every timeI think I can’t do it any more, something amazing Above top to bottom: Man dressed as a banana with his sidekick; Bullfighting indrops from the sky like candy and somehow Provence from Martin’s personal project. Previous page: Photographing paint drying. 37