Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

Professional photographer uk 2011-01


Published on

  • Justin Sinclair has helped thousands of women get their Ex boyfriends back using his methods. Learn them at: ➤➤
    Are you sure you want to  Yes  No
    Your message goes here
  • Controversial method reveals inner psychology of techniques you can use to get your Ex back! See it now! ■■■
    Are you sure you want to  Yes  No
    Your message goes here
  • If you just broke up with your Ex, you have to follow these steps to get him back or risk ruining your chances. ▲▲▲
    Are you sure you want to  Yes  No
    Your message goes here

Professional photographer uk 2011-01

  1. 1. welcome january Throughout my career and life I have had heroes; people I’ve looked up to, admired, been influenced by and respected for their achievements and attitude. Many of them have been photographic heroes. Most of these have been people whose work I could never hope to emulate, but from whom I have managed to grasp nuggets of insight – a few words that have given me more understanding of my work and/or the industry. It is why each month we try to bring you as many exclusive interviews with the world’s greatest photographers, so that you can benefit from their experiences and hear and learn from the best. This month we have compiled a series of interviews with some of the most iconic and important photographers in their fields and I’m honoured to have them feature in our magazine. Toscani, Watson, Schapiro and Schadeberg, thanks for the insights. Every month we feature your images and this month sees us devote 18 pages to the winning and commended images from the Professional Photographer of the Year Awards 2010 from Page 103. The quality of the images you enter gets higher by the year and ever harder to judge. I hope you agree with the selection, although as with any photography competition I’m sure there will be great debate over our choice of the winning images! We had an incredible rise in the standard of student entries this year, which bodes well for the future of our profession, despite a lot that I hear and see coming out of the universities. Someone who is giving his time to back up his beliefs is photographer Jonathan Worth. You can read about his ground-breaking Phonar Project in Turn On, Tune In, Drop In from Page 38. One of the most discussed channels for promoting a photographer’s work is the photographic exhibition. How to stage one on budget and successfully can often seem like a secret dark art, so we decided to speak to the experts to find out how to get it right. You can read what they had to say in Make an Exhibition of Yourself from Page 80. While on the subject of exhibitions, what we at PP have noticed during 2010 is the vast number of them devoted to rock photography from the past 30 years or so. We mention them and occasionally feature the most interesting but we wanted to look into the ‘Why?’ in more depth, so we asked ex-music journo Peter Silverton to take one of his personal journeys into finding out the truth and asking the difficult questions in Let it Rock from Page 74. We have had an amazing response to our new regular column The Dench Diary from Page 42 and to our revamped monthly podcasts featuring myself, our deputy editor Eleanor O’Kane and the drink-friendly, sometime working pro himself, Peter Dench. You can find out more about the podcasts in On Your Wavelength on Page 30. As the owner of a couple of Pentax 67s with lovely wooden handles I couldn’t wait to get my hands on the 645D, Pentax’s return to theTHIS IMAGE / COVER IMAGE: ALBERT WATSON medium format marketplace. However, I thought that the leading garden and lifestyle photographer Jason Ingram was better placed to put itEDITOR’S IMAGE: MATT HALSTEAD through its outdoor paces. You can read his findings in Back in the Game from Page 98. Now, as I’m running out of space, it just leaves me to thank you all for your support in 2010 and to look forward to 2011. Grant Scott, Editor
  2. 2. NEW PHOTOGRAPHY 8 Portfolio The best of your work posted in the Professional Photographer online gallery. 59 Exposure contents january Darkrooms revisited. A nostalgic look at the place many of us once called home. NEED TO KNOW 27 Being There PP Editor Grant Scott travels to northern Pakistan to photograph Jemima Khan – with the usual mishaps. 34 Dispatches Photographer Clive Booth realises that wedding photography can be a challenge and a pleasure. 42 The Dench Diary Photojournalist Peter Dench’s real-life tales of a sometime working pro. 46 Film School Film maker John Campbell’s regular news-packed look at the world of convergence. 49 Frontline The photographic director at 4 Creative, Channel 4, Ed Webster, gives advice on how to get commissioned. 146 Legend Peter Silverton takes a look at the life and times of the French street icon Robert Doisneau. INTERVIEWS WITH... 38 Turn on, Tune in, Drop in Photographer Jonathan Worth has turned photography education on its head and embraced social media. Eleanor O’Kane finds out why and how. EXCLUSIVE... 60 Photo Power Priest and nun, taken by Oliviero Toscani for a Benetton advertising campaign, 1991. Oliviero Toscani has been and remains one of the world’s most controversial photographers. Jesper Storgaard Jensen travelled to his studio section exhibiting the winners and commended in Tuscany for an exclusive conversation with this NEWS & REVIEWS images from all categories. photographic provocateur. 14 Click 135 Stop Press... 68 The All Seeing Eye This month’s line-up of the best news, dreams, The latest essential news, gossip and kit from the Albert Watson is one of the most successful and themes and photographic schemes. pro world. influential professional photographers of the past 40 years. Here he speaks to Sean Samuels about 25 Diary his career. Our pick of this month’s photographic exhibitions. KEEP IN TOUCH 80 Make an Exhibition of 57 Object of Desire 30 Podcast Yourself We fall in love with a great pair of headphones. Every month we go online to discuss the world of We speak to the decision makers to help you photography and you can hear our debate for free. understand how to create a successful exhibition of 98 Back in the Game your work. Pro photographer Jason Ingram puts the Pentax 32 Subscribe 645D through its paces. Check out our latest subscription offer so you’ll 86 The History Boys© OLIVIERO TOSCANI never miss an issue of your favourite photography We talk to documentary photographers Jürgen 103 The Professional Awards magazine again. Schadeberg and Steve Schapiro, who have been Winners Announced responsible for photographing some of the most We have had our best-ever standard of entries this 53 Feedback important moments of the last century. year, so we have celebrated with a 29-page special Your thoughts, your opinions, your page. 5
  3. 3. friends januaryJulia Molony Sean Samuels Oliviero Toscani Jonathan WorthJournalist Journalist Photographer PhotographerJulia started her career on the features Deputy editor of our sister magazine, There are few photographers working Jonathan Worth works from Londondesk of the Sunday Independent in Photography Monthly, Sean is an in the professional commercial arena and New York as a freelanceIreland. She is now a freelance writer occasional contributor. This month he who have created more controversy photographer where his client listliving in London and covers arts, meets two legends who between them than Toscani. His driving passion to includes the New York Times andculture, entertainment and lifestyle have nearly 100 years’ experience in use his photography to get people to Vogue. He is a part-time lecturer onstories for a number of newspapers the business. On page 68 he reveals think, debate and engage has always the BA photography degree course atand magazines, including the how Albert Watson’s graphic style has been intimately connected with his Coventry University, and his researchObserver and Guardian Unlimited. marked him out as one of the most innate understanding of how outrage developing sustainable workingIn this issue she talks to some of successful professional photographers can be used to raise a brand’s public practices for photographers has wonthe country’s major gallery owners of all time. He also examines the awareness. Despite his idyllic life in wide acclaim and been discussed inand curators to discover why they reportage work of Steve Schapiro, the Tuscan countryside he still retains the European Parliament. On page 38choose to exhibit the work of certain which forms part of our feature The that passion, as Jesper Storgaard he explains how his way of thinkingphotographers. See page 80. History Boys on page 86. Jensen discovers on page 60. has influenced his teaching. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane DEPUTY ADVERTISING MANAGER Nicola Crosta ORDER HOTLINE 01858 438840 Professional Photographer is published, 01242 264785 VISIT monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE Leigh Barr EMAIL Archant House, Oriel Road, Cheltenham,, 01242 265895 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds SALES EXECUTIVE Amy Pope Fiona Penton-Voak, 01242 216054 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech CLASSIFIED SALES EXECUTIVE Bianca Dufty Lisa Flint-Elkins,, 01242 211099 01242 264751 EDITORIAL ASSISTANT Jessica Lamb GROUP COMMUNICATIONS MANAGER MD SPECIALIST MAGAZINES Miller Hogg Lucy Warren-Meeks, 01242 264783 CONTRIBUTING EDITORS WHOLESALE AND RETAIL DISTRIBUTION London: Suzanne Hodgart, Geoff Waring PRODUCTION MANAGER Susan Bozzard If you have difficulty obtaining Professional Photographer, New York: Jake Chessum, REPROGRAPHICS MANAGER Neil Puttnam contact Seymour, 86 Newman Street, London W1T 3EX Printed by William Gibbons Phyllis Giarnese, David Eustace TELEPHONE 020 7396 8000 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 2009): 11,816. 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. 7
  4. 4. PORTFOLIOEach month we share the best of the latest postings from our online portfolio with our magazinereaders, so for your chance to appear in Professional Photographer, go online and start uploadingyour best images to If you want to see more of anyphotographer’s work, click on their online profile to access their website. LUIS HENRY DAVID ANDERSON, AGUDELO CANO, SCOTLAND COLOMBIA J COLLINGRIDGE, UK8
  9. 9. click The new deal Art dealer Chris Beetles is opening a new gallery dedicated to photography, in Swallow Street, in London’s West End, that will sell work by legendary photographers such as Terry O’Neill, André Kertész and Bruce Davidson. The first show, which will take place in February, is a major retrospective of Magnum photographer Eve the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane Arnold. A gallery owner selling fine art since 1975, Chris Beetles has been showing work by photographers since 2006 when he staged a successful show by Terry O’Neill. Since then he has shown work by British greats such as Patrick Lichfield, John Swannell, Cecil Beaton and Duffy, to name but a few. The new gallery hasANDRÉ KERTÉSZ an ambitious 2011 schedule and aims to Washington hold between six and eight exhibitions a year. Square Park, New York. DOMINIQUE ISSERMANN Cannes canned for Sony World Photography Awards Previously held in Cannes, the Sony World Bella Donna Photography Awards is coming to London for the first time in 2011. On 27 April, the Italian actress and model Monica Bellucci neo-classical Somerset House will play host (pictured above and right) originally wanted to be to the awards ceremony as part of a festival a lawyer and it was while studying at university which begins the previous day and includes that she began modelling to fund her studies. events, talks and seminars. During the She was signed by the Elite agency at the age of festival, which runs until 1 May, workshops 24, going on to have a successful modelling will cover topics such as compiling your career and becoming a popular actress. During portfolio, book design and merging film with her career she has appeared on the covers of stills; also photographers including Tom magazines such as Elle and Esquire as well as Stoddart and Pedro Meyer will be discussing Sports Illustrated’s celebrated Swimsuit Issue, and their work in the Photographers’ Studio. has been photographed by the likes of Bruce The awards cover genres from documentary, Weber, Helmut Newton and Ellen Von Unwerth. landscape and sport to portraiture and Now a new book from Rizzoli features 165 fashion. The winners and runners-up will be ARTEM YANKOVSKY Sony World images charting her 25-year career. The book has showcased in an exhibition running until Photography a preface by film director Giuseppe Tornatore. Awards 2011 Open 22 May. For more details on events and Competition entry. Monica Bellucci, by Monica Bellucci, published by festival tickets visit Rizzoli, £37.50, ISBN: 978-0-8478-3507-2. 14
  10. 10. “I’m like a muse who enjoys watching an artist portray her and who lives only through the peopleVINCENT PETERS who describe her form.” Monica Bellucci
  11. 11. Let’s go deutsche The callingThe shortlist for the Deutsche Börse Panos Pictures is calling for new ELAD LASSRY/ COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES, CAPhotography Prize 2011 has been announced, photojournalists to join its agency. Known forwith German Thomas Demand, Israeli Elad specialising in global social issues, the agencyLassry and Americans Roe Ethridge and Jim has worked for more than 20 years with both theGoldberg making the final cut. The annual commercial and non-profit sectors. It has a listprize, which will earn the winner £30,000, is of photographers based all across the globe,awarded to a living photographer who has made from Bangladesh to Belgium, with its Britishthe most significant contribution to photography photojournalists including Abbie Trayler-Smithin Europe between 1 October 2009 and and George Georgiou. This year the agency is30 September 2010. Judges include Brett also encouraging photographers withRogers of The Photographers’ Gallery, who is multimedia skills to apply – the deadline isinterviewed in our feature about exhibiting 1 March. Full submission guidelines and rulesyour work on page 80. are available from the agency’s website. For the details visit life less ordinaryHas there ever been a photographer as versatile as CecilBeaton? From designing book jackets, stage costumes andBroadway theatre sets to photographing the Bright YoungThings of the 1920s, the devastating aftermath of the Blitz,and the Royal family – of whom he was officialphotographer for a period – Beaton excelled at it all. Born inHampstead in 1904 to a prosperous family of timber ASSOULINEmerchants, the young Beaton was introduced to photographyby his nanny, who owned a Kodak 3A. After graduating fromCambridge University he lasted just a week in the familybusiness before leaving to set up his own studio and from there he went on Beaton: The Art of the Scrapbook. Brought out by French publisherto work as a staff photographer for both Vanity Fair and Vogue. Known for Assouline, the book reads like a giant mood board filled with images thathis society portraits and fashion images, Beaton also worked for the British embody the dreams and vision of this extraordinary talent whose life wasMinistry of Information during the Second World War. His image of a as glamorous as the subjects in his society pictures. James Danziger, formerthree-year-old victim of the Blitz in her hospital bed clutching a teddy bear picture editor of the Sunday Times Magazine has written the introduction.was one of the most memorable of the war. Beaton: The Art of the Scrapbook, published by Assouline, £170, Now, dozens of his scrapbooks filled with clippings from magazines and ISBN: 978-275940472-8.newspapers, as well as playbills, have been immortalised in a book: 17
  12. 12. ADRIAN FISK Let me take you by the hand… It seems that everyone is into street photography at the moment but the concept is nothing new as a free exhibition at the Museum of London shows. In London Street Photography, which opens on 18 February, the museum’s impressive collection of street photography from 1860 to the present day will be on display until 4 September. More than 200 images are on show at the museum in London Wall, which portrays the capital as an ever-changing city. This is England During 2007 and 2008 photographer Simon Roberts took a road trip across England in a motor home to capture the essence of the nation’s identity through images of the country at leisure. Now, an exhibition at the Museum of Croydon, We English, is showing 29 images from the project (including Croydon summer festival, pictured), which took him to all corners ofSIMON ROBERTS England. We English is showing until 26 February. He sells sanctuary The dream-like, cinematic style of internationally renowned photographer GREGORY CREWDSON Gregory Crewdson evokes the elusive style of film makers such as David Lynch. On a visit to Rome, Crewdson was invited to tour Cinecittà, the legendary Italian film studio founded by Mussolini and used most famously by Federico Fellini and Roberto Rossellini. Inspired by the strange beauty he found in its crumbling film sets and desolate walkways, Crewdson decided to record the faded glory of the studios for his latest project, Sanctuary. Published in a new monograph, the black-and-white images are a new direction for Crewdson but retain the drama and beauty of his earlier work. Sanctuary, photographs by Gregory Crewdson, published by Abrams, £39.99, ISBN: 978-8109-9199-6. 19
  13. 13. The hell of copper, Fenton’s Accra, Ghana, 2008. finest on show The National Media Museum in Bradford has ROGER FENTON, COURTESY OF THE NATIONAL MEDIA MUSEUM acquired a rare Roger NYABA LEON OUEDRAOGO Fenton image for the National Collection of Photographs. The picture, Pasha and Bayadère, dates from 1858 and depicts a dancing girl (theWorld class bayadère) performing for a high-ranking official;It’s all about short lists this month as we enter competition the theme reflects theseason. Twelve photographers are in the running for the contemporary love affairPrix Pictet, including American photographer Taryn with all things from theSimon and the German Thomas Struth. This is the third East. It is among a seriesyear of the competition and has the theme of growth. that Fenton shot after an expedition during the Crimean War and is considered one of hisThe jury, which includes last year’s winner, London-based best works. In the tableau, the pasha or official, is portrayed by Fenton himself, with theNadav Kander, as well as art historian Michael Fried, will musician played by English landscape painter Frank Dillon. Plans are in progress to displayannounce the winner on 17 March. the image; in the meantime it is available to view by
  14. 14. click The future is bright The 2011 LPA Futures competition is open and organisers are calling on all emerging commercial photographers to enter. LPA Futures is a division of the Lisa Pritchard Agency and represents five up-and-coming photographers during a two-year programme. Previous winners have landed commissions from major commercial clients as well as gaining attention in international awards, such as the Taylor Wessing Photographic Portrait Prize and the World Press Photo Awards. Judges include Tim Cole, the head of photography for Saatchi & Saatchi Design, and Laura Pannack, one of the 2009 LPA Futures photographers, who took first prize in the portrait singles category of the World Press Photo 2010 awards.LAURA PANNACK The deadline for entries is 7 February 2011. For details about how to enter visit 21
  15. 15. click Let’s dance We featured British legend Colin Jones in our October 2010 issue, telling how he went from ballet dancer to documenter of black activism. Now Proud Chelsea presents an exhibition of his images in Fifty Years of the Royal Ballet, photographs by Colin Jones, which runs from 13 January to 27 February. Jones won a scholarship to the Royal Ballet School in 1953 and it was while touring with the company that he bought his first camera in Japan. After a trial with the Observer his career took off and the rest, as theyCOLIN JONES / ARENAPAL.COM say, is history. For the exhibition, Proud had full access to Jones’s archive which provides a rare glimpse of life behind the scenes of the Royal Ballet School. Portraits of stars such as Dame Margot Fonteyn and Rudolf Nureyev sit alongside action shots and intimate behind-the-scenes images of a glamorous and often gruelling world. Fifty Years of the Royal Ballet, photographs by Colin Jones, 13 January to 27 February. DARCY PADILLA An image from The Julie Project. Badge of honour ALBERT WATSON AND THE MACALLAN San Francisco-based photographer Darcy Padilla has Juan Pruano Duque, been awarded the 2010 the oldest cooper, Tevasa Cooperage, W Eugene Smith Grant in Jerez, Spain, 2010. Humanistic Photography for her SUN LEE photo-essay The Julie Project, a study of AIDS, poverty and Capturing the spirit drugs in America. Padilla’s entry Rising sun was picked from more than 182 Renowned photographer Albert Watson has collaborated with entries from 32 countries and her Sun Lee was judged the overall winner Macallan, makers of single malt Scotch whisky, to shoot a series of prize includes a $30,000 grant to at the Association of Photographers black-and-white images for The Macallan Masters of Photography. continue her exploration of the Assistant Awards 2010, which also The project tells of the prized sherry oak casks that contribute 60% human condition. The W Eugene recognised seven best in category of the whisky’s flavour. Starting in the forests of northern Spain, Smith Memorial Fund was winners as well as giving nine merits. before going to the cooperage in Jerez in the south and culminating established in 1979 to honour His image Railyard (above) took in Scotland, the project took Watson on a journey that lasted 12 days the life and work of the the overall prize as well as the best in as he captured the story of The Macallan from acorn to glass. celebrated photojournalist; it category for environmental single. The work will be exhibited around the world and a series of provides grants to photographers The catalogue featuring all limited-edition signed platinum prints will be available. Don’t miss whose work exemplifies 92 short-listed images is available our exclusive interview feature with Albert Watson on page 68. his attitude to photography. via Blurb or at the AOP Gallery. 22
  16. 16. We have done the hard work for you and chosen the best photographic exhibitions on show this month. For a full list of exhibitions and events visit Twentieth Century Portraits: Photographs by Dmitri Kasterine National Portrait Gallery, St Martin’s Place, London, WC2H 0HE 020 7306 0055; Until 3 April Dmitri Kasterine’s remarkable portraits are on display in the United Kingdom for the first time this winter at the National PortraitDMITRI KASTERINE / NATIONAL PORTRAIT GALLERY, LONDON Gallery in London. Kasterine has photographed some of the most famous cultural figures of the 20th century, including Samuel Beckett, David Hockney, Stanley Kubrick and Francis Bacon. Twenty newly-acquired photographs will be shown in the exhibition for the first time. Although the exhibition has been running for a while now, we think it is definitely DAVID SEYMOUR / MAGNUM PHOTOS worth a visit. Stanley Kubrick, London, 1969. Manga Dreams Hamilton’s Gallery, 13 Carlos Place, London, W1K 2EU Sophia Loren. 020 7499 9494; The Magnum Mark 27 January to 5 March Magnum Print Room, 63 Gee Street, London, EC1V 3RS Manga Dreams showcases the work of 020 7490 1771; photographers Jonathan Anderson and Until 26 February JONATHAN ANDERSON AND EDWIN LOW Edwin Low, whose new project explores The Magnum Mark celebrates the legacy of the concepts of identity, culture and Magnum’s print archive and its wealth of iconic costume. During a trip to East Asia in images. The exhibition uncovers the process and 2004, Jonathan and Edwin witnessed a craft involved in printing Magnum’s famous cultural phenomenon. The young people photographs, as well as examining its traditional were tailoring their look to mimic that image distribution. Previously unseen press prints of the manga cartoon characters. will be included in the exhibition, alongside work Anderson and Low apply this look to from founder member George Rodger. A small their subjects by using extremely styled collection of Magnum’s most famous work, such as hair, elaborate costume and dramatic poses. Through digital technology and post-production, the controversial The Falling Soldier, by Robert Anderson and Low have created a world that no longer feels entirely like our own. Capa, and Marilyn Monroe on the set of The Misfits, captured by Eve Arnold, will also be shown. Alistair Taylor-Young book The The Little Black Gallery, 13A Park Walk, Chelsea, SW1 0AJ Phonebook, 020 7349 9332; a collection 12 January to 12 February of images The Little Black Gallery in Chelsea presents captured Alistair Taylor-Young’s first UK solo exhibition. on hisALISTAIR TAYLOR-YOUNG Specialising in fashion, beauty, travel and mobile luxury, he is perhaps best known for his phone. commercials and campaigns with brands Alistair will be signing copies of his book at such as Lancôme and Dunhill. The show the exhibition on 22 January, between 11.30am will coincide with the launch of his and 12.30pm. 25
  17. 17. Onceinalifetime This month PP editor Grant Scott recalls a shoot with Jemima Khan, in Lahore, Pakistan, that turned into a week of warrior tribesmen, bad food, pashminas, armed guards and rerouted flights. It was 1999 and Jemima Khan, daughter of the late financier Sir James Goldsmith, had decamped to Lahore in northern Pakistan to live with her husband, the retired cricketer and recently elected politician, Imran Khan. I was art directing Tatler magazine which, through a series of connections, had managed to Flying Michael from New York to Lahore was A contact sheet of images featuring Grant’s journey into get agreement from Jemima not only to interview going to be expensive and meant there was no Lahore, the crumbling palace location and the view from the top of the disused cinema. her about this new life but also to photograph her money in the budget for him to bring an assistant. with Imran and their young sons at home in Fortunately, he was willing to accept this and was Pakistan. At the time this was quite a scoop and happy with my offer to help him as best I could. From the moment we arrived intrigue, lack of therefore required my full attention to ensure that With the team in place all that was left to organise information and confusion became a major part the images were as strong as possible and that we were the flights and our accommodation. of everything we thought we were doing and tried got a commercial cover image from the shoot. Flights were booked for the London team to fly to do. We had been told that we would be The idea was that this would and should be a with Pakistan International Airlines via the photographing Jemima at her house. This was not bestselling issue. capital, Islamabad. Michael would fly in direct the case. We were instead driven to a fading and The decision was made to shoot a number of from New York and our accommodation was to be crumbling warren of a building in the heart of fashion-styled portraits of Jemima, which would arranged by Jemima. A day’s queuing at the Lahore just behind the famous Royal Fort. require a small team of fashion director, hair and Pakistan Embassy saw us all given our entrance We were dropped off at the end of an alley where make-up, me and, of course, the right visas, after much confusion. We were ready. we were met by our guard, a proud warrior aged photographer for the job. The additional member The flight out was as good as it could be thanks at least 60, dressed in full dusty tribal uniform of our team would be a friend of Jemima’s who to an unexpected upgrade to first class for the holding a rifle that didn’t look as if it had seen had helped us to arrange the shoot and would be whole team and when we landed in Lahore we action since the days of the Raj. He looked coming along to write the article. were ready for what was expected to be a five-day fantastic but to me a little too like an extra from I had been commissioning a New York based shoot unlike any other we had been on before. Carry on Up the Khyber. fashion photographer called Michael Mundy a lot Our expectations were confirmed as soon as we As any pro photographer knows, the great at the time. We seemed to have a lot of interests in arrived at our hotel – a vast modern complex unspoken art of our profession is that of common; I liked the way in which he approached built specifically for an international football flexibility. Whatever situation you find yourself environmental portraits and, although we had tournament that never happened due to the in, however bizarre, you have been employed toGRANT SCOTT never met, I felt that his easygoing attitude was country’s political unrest. It stood in stark do a job and that’s what you need to keep focused exactly what we needed for a shoot which could contrast to the real Pakistan we had seen on our on. All of the crew and particularly Michael did easily throw up some unexpected situations. short journey from the airport. exactly that and began a recce tour of the 27
  18. 18. beautiful but unexpected building to which our An outtake from Grant’s shoot with Jemima for InStyleguide led us. It had evidently once been a palace magazine in London.but was now overseen by a political colleague andsupporter of Imran’s. Filled with rich textiles and Royal Fort to see street children play cricket andfaded, majestic furniture, and oozing atmosphere, the homeless inject drugs on the streets; weit was the perfect shoot location, like a film set visited an ancient shrine and British Armyfrom an Indiana Jones movie. Both Michael and graveyard at night, finding our way in the dark byI were happy and set about working out a shoot looking through the night vision setting of a videoschedule, along with the choice of clothes whichthe fashion director wanted to concentrate on. “The following day Jemima camera. We all visited Imran’s hospital, walking behind him as grateful family members literallyBut where was Jemima? would come for the shoot and fell at his feet to touch the hem of his shalwar No one knew but we were assured she shouldarrive soon. The heat was 120°F in the shade and over the following days qameez. We sat on cushions on a stone floor in the basement of the crumbling palace while aprevented anyone from being too worried or tribesmen would come to visit young model danced a dubious folk dance, whichconcerned. We would just have to wait, lounging had more to do with lapdancing than traditionalin the hammocks strung up in the shaded areas us from the Afghan border to culture. We all got food poisoning. I could go onaround a courtyard. We hadn’t shot a picture yetbut we were already bonding as a team resigned sell us high-quality about this particular shoot, the sights, sounds, smells and experiences, but I won’t. Suffice toto the fact that this would be a shoot over which pashminas.” Grant Scott say it delivered everything we hope from a shootwe would have very little, if any control. – a good job done and the opportunity for Again just as every pro photographer needs to Having had two days to decide how and where once-in-a-lifetime experiences.master the ability to respond positively to we wanted to shoot and where the available light The flight home saw a very tired and not verywhatever is thrown at them, the ability to wait is a was best for each portrait we moved easily well team diverted to Manchester, from where wemuch underestimated skill. I have spent hours and through each setup. As always, preparation not were driven back to London. Exhausted anddays of my life just waiting for that brief moment only made life simpler for Michael and me, it somewhat culture shocked by the wholeof action of shooting. A day’s wait for 20 minutes’ meant the shoot was pleasurable for Jemima. experience, I returned to the office and awaitedshooting has not been unusual. In fact I once It is all too easy to let a shoot become about the Michael’s a shoot with singer Janet Jackson in photographer and technical considerations. In my He had shot on colour negative, a popularLos Angeles which took more than 24 hours to experience this never creates great photography choice at the time and he sent me the editedcomplete two shots! But that’s another story. and always produces a fed-up subject. Thankfully contact sheets. There was a great cover image and Back in Pakistan we had all worked out that Jemima arrived in a good mood and left in one. more than enough portraits to make the articlenothing was going to be rushed or run to any kind Towards the end of our set portraits, Jemima work. Our Pakistan trip had been a success.of schedule. Our first day saw no pictures being asked if Michael would take some pictures of her However, that is not the end of the story.taken and no Jemima. Discussions were taking and her boys, which he did in black and white. Imran and Jemima separated some years later andplace and plans were being made for the rest of The three of them chasing each other around the Jemima returned with the boys to live in London.the week, but very much on Pakistani terms. central courtyard laughing and falling on each The images I had help to create of her in PakistanThat night we would be taken out for dinner; the other made perfect relaxed family images. had been remembered by the art director atfollowing day Jemima would come for the shoot However, when Imran arrived the call was for a InStyle magazine and they contacted me to seeand over the following days tribesmen would more formal portrait and Michael obliged. if, now that I was working as a photographer,come to visit us from the Afghan border to sell us The whole shoot had taken only a couple of hours I would photograph her for a future issue of thehigh-quality pashminas (it was the 1990s after and we still had three days in Pakistan. magazine. Of course I said yes.all!), we would visit Imran Khan’s hospital for As is so often the case it’s the memories of Jemima was as friendly and accommodating incancer sufferers, we would be taken under armed everything that happens around the actual time London as she had been in Lahore, and suggestedguard around the markets of Lahore and finally you spend shooting that informs your experience that we do the portrait in her bedroom as it hadwe would have a traditional dancer brought to of a shoot. And the rest of this shoot was no the best light. She was right and there wereour shoot location for an evening’s entertainment. different in that respect. enough elements within the room to make anThroughout this we would be based in the As promised, two tribal warriors came down interesting composition – including next to hercourtyard of the crumbling palace. from the Afghan border with huge piles of bed a small black-and-white print of her and her Day two and an early start was required to try pashminas wrapped in ancient blankets for us to sons taken in the courtyard of the crumbling GRANT SCOTTto shoot before the heat became too unbearable. buy at prices which would have seemed expensive palace, sent to her as a gift by Michael. PPJemima arrived with her two young sons and we even in Bond Street. Michael and I climbed to theswung into action. roof of a disused cinema which looked over the GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK28
  19. 19. podcastON YOURWAVELENGTHEvery month we record a free podcast discussing, debating and chatting around a subjectfeatured in the magazine. We post them on our website and you can subscribe for freeand download them via iTunes. So if you haven’t listened in yet, why not give them a try?THIS MONTH’S PODCAST October Issue report on its reception among pro photographers,January Issue THE SECRETS OF BEING A PRO and examine its aims. The team also asks ifICONS OF PHOTOGRAPHY This month Grant Scott, Eleanor O’Kane and photographers are becoming increasinglyPP Editor Grant Scott and deputy editor Eleanor Peter Dench discuss the secrets of professional isolated in a digital age and why support groupsO’Kane are joined by regular columnist photography. Veteran pros Grant and Peter relate are more important than ever.and photojournalist Peter Dench to discuss the their experiences of working alongside otherimportance of learning from the masters, photographers and how these have influenced August Issuethe point at which a photographer becomes an their working practices. With the days of the THE BAD BOYS OF PHOTOGRAPHYicon and their own personal favourites. communal darkroom and lab long gone, the The 25 Bad Boys of Photography list in the opportunity to share news and advice in person August issue is discussed by Grant Scott,AND THOSE YOU MAY HAVE MISSED… has disappeared. The team also discusses how Eleanor O’Kane and Peter Dench. The debateDecember Issue photographers are sharing information in the centres on the diverse lives of the photographersPHOTOGRAPHIC COMPETITIONS digital age and looks at new ways of networking, in the final list, including Guy Bourdin, DavidGrant Scott is joined by Eleanor O’Kane and including the PP’s United States of Photography. Bailey, Helmut Newton, David Hockney andphotographer Peter Dench to discuss the world of Wolfgang Tillmans. All 25 have broken the rulescompetitions, the contentious Taylor Wessing September Issue in one way or another. The podcast team looksPhotographic Portrait Prize and whether there is THE UNITED STATES OF PHOTOGRAPHY at whether being a ‘bad boy’ is merely a facadesuch a thing as a formula for winning. The regular podcast team of Grant Scott, Eleanor for some photographers. O’Kane and Peter Dench discuss the creation ofNovember Issue the PP’s support group, the United States of You can listen to the podcasts on our websiteSEXY OR SEXIST? Photography, which was launched in the at orGrant Scott, Eleanor O’Kane and Peter Dench September issue. They talk about the origins of subscribe for free and download them via iTunesdiscuss why some images are seen as sexy while the USP, which was a response to an article on by typing professional photographer into theothers are labelled sexist. the loneliness of being a freelance photographer, search tab. PP30
  20. 20. Save up towhen yousubscribe 58% As little as £1.66 per issueThis is your last chance to receive this great saving onProfessional Photographer, subscribe today andsave up to 58% - that’s just £1.66 per issue.Subscribe to Professional Photographer by Direct Debit forjust £5 every three months, saving 58%.Or subscribe for £25 by credit/debit card, saving 47%.GREAT REASONS TO SUBSCRIBE• Last chance to save 58% on 12 issues of Professional Photographer.• Spread the cost by Direct Debit – just £5 every quarter!• Receive all issues delivered straight to your door for FREE.• NEW! Free access to a fully searchable archive of digital editions 01858 438840 and quote 01PA32
  21. 21. Every issue contains exclusive interviews with the world’s greatest photographers, industry news, the latest kit and must-read articles from the world of professional photography.Terms and conditions: Professional Photographer is published 12 times a year. Savings are based on a cover price of £3.99 per issue. Details of Direct Debitguarantee available on request. For overseas orders please call +44 (0) 1858 438840 or visit Offer ends 26 January 2011. 33
  22. 22. dispatches Clive Booth tales from the frontline of professional photography This month: With royal wedding fever about to sweep the nation, just what was it that used to fill me with horror at the prospect of being asked to Once a reluctant guest, be a guest at a wedding? Was I the only person who hated weddings? these days Clive finds that I don’t think so. Of course, I was being immensely selfish, and not giving any thought to a wedding celebration the reason why I would be considered worthy of is the perfect setting in sharing a couple’s special day. For me there used to be two knots at a wedding – the bride and which to shoot candid and groom’s and then my own, deep in the pit of my stomach. Knowing I would have to spend what truly emotive images in his would seem like an eternity making polite conversation with people with whom, for the most signature style. CLIVE BOOTH part, I would have absolutely nothing in common. We would dutifully RSVP. “After all, it is a celebration, not a funeral,” my wife would say.34
  23. 23. “..the enjoyment of being a guest at a wedding is directly connected to how close you are to the bride or groom. This dynamic is turned on its head once I have a camera. It will make little difference, and it is even sometimes an advantage not to know who I’m photographing, as the emotional attachment can work against the purity of the moment.” Clive BoothOur friends and relatives often did their best to fallen in love with one of his huskies. So, why enjoyment of being a guest at a wedding isseat us with like-minded individuals. Yet there am I using valuable page space to rant and moan directly connected to how close you are to thewould always be the relative, work colleague and, about weddings? It’s really very simple; an bride or groom. This dynamic is turned on itssometimes, ‘friend’, who had been invited out of epiphany has taken place. Well, it actually took head once I have a camera. It will make littlesome sort of duty. It was with these people, in the place several years ago. I started to pitch up with difference, and it is even sometimes an advantageleper colony of the wedding celebration, that I so a camera, and even though I wasn’t invited as not to know who I’m photographing, as theoften found myself. The thought has occurred to the official photographer, I would shoot pictures emotional attachment can work against the purityme that maybe I was one of them. However, as anyway. Doesn’t everyone take a camera to a of the moment. For the most part my interest wasmy wife, Mari, is just about the kindest, most wedding? Admittedly, they are usually small in catching those ‘oh so often’ elusive moments.sensitive and thoughtful friend anyone could wish compacts, and initially I would get strange looks As I was invited as a guest, I had none of thefor, whom no one would want to offend, I like to as I pulled out my Canon EOS-1Ds MkIII with restrictions of having to make sure I photographedthink of myself as exempt. I once spent almost an 85mm prime lens; mostly from the official ‘so-and-so’ and ‘thingamajig’; nor did I have toentire wedding meal listening to the virtues of photographers. However, I was discreet and stuck shoot anything that didn’t interest me. In fact,deep-pan pizza from the guest on my left, only to to just the one body and single lens on a hand I didn’t have to take any pictures at all. A greatstrike up a conversation in desperation with the strap; usually by my waist or behind my back, place to be when shooting, as I could simplyguest on my right and learn that he had just spent and out of sight until needed. I suppose it’s fairly watch and wait and put the camera between meseveral months in the Arctic and, while there, had obvious, but still worth mentioning, that the and the moment. A really great way to work; not 35
  24. 24. dispatchesforcing the pictures, but letting them unravel “There are upwards of quarter beautiful DSLR documentary films, edited toaround me – a discipline that I have used ever great music, as movie shorts.since. Documentary: the purest form of of a million weddings per year For me a no-compromise approach to this typephotography, and one that requires great in the UK, being documented of film would be imperative and so, for it to work,discipline, observation and intuition. It’s just the bride and groom would have to take a leap ofabout the most fun you can have with a camera. by around 20,000 different faith. Budding film makers would need to have atSo many of the pictures I have taken at weddings wedding photographers, whose least one great example of this potential new arthave really burned themselves into my memory. form to show, so as to win the case for creativeThis is because a wedding, at best, should be a fees range between £1,500 freedom. A tricky decision this: do I shoot stills ordeeply emotional experience for those at the and £4,000 – not to mention do I make a short film? Also, will I be shootingcentre, which then emanates outwards. And as solo or will I have a crew with additionalwith most human emotions, happiness, when those shooting celebrity photographers? At the higher end, for example,shared, is infectious. It is rare to go to an unhappy and society weddings... So it’s with A-list celebrity or society weddings, I thinkwedding. It’s like swimming in a sea of emotion: this will become the norm. The potential to shootfrom the pre-church nerves, through to the serious business. It seems to beautiful film shorts may, in fact, increase what aexuberant outpouring of love expressed with me that, in a market that must wedding photographer/DSLR film maker maysmiles and tears post-ceremony. If you look earn. Maybe I’m living in cloud-cuckoo-land, butclosely there will always be someone (usually a have reached near saturation surely a client has to understand that this level ofbridesmaid) in a trance-like state, mesmerised by point, the question is, what quality, from capture to edit, will inevitably costthe bride, allowing herself to dream of the more money? After all, once the wedding is overmoment when she too will be a princess for the can photographers offer that it’s the pictures or, indeed, the film, that willday. All I have to do is make sure that I am in the is different?” Clive Booth remain. Putting aside the huge marketing andright place at the right time. I greatly admire wedding photographers, andthe ones that stand out are creating pictures whichwork in their own right, regardless of the factthat they were shot at a wedding. I’m not talkingabout what seems to me the often painful andenergy-draining group shots, but the documentarystyle of shooting, from such wedding luminariesas Jeff Ascough. This work is inspirational, andwhen I look at it as a photographer all I can say is,“I wish I’d shot that.” My friend, assistant andwedding photographer, David Griffin, gave mean insight into wedding photography as aprofession. He said: “Most of all you have toenjoy it. Then you have the necessary drive,enthusiasm and energy you need if you’re goingto shoot dozens of weddings a year. People skillsare essential, along with patience, as thingsdon’t always go to plan. So being able to reactto changing situations while remaining calmis imperative.” I have an appreciation for the sheer amountof effort it takes to deliver on a once-in-a-lifetimeevent. I certainly don’t intend this to be a guidefor wedding photographers, as many of you are I watched Crash Taylor’s very open and honest awareness effort, combined with talent thatfar better qualified than I am to offer advice. interview with PP editor Grant Scott, filmed at should result in commissions, I have my ownThere are upwards of quarter of a million Canon Pro Photo Solutions 2010 [available to philosophy and set of rules when it comes toweddings per year in the UK, being documented view on the Professional Photographer website]. shooting stills of weddings. These are:by around 20,000 different wedding He really spelled out just what it takes to make Number one – and probably the single mostphotographers, whose fees range between £1,500 a living in the business. Much of what he said important factor for me – I am commissioned forand £4,000 – not to mention those shooting applies to many of us, myself included. my shooting style. I cannot give a cast-ironcelebrity and society weddings, or those of the The documentary style of wedding photography guarantee that I will photograph everyone. In mysuper-rich, who demand even higher fees. So it’s definitely seems to be on the increase, as case the bride and groom are usually friends or,serious business. It seems to me that, in a market brides and grooms are looking for what I believe on occasion, clients, so we already have an CLIVE BOOTHthat must have reached near saturation point, the to be a collection of pictures which capture the understanding. They know my style of shooting,question is, what can photographers offer that is atmosphere and the essence of their day. In my which is why they’ve asked me. Most importantly,different? While researching this Dispatches opinion there is a gigantic opportunity to shoot I’m not going to compromise that. Whether it’s36