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THE WORLD OF
CONVERGENCE
To make sure you don’t get left behind in the rapidly changing world of DSLR
film making, John Campbell brings you the latest news, the most exciting films
and the best kit from this brave new world that is transforming our industry.
NEWS the video mode out of the Canon cameras...
We tried to figure out ways to break the code,
BLACK SWAN get uncompressed RAW out of the camera –
Iron Man 2 used footage shot on and there was no way. What he ended up doing
HD DSLRs and the format is constantly being was shooting in still mode at 10-frame bursts,
chosen by film directors and directors of and in post he would double it to 20 frames.
photography (DPs) for its ability to shoot in He definitely bends the rules. The 20 frames
low light, or because it is so mobile and are an interesting effect and will look really
inconspicuous. The fact it can be integrated cool. The Canon cameras had their own set of
with more standard video means its place in Black Swan. challenges, as they were really designed for
Hollywood is now secure. Matthew Libatique, still photography, so we had to come up with
who worked on Iron Man 2, was also DP rigs to control the focus. We had questions on
of the 2011 Oscar-winning ballet movie how you monitor and how you get the director
Black Swan, on which he used a Canon EOS a video feed. We used the 1D MkIVs for a lot
5D MkII for all the rehearsal scenes, as well of high-contrast, overexposed sunlight, snow
as an EOS 7D or EOS-1D MkIV to shoot caps and skin-tones-type shots. This camera
sequences guerilla style on the New York could hold those shots in still mode. In the
subway. With very few lights available and video mode it wouldn’t get anywhere near.”
aware that he was shooting illegally, he had to www.professionalphotographer.co.uk/0573
24.
work fast to capture star Natalie Portman
doing the scene in an uncontrolled 24 AND NUMB3RS
environment, and shot at an ISO of 1600. It’s wonderful to see DSLRs being used
With the Canon’s large sensor, the grain is more and more for big TV dramas, with many
minimised when shooting in low light, but I DPs choosing to use them in specific roles.
think plenty of extra work was done in DP on 24 Rodney Charters picked the Canon
post-production. I can’t condone guerilla film EOS 5D MkII to shoot an intricate scene with
making, obviously, but it certainly lends Numb3rs. a car. In this video he seems more in love with
an air of immediacy that works for this scene a new monitor, but it’s still good to see the 5D
in the movie. “We used a Canon 7D or 1D Millionaire, and Enrique Chediak. They used being considered by such a blockbuster series.
MkIV for all the subway scenes,” Libatique DSLRs for some scenes and didn’t find the www.professionalphotographer.co.uk/0524
said. “I could just carry a 7D and shoot on the experience entirely successful, but pushed the But even more inspiring is DP on
subway all day with a very small crew.” cameras’ abilities to the max and got what they Numb3rs Ron Garcia who has released two
www.professionalphotographer.co.uk/0522 needed. In an interview with HD magazine, behind-the-scenes films on YouTube showing
Michael Mansouri of Los Angeles-based HD him using the Canon EOS 7D to shoot a
127 HOURS Rentals which provided equipment, spoke variety of scenes, including extreme close-ups.
Danny Boyle’s film 127 Hours, based on the about the ups and downs of shooting on a The insights he gives help to explain
true story of a climber trapped in a canyon, had variety of Canons. “We shot with the 5D MkII the industry’s increasing interest in HD DSLRs
two DPs: Anthony Dod Mantle, who won the as well as my favourite camera, the 1D MkIV ,” and the situations in which they will be used.
2009 Oscar for cinematography on Slumdog he said. “Anthony was very frustrated with www.professionalphotographer.co.uk/0566
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![feedback.
tell us what you think at feedback@professionalphotographer.co.uk
Dear Professional Photographer, cameras snapping frantically at any development and present legislation
Your decision to write an editorial semi-clad woman they could find to protect its customers from
piece on mental health problems in (and they even brought their own cowboy operators?
the professional photographic sarnies!). Is this what the industry I can already hear the cries from
community was brave and has become? quite a few of my esteemed
unsensational [‘Talkin’ Photography I realise that the exhibitors are colleagues that this form of
Blues’, April 2011 issue]. As a in many ways responding to protectionism is unworkable (it
retired psychiatrist who has the change in purchasing patterns worked for accountants, solicitors,
reinvented himself as a professional within the industry and the rise of doctors, engineers etc). I would now
photographer I feel in a good the weekend warrior snapper as the have to agree with them. We missed
position to comment. Only now after major purchaser of equipment. our opportunity in the 1990s when
seven years am I beginning to This new breed of photographer no the first signs of decline became
realise the stresses involved in the longer needs photography as apparent but we chose to ignore it.
‘creative world’. I realise that in the their main source of income, as We now sit on the edge of a perfect
NHS I was protected on all levels. they rely on their weekday job storm: day-rates are substantially
There is nothing now between me and good judgment in this brutal, as an accountant or bus driver to reduced due to the flux of incomers,
and my customers. I feel exposed commercially driven environment. fund them. To them, photography retooling and running costs are high,
in a way I never did as a doctor. Ian Macilwain, via email is almost a status symbol to the volume of work has decreased
I have experienced the profound a more glamorous life with almost due to the recession and new
satisfaction derived from publication Dear Professional Photographer, Walter Mitty pretensions. I am technologies, and the quality of
and recognition but also the intense Over the past few years, I have forever being introduced to trade craft being taught is
dysphoria which comes from being found myself becoming more and these types at parties and social significantly poorer due to the
ignored or rejected, or just losing more frustrated with the Focus on gatherings where they spend hours dilution of teaching practices and
motivation. There is little or no gap Imaging show at the NEC, debating the virtues of Nikon lack of assisting places.
between me and my photography, Birmingham, and what it has to and Canon lenses and how their next So where do we go now? A hard
consequently there is nowhere to offer a commercial photographer free shoot will be the ‘last one’ question but one that needs to be
hide. The [accompanying] piece by such as myself. I know many of my and they will then charge a massive confronted by all. Do we continue to
Andy Craddock, ‘Loneliness ex-students affectionately refer to £75 a day. defend our small patch of territory
(Depression) and Photography’, me as a ‘dinosaur’ but I do realise Don’t get me wrong, I am not and hope that we are ‘the last man
describes this turbulence beautifully. that the industry I first entered bitter – just perplexed at how we got standing’ or do we as an industry
I am struck repeatedly that many nearly 30 years ago has changed to this state in the first place. finally decide to unite, forget
photographers are quite isolated and markedly and this is now reflected In some ways, I feel professionals our petty squabbles and confront
vulnerable despite needing to in the exhibitors at the show. and the organisations that represent the difficult decisions ahead?
project an image of competence and I struggled to find many of my them have no one to blame but Richard Southall, via email
professionalism. There is little old favourites such as Broncolor, themselves. We have encouraged
camaraderie and working in a highly Hasselblad, Sinar and ARRI, who through our openness new people Dear Professional Photographer,
competitive market makes this even did not appear to be anywhere in to enter the profession but with Can I say how impressed I’ve been
less. Support and understanding are easy sight. This is so different to the little of the safeguards that other with the magazine – since I started
the antidotes to isolation and days when the show was called professional institutions have reading it I’ve felt a load more
demoralisation. An honest, truthful Photography at Work and held in insisted upon. Given that for many knowledgeable about photography
sharing of problems goes a long London and Harrogate. Then there of us over the age of 40, it took at and the different photographers out
way towards making them bearable. was a profusion of studio-based least four years at college and a there. More importantly, however, I
I wish I had some more tangible photographic lighting and camera couple years as an assistant to now feel part of a community, with
solutions but your establishment solutions with major stands by become competent to start shooting like-minded people. It’s great and
of The United States of Hensel, Strobe, Balcar, Goddard and commercially, wouldn’t some form it’s the first magazine I’ve read
Photography is a commendable Broncolor. Now, I found myself of chartered institute have been a where I can’t wait for the next issue.
attempt to provide support. surrounded by wedding albums, ink good progression for our industry so Keep up the good work and I hope
Professional Photographer stands cartridge companies and sad, as to protect its members, the standard you’ve set never drops.
out as a beacon of common sense middle-aged men festooned with standardise rates, promote career Kristian Leven, via email PP
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![GUESSLIGHTING
In his blog, professional photographer
Ted Sabarese tries to work out how other
photographers have lit their images and offers
THE
his own theory on how the shoot went. In this
issue he brings his lighting experience and
limited drawing ability to Ellen von Unwerth’s
old-school Hollywood lighting for Absolut.
ELLEN VON UNWERTH / ABSOLUT
ELLEN VON UNWERTH/KATE BECKINSALE ABSOLUT AD, 2009 This light is aimed at the Absolut bottle and creates the alluring highlight on
When Absolut Vodka asked ex-model turned fashion photographer the side of the bottle. A 1.2K Fresnel at f/16 ½ (+1½ stops) with a full CT
extraordinaire Ellen von Unwerth to tackle its new ad campaign, she Orange gel aimed at the rear wall rests just off the ground, directly behind
jumped at the opportunity. Working with [actresses] Kate Beckinsale and Kate. Another 1.2K Fresnel with barn doors at f/16 ½ (+1 ½ stops) sits on
Zooey Deschanel, Ellen brought a playful, enchanting aesthetic to the the floor behind Kate and is focused upwards at the rear wall. This creates
imagery (makes me fancy a tall glass of Absolut right this moment, the whitish glow on the wall as well as the floor.
actually). This enigmatic still (I’d like to be a fly on the wall of one of TED’S THEORY ON HOW THE SHOOT WENT: The set designer for this
Ellen’s dreams) was created with four HMIs. shoot loved the creative concept but had some logistical problems with its
CAMERA: Canon EOS-1Ds MkIII with 70-200mm lens, set on a tripod execution. Born into an incredibly superstitious family, she was not willing
15ft back. Shot at 1/60sec, f/11, ISO 100. to chance seven years’ bad luck (or worse, the death of a family member)
LIGHTING: The key light is a 6K ARRI Fresnel HMI at f/11 ½ (+½ stop) propping the broken mirror. As a compromise, she agreed to watch via a
set on a high boy roller directly above and behind the camera. A set of barn video feed from a nearby room and direct her assistant over walkie-talkies. PP
doors helps to focus the light on Kate. A 1.2K ARRI Fresnel HMI with
barn doors at f/16 ½ (+1½ stops) sits just out of frame to camera right. www.guessthelighting.com
Remember, this is called ‘Guess’ the Lighting. Therefore, all lighting, camera, lens, grip, f-stop, shutter speed etc information may not hold up in a court of law.
Any guesses as to what the featured photographers were wearing, drinking or pondering while creating the shots are not necessarily subject to any reality other
than my own. Suggestions of marital problems, hangovers, jet lag, disease or any other contributing factors should, likewise, be taken with the proverbial grain of
salt. There is a lot of guesswork in guessing – Ted Sabarese
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![I love doing portraits of animals, it’s just how my
brain works.”
While the reaction to the animal pictures was
overwhelmingly positive, one of Greenberg’s
subsequent projects, End Times, was met with an
outpouring of vitriol for the photographer.
The title, which refers to the belief held by some
extreme religious groups that the second coming
of Christ will be preceded by major natural
disasters, famine and hardship, was Greenberg’s
photographic response to the George W. Bush
administration and its environmental policies.
It was a series of portraits of angelic, luminous
children sobbing their hearts out and the pictures
bore titles such as Four More Years and Deniability.
“It was a series of children crying as if they knew
the direction that the world was going, that the
environment was being ruined,” Greenberg
explains. “They are crying because George Bush
was re-elected. Here [in the US], the religious Right
believes in something called End Times, when
people will go to heaven when Jesus returns.
It’s total nonsense. The people who believe in End
Times want horrible things to happen because that
proves the end is near. It’s a crazy, backwards logic
where the more tsunamis and earthquakes we
experience, the better. At the time these crazy
religious fanatics had the ear of a lot of the
politicians, including Bush, and a lot of
environmental policies were being affected by this
logic. The politicians didn’t care that they were
trashing the environment for the future, for our
children, and the religious Right wanted it to be
trashed because that meant End Times would
happen sooner.”
Instead of focusing on Greenberg’s message, the
public largely chose to fixate on the methods she
used to get her subjects to cry. One was to give the
“In some cases I drive how retouched the subject is...
COPYRIGHT JILL GREENBERG COURTESY OF THE CLAMPART GALLERY, NYC
children – one of whom was her own daughter – a
lollipop and then simply take it away and wait for
the resulting wails. “People didn’t really talk about
the subject matter, they didn’t discuss the ideas
behind the work but just how I was a horrible
person for making children cry. Of course, children
cry as if the world is ending when they can’t have
their lollipop! It was upsetting because at the time
it became a big deal for some reason.” End Times
resulted in national TV coverage in the United
Right: An image from The Glass Ceiling project, inspired
by a shoot with the US Synchronised Swimming Team.
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![Convergence has changed the role of the
photographer and brought an extra
THE
dimension to the traditional stills shoot.
Does this create new revenue opportunities
for photographers or does it merely
give clients a reason to demand even more
for the same fee? Julia Molony finds
out by talking to those leading the way in
PRICE multimedia shoots.
THE AGENT: NIALL HORTON-STEPHENS
“There is increasingly a need to have the ability to do moving images in
the skillset,” says leading agent Niall Horton-Stephens. “The choice
IS
between photographers remains based on the stills ability and the stills
portfolio. I think that’s still what drives things. [Moving image] is just
another box that photographers have to tick to be in the running.”
Does he think that this phase, while the industry is still in flux, is
potentially ripe for exploitation? “Clients are trying to extract more value
from shoots,” he agrees. “In many ways it does make a lot of sense. If you’ve
got props, hair and make-up and models, and everything all there, the
add-on cost of shooting some moving imagery isn’t necessarily that great.
It’s definitely a good thing for the client. Things are evolving and the
distinction between different types of media is increasingly blurring, as
RIGHT
clients look at integrated campaigns. And, of course, the poster sites are
going digital now and showing moving image loops.”
Pinning down specifics of cost remains an imprecise, informal process.
“In terms of the fee, it’s all worked out on an ad hoc basis. If you equate it
purely to the photographer’s time, you might be looking at perhaps another
50% increase in their day fee. However, there is obviously a media and usage
aspect which one might seek to factor in. It does depend on what’s being
shot and how it’s going to be shot. You might expect a shooting day that is
already full of stills to have to extend if it’s going to accommodate moving
imagery as well. There are clearly going to be some overtime costs, some
run-on costs in any case,” he says.
In general though, it’s all there to play for in these uncertain times. “In the
cut and thrust of the market these days, it’s more often than not part of the
bargaining process. Clearly, if you can provide the client with more material
that gives them everything they need, then in theory it should make more
budget available for the project. It may be that the addition of a moving
image aspect is the thing that makes the whole project viable. It might not
have been worth doing it just for stills. But if you can inject a moving image
need as well then maybe it all comes right.”
The challenge for him, just like other photographers and agents operating
in today’s competitive market, has been calculating the extra value that an
increasingly versatile and skilled photographer, able to operate across several
channels, brings to the table. “Over the last while, photographers’ agents,
models’ agents and everyone else involved in this world have been trying to
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![Bruce Davidson
There are few names
within the world of
photography that bring
the sharp intake of
respect due to the greats.
Bruce Davidson is one
of those names.
His images speak of
New York, of America
and of the heritage of
Magnum. Peter Silverton
caught up with him
recently to shoot the
breeze and get behind
the images and the
man; this is the evidence
of that conversation.
When Saul Bellow, that great chronicler of
the American male, wanted a phrase that
would sum up – no, embody – the ambition
and desire and drive and confidence
and grasp that made the 20th century the
American century, this is what he wrote:
“I am an American, Chicago born...”
That’s the opening of The Adventures of Augie
March. (Bellow himself was Canadian and only
moved to Chicago at the age of nine. But no matter.)
Bellow continued: “Chicago, that sombre city – and
© BRUCE DAVIDSON / MAGNUM PHOTOS
[I] go at things as I have taught myself, free-style,
and will make the record in my own way: first to
knock, first admitted; sometimes an innocent
knock, sometimes a not so innocent.” It was
Bellow’s third novel – and his first great one. It is
Brooklyn gang, Coney Island, New York City, 1959.
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![{ SOCIAL MEDIA}
POWER TO THE PEOPLE!
The social media revolution has Is it just me or does it feel like everything’s
a bit bleak at the moment? During a
Social media can sometimes feel like a dirty
phrase. It still retains slightly seedy connotations
made it easier than ever to recession creative industries tend to feel and I couldn’t have cared less about it until a year
the squeeze more than most and, combined and a half ago. But what is it exactly? A couple
get your name and work seen by with the plummeting cost of tools, the of wise web people named Andreas Kaplan and
new audiences, but it could landscape looks more than a little scary.
Everyone seems to own a DSLR these days and,
Michael Haenlein wrote a definition in their
article [in the Business Horizons journal],
also help you pay for your next as a film maker, I’m seeing my territory ‘Users of the world, unite! The challenges and
project. HD DSLR film maker rapidly inhabited by crossover stills/motion
professionals. I’m seeing less traffic in the other
opportunities of social media’. It goes: “A group
of Internet-based applications that build on the
Robin Schmidt breaks down the direction but photography has been far more ideological and technological foundations of Web
competitive than film for a long time and that 2.0, which allows the creation and exchange of
world of social media and shows no sign of stopping. user-generated content.”
crowdfunding and explains how It’s not all doom and gloom, of course, and Boring. Who cares? This sounds like YouTube,
I wouldn’t be writing this article if I didn’t it sounds like Facebook, and it doesn’t sound
far he was prepared to go think there were some interesting ways to deal particularly relevant to professionals – amateur
to finance his latest project. with it. When faced with commoditisation
and increased competition, your skillset, your
creatives, maybe, but the pros don’t need that,
surely? I dug around for a better definition and
expertise, sadly becomes less important than here’s one that really nails it for me:
your ability to stand out, market yourself and “Social media is the blending of technology and
carve out a unique position for yourself. social interaction for the co-creation of value.”
This is where the opportunities afforded by social “For the co-creation of value”, now that’s
media and crowdfunding become more than a interesting. In the digital world our work in itself
little exciting. is becoming valueless. The turning point was the
arrival of Napster [the music download site],
which effectively ripped the heart out of the music
industry business model. Increasingly, it’s in the
architecture surrounding the work – the brand, or
the real-world interactions you can build around
the work – where the value resides. That’s very
hard for us to stomach when it requires such
dedication to get the work right in the first place.
Social media, at its very best, is a dialogue with
your peers and with your consumers, the very
heart of which is the reinforcement, development
and enrichment of value. And value is important
because it’s how we stand out, it’s how we retain
a competitive edge and ultimately it’s why we get
chosen. Facebook accounts for 25% of all page
views in the US. That’s powerful.
So where do you start? Well, that’s entirely up
to you, but I would suggest the first place is on
Twitter. There’s an incredibly verbose, helpful,
entertaining group of photographers and film
makers on Twitter and the community is generous
into the bargain. It’s not about telling people what
you’re having for breakfast and it would take too
long to go into the finer details about Twitter
ROBIN SCHMIDT
Robin Schmidt, pictured, pitching his project on
crowdfunding website IndieGoGo to shoot his comedy
adventure series Super Massive Raver in Hong Kong.
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![{SOCIAL MEDIA}
This page: Although he didn’t reach his target in the
timeframe, Robin’s crowdfunding project still helped
to pay for his Super Massive Raver project, stills from
which are pictured here.
found the rest of the money through other sources
who couldn’t fund us within the time limit we’d
set but the campaign had given us a reason to put
ourselves out there. We went to Hong Kong, we
without asking people to take a huge risk on you. shot our mini-series and I own it. The tiny perk
It’s another way of growing an audience and it’s
“Crowdfunding is not a handout. level I set means I also have a very manageable
particularly powerful because your funders feel You have to work really hard commitment to my funders and very little admin
empowered, feel ownership and part of a small associated with fulfilling my obligations to them.
community of ‘discoverers’. The more I’ve at engaging with potential I’ve seen campaigns with wildly ambitious perks
looked into this the more I’ve realised that for
many people, there’s just a vicarious thrill in
funders and there are a lot of being offered and I don’t think that’s the right way
to go. The project itself is the prize and you don’t
supporting creatives. projects looking for funds.” want to handicap yourself by offering the earth to
It’s important to stress right now that there’s a your funders through perks.
very big difference between funders and
Robin Schmidt Crowdfunding is not a handout. You have to
investors. Funders don’t expect to see any return, work really hard at engaging with potential
investors do. Funding is philanthropic, investing campaigns that are working hard to drive traffic funders and there are a lot of projects looking for
is business. The reason this is important boils through to its site and this is where all that funds. I spent a year and a half blogging hard to
down to ownership. Using crowdfunding you hard work in social media ought to pay off. build a core audience and a large chunk of my
retain 100% ownership of your project and that’s I launched a campaign last year for a comedy funding came from people I’ve met in the US
very important. Once the project’s done you can series I shoot which would enable me to go to through the blog. I simply wouldn’t have had
exploit it commercially to your heart’s content Hong Kong for two weeks. We set the time limit access to that without my social media
with no obligations to give your funders their at two weeks (very, very short) and set just one interactions. As I said, it takes time to build up
money back. That’s not to say your funders expect perk level, $10. This isn’t the normal way it’s these connections but the fact remains it’s very
nothing in return, but it’s not money they want, done but we felt we wanted to make it easy for possible to do so and to persuade people to get
it’s a copy of the film, it’s a chance to come on set people to say yes. We raised $1,500 very quickly, involved in what you do, to invest their time and
and watch you work, it’s a chance to meet you, it’s then stalled. That’s actually normal, but it felt give their money. That’s incredibly empowering.
this peculiar thing we call ‘perks’. horrible. I then had an idea and for 24 hours I So, get up to speed with Facebook, learn how
There are now two prominent websites that host broadcast live from my house, telling jokes Wordpress [the blogging tool] works, sign up to
crowdfunding projects, IndieGoGo and non-stop, encouraging people to fund me, just to Twitter, dip a toe and start engaging with your
Kickstarter but the former is the only one you can make me stop telling awful jokes. That really peers on social media. The end goal is the work
use in the UK. It’s pretty simple: write a short worked and I think it showed people how and this is how you make it work for you. PP
description of your project, upload a video or dedicated I was to the project. We were looking
a picture, say how much you’re looking for and for $5,000 and raised $2,500 through IndieGoGo. Visit Robin’s website and read his blog at
set a time limit for your campaign. To give However, as a result of having the project we www.elskid.com
your funders an incentive you’re encouraged to
offer perks triggered by donation brackets:
$10 might grant you a signed photo, $1,000 might THE IN CROWD: There are dozens of crowdfunding websites out there and one of them
make you an executive producer. It’s really up to might just hold the key to financing your next project.
you how to stagger those and there’s a bit of an art GLOBAL PROJECTS - www.indiegogo.com US SITE - www.kickstarter.com
to it. Once you’re up and running it’s your job UK SITE FUNDING CREATIVE PROJECTS - www.pozible.co.uk
to drive traffic to the site and do whatever UK SITE FUNDING CREATIVE PROJECTS - www.wefund.co.uk
you can to encourage people to pledge funds. NEWLY LAUNCHED IRISH SITE - http://fundit.ie
ROBIN SCHMIDT
IndieGoGo takes a fee for hosting the project: FOR PHOTOJOURNALISM PROJECTS - http://emphas.is
4% of your final total if you make your target, UK SITE FUNDING CREATIVE PROJECTS - www.wedidthis.org.uk
9% if you don’t. It actively promotes those
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![{THE BUSINESS}
I
n the 1980s, Nick Knight brought a video Hawkins has contributed to projects as diverse as
camera on to a set where he was shooting a three-day live fashion broadcast from Abbey
a fashion editorial. “Don’t mind this,” he Road Studios and an intimate shoot done with one
said to the team of models, make-up of the first mobile phone cameras. One of her
artists, stylists and lighting technicians, and favourite projects is Vegas or Bust, the film she
they all continued with their day’s work as made while on her hen trip, after only being given
usual. The result was a very natural, candid, the brief of ‘Breasts’ by SHOWstudio. “It has that
fly-on-the-wall observation of the image-making cheeky ‘Carry on Brits Abroad’ feel with a twist of
process. The more Knight filmed, the more he saw sexual adventure and high-end fashion,” she
that he was lifting the lid on a closed world, one remembers. “It was made as part of a much larger
that fascinated people beyond its glossy walls. project called Moving Fashion Body for the
Those who remain outside this ivory tower often SHOWstudio Fashion Revolution exhibition at
trivialise or are scandalised by fashion and image Somerset House [in London]; as with everything
making, but for Knight, looking through reel after with Knight, it’s all part of a bigger picture.”
reel of people just doing their jobs – the passion, The adventure of SHOWstudio has been enjoyed
the details, the inspiration and the hard graft – it not only by its galaxy of illustrious contributors but
was something that deserved to be shared. And thus also by an enormous audience. Since its launch, the
the idea for SHOWstudio was born. showstudio.com site has attracted hundreds of
It took 15 years for technology to catch up with thousands of viewers and followers from Bahia to
him, and on 27 November 2000 Knight finally Beirut. Its reach is phenomenal and it has paved the
pushed the Go button on SHOWstudio, beaming it way for a new kind of fashion consumer, one who
out to the world with a video of fashion isn’t content to sit back and watch, but who wants
photographer Elaine Constantine in her room at to participate. Yet browsing through an archive that
home getting ready for a night out on the town. ranges from films depicting the ‘anechoic sound’
With the launch of SHOWstudio, Knight set out to of clothes to live discourses about fashion in
create a new online platform for fashion and image politics, one wonders who exactly SHOWstudio is
making, free of the constraints of advertising and for. Has it intellectualised fashion beyond the reach
editorial schedules. Now, more than 10 years after of common people, or has it opened it up too much
its launch, his embryonic idea has become a for creative people within the industry?
creative behemoth, straddling the worlds of art, “Well, my mum loves it,” says Ruth Hogben,
fashion, music, architecture, food, design and director of fashion film at SHOWstudio, and one
performance. It has been involved with more than of Knight’s right-hand people. “She’s a school head
300 projects with creative luminaries from all of teacher with only a passing interest in fashion, but
these worlds: from Tracey Emin to Heston she checks it regularly, and not just for the things
Blumenthal and from Brad Pitt to Björk, the I’m working on. I don’t think SHOWstudio is
magnetic field that surrounds SHOWstudio has designed for any particular person; it’s more of an
drawn many and varied creative talents to its core. invitation to be involved. Here is an incredible
“Working with SHOWstudio is like being platform for creative people to say what they want
involved with something that is actually alive and to and it’s allowing people to wonder not only at
kicking,” says Alice Hawkins [see PP July 2010 for beautiful end products but also to wonder at the
our interview with the photographer]. She has been reality of it.”
a regular contributor to the site ever since Knight The big players in the fashion world are
brought her into the ‘family’ in 2003, after he was
a judge in a photography competition she had
“I don’t think SHOWstudio is beginning to realise that an open-door policy is
essential to stay ahead of the game. Fashion shows
entered. “I didn’t win first place, but I felt like I had designed for any particular used to be attended by a select few editors whose
when he invited me to the SHOWstudio office.
It’s been one big adventure ever since.”
person; it’s more of an edicts went on to dictate the trends of the following
season, but now the pictures are blasted out almost
invitation to be involved. instantaneously to the world, opening up the
Previous pages: The video for Born this Way by Lady Here is an incredible platform floodgates of debate before the clothes even go into
Gaga, directed by Nick Knight. production. SHOWstudio offers what Vogue
Opposite page: Tomorrow Night We’ll Go Anywhere , for creative people to say fashion photographer Norbert Schoerner – who
edited by Jamie Harley, is the first in a series of films
from the Editing Kate project. Video editors are what they want to and it’s contributed a film to a project early in the
RUTH HOGBEN / SHOWSTUDIO
being invited to create their own film from the footage site’s development – calls “democratic texture”.
of Kate Moss captured during Nick Knight’s editorial
allowing people to wonder not While some brands initially saw this as a toppling
shoot for the December 2010 issue of Vogue Italia.
This page: Fashion designer Gareth Pugh’s
only at beautiful end products of authority, others embraced it. In October 2009
the late Alexander McQueen pioneered fashion’s
Pitti Immagine #79 2011 film showcases a collection
of clothing inspired by religious iconography and
but also to wonder at the journey into space with a live broadcast on
the opulence of Florence. reality of it.” Ruth Hogben SHOWstudio of his spring/summer 2010 collection
www.professionalphotographer.co.uk 91](https://image.slidesharecdn.com/professionalphotographeruk-2011-05-121104111649-phpapp01/85/Professional-photographer-uk-2011-05-91-320.jpg)
Professional photographer uk 2011-05
- 1. PROFESSIONAL PHOTOGRAPHER MAY2011 ● BRUCE DAVIDSON ● BUDGETING A MULTI-PLATFORM SHOOT ● CROWDFUNDING ● ARE CSCs THE NEW DSLRs? ● WWW.PROFESSIONALPHOTOGRAPHER.CO.UK PROFESSIONAL SINCE 1982 INSPIRING • INFORMATIVE • HONEST • ESSENTIAL MAY 2011 ONLY £4.20 “I’m looking for the unexpected. THE FUTURE I’m looking for things I’ve never seen before.” Robert Mapplethorpe OF PHOTOGRAPHY USC cheerleader jumping by Jill Greenberg DISCUSSED, DEBATED & REVEALED THE GREAT LEAP FORWARD? PLUS: THE DIARY OF A SOMETIME WORKING PRO, & SHOOTING IN THIS ISSUE: LADY GAGA: HOW TO GET OTHERS TO PAY FOR YOUR THE TRUTH PERSONAL PROJECTS, HOW TO BUDGET FOR A MULTI-PLATFORM SHOOT & HOW TO MASTER SUCCESSFUL PORTRAITS EXCLUSIVE: MAGNUM MASTER BRUCE DAVIDSON INTERVIEW & ARE CSCs THE NEW DSLRs?
- 3. welcome may There are few subjects more likely to fill up my email inbox or cause an awkward silence when brought up in conversation than the elephant in the room that is convergence: the meeting of photographers with movie making and film makers with photography. Some say that it is a gimmick, a fad, which will soon pass, others that it has nothing to do with photography. However, more and more people are embracing it and creating jaw-droppingly impressive work. Whichever camp you currently sit in, I want you to ask yourself just one question: How many cameras have been launched over the past year and a half without movie mode? Now I’ve got you thinking, take some time to read the arguments and personal experiences of those featured in this issue, you may just change your mind as to which camp you should be in. We take a look at how agents are budgeting and invoicing for multi-platform shoots on Page 64 in The Price is Right? We celebrate 10 years of Nick Knight’s pioneering SHOWstudio’s visual creativity in That Business We Call Show on Page 88, find out how to get other people to pay for our projects thanks to the power of crowdfunding in Power to the People! on Page 83, and tackle the convergence debate in The Future is Moving on Page 76 by putting film maker Richard Jobson head-to-head with photographer David Eustace to make sure we are giving you both sides of the story. There have always been two sides to celebrity portraiture: the flattering and the honest. Jill Greenberg could definitely fit into the first category and her successful career seems to suggest that that is what her clients are looking for. You can find out more in Picture Perfect on Page 54. Bruce Davidson is someone who I’m both proud and honoured to have in the magazine. EDITOR’S IMAGE: MATT HALSTEAD I grew up with his images and bow to his brilliance. You can find out THIS IMAGE: JILL GREENBERG why on Page 70. Each month we hope to question, inform, debate and address the issues which are facing you every day. I hope you agree that this month we’ve managed to cover all of these bases and that we are what it says on the tin! Grant Scott, Editor
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- 5. NEW PHOTOGRAPHY 8 Portfolio contents may The best of your work posted on to our online portfolio. 53 Exposure The creative partnership between fashion photographer Nick Knight and designer Yohji Yamamoto is celebrated at the V&A. NEED TO KNOW 25 Being There PP Editor Grant Scott remembers a shoot with pop star Lady Gaga and photographic duo Markus Klinko and Indrani that left him hot under the collar. 30 Dispatches Having captured London Fashion Week on HD DSLR video, Clive Booth prepares himself for the long editing process. 35 The Dench Diary The sometime working pro returns to his old university city and spends a day at the Ideal Home Show in search of perfection. 42 The World of Convergence Film maker John Campbell’s regular news-packed take on the world of convergence. 45 Frontline We talk to freelance stylist Karina Garrick to get the lowdown on interiors shoots. 51 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. Lisa Lyon, 1982 by Robert Mapplethorpe is from a new book about the controversial photographer. Turn to Click, starting on page 14, for more details on Mapplethorpe X7 , published by teNeues. 64 The Price is Right? If a client asks you to shoot video and film on the same job, how much do you charge? We broach the INTERVIEWS WITH... 23 Diary subject with some industry figures in the know. Our pick of this month’s most exciting photographic 54 Picture Perfect exhibitions around the UK. 76 The Future is Moving Los Angeles based photographer Jill Greenberg Film maker Richard Jobson and photographer David enjoys making people look like better versions of 103 Stop Press... Eustace add their views to the debate on convergence. themselves. She also uses her personal work to The latest essential news, gossip and kit from the . make a political point. Here she explains why. pro world. 83 Power to the People! Have you heard about crowdfunding? Film maker Robin Schmidt explains what it is and how it could help you finance your next project. EXCLUSIVE... KEEP IN TOUCH 70 Bruce Davidson 28 Podcast 88 That Business We Call Show Peter Silverton interviews the Magnum legend Check out our free photographic discussion for the We go behind the scenes at SHOWstudio, Nick who has dedicated the past six decades to capturing masses. Every edition we record a podcast debating ROBERT MAPPLETHORPE FOUNDATION Knight’s groundbreaking fashion website. the beauty in the ordinary and created the issues affecting professional photographers. some extraordinary pictures in the process. 94 Talkin’ About a Revolution 40 Subscribe PP Editor Grant Scott looks at how compact system Check out our latest subscription offers so that you cameras are taking the market by storm. NEWS & REVIEWS never miss an issue. This month you can save 33% when you subscribe by Direct Debit. 114 Legend 14 Click Peter Silverton examines the life and work of This month’s line-up of the best news, dreams, 49 Feedback French photographer Jeanloup Sieff. themes and photographic schemes. Your thoughts, your opinions, your page. www.professionalphotographer.co.uk 5
- 6. CALUMET Fujifilm Finepix X100 Inspired by the beauty and form of classic cameras from the past, the new FinePix X100 combines all the latest technical digital innovations in a beautiful, traditional chassis which oozes class and prestige. Echoing the functional aesthetics of analogue film cameras, the ‘manual’ dials have been carefully positioned to give the photographer easy control over creative shooting. Aperture, shutter speed and exposure compensation can be checked even before the camera is turned on. • 12.3MP APS-C CMOS Sensor & EXR Processor • 720p HD Movie Mode & HDMI port • 23mm Fujinon F2 lens (135 equivalent: 35mm) • Motion Panorama Function for • New unique Hybrid Viewfinder offering both 180° and 120° panoramic images optical and electronic VF systems 331-101X £899.00 Epson Stylus Photo R3000 Bowens Gemini 500R Includes extra softbox Achieve outstanding A3+ prints which offers complete image control and wide media compatibility. Twin Head Kit & remote control The Gemini 500R monolight boasts a range of new features With high capacity inks ideal for medium print designed to offer photographers not only ultimate freedom runs and a small footprint, this A3+ printer but unmatched power, durability and control too. This makes professional-quality prints limited kit offer contains two 500R heads and Gemini accessible. Enjoy a smoother, more Remote Control, bundled together with an natural-looking tonal range thanks to 80cm x 60cm and 100cm x 100cm Epson's UltraChrome K3 Ink. soft-box, stands and kit bag. 650-335A £699.00 500R Kit BW4812UK £969.00 Bumblebee 210 DL 055XPROB tripod The D-Light Bumblebee-210 DL is stylish, The 055XPROB makes the famous Manfrotto-patented functional lightweight, protective carry on horizontal centre column feature even easier to use. board backpack which is designed to carry By extending the column to its highest vertical camera gear + everyday personal effects position, it can be swung round to horizontal without and can easily convert into a simple and removing the head or disassembling the column useful daypack when not using or carrying itself, so switching between framing and positioning a camera. setups is more convenient than ever. KTDLB210G MN055XPROB £139.00 £119.00 Calumet Calumet 7” HDMI Reflectors LCD Monitor Calumet 32" (81cm) round, An extremely lightweight and portable zigzag style Soft Gold & Silver monitor that allows you to enjoy reflector, with the reverse side broadcast-quality viewing in both color pure white. The combination and black-and-white. It can be attached gives a mild warming effect on directly to your DSLR or camcorder, or be one side, with a reflective soft used as a remote viewing monitor when even white on the other. the situation warrants. RM4030 £24.99 DF0200 £349.99 All prices include Vat at 20%. Prices correct at time of going to press. E&OE. Call: 08706 03 03 03 Click: www.calumetphoto.co.uk Visit: stores nationwide
- 7. friends may ADAM DUCKWORTH Richard Jobson David Eustace Peter Silverton Robin Schmidt Film maker Photographer Writer Film maker Richard is a founder member of Scots-born photographer David Peter is a cultural writer and author Robin is a freelance director, editor punk band the Skids and as a shoots portraits as well as fashion, of several books; he also pens our and cameraman who has embraced film director brings his anarchic travel and advertising images; he is Legend page each month. When we HD DSLR film making. Earlier this spirit to the world of film making. also firmly embracing the world of were granted a rare opportunity to year he won the Bahamas 14 Islands A proponent of convergence, Richard HD DSLR film making. He has interview the Magnum icon Film Challenge and was named by is also founder of Converge, a made several films for advertising Bruce Davidson, it was Peter we movieScope magazine as “one to website that brings together leading clients, so is well placed to put called on for the job. A lengthy watch”. On page 83, Robin explains lights in HD DSLR film making. forward the photographer’s point of conversation between the two men how crowdfunding is being used In our article on convergence and the view in our convergence debate on ensued and you can read Peter’s as a way for creatives to realise their future of photography on page 76, page 76. As well as relating his own interview on page 70. When you ask personal projects, and recalls how Richard brings his enthusiasm and experiences, David offers sage an outstanding writer to interview a he found himself doing a 24-hour experience to the debate on the future advice for those teetering on the legendary photographer, you should joke-athon in order to fund an of the moving image. brink of convergence. be prepared for great things. overseas shoot. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES grant.scott@archant.co.uk eleanor.godwin@archant.co.uk, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane SALES EXECUTIVE Amy Pope ORDER HOTLINE 01858 438840 Professional Photographer is published eleanor.okane@archant.co.uk amy.pope@archant.co.uk, 01242 216054 VISIT www.subscriptionsave.co.uk monthly by Archant Specialist. ART EDITOR Rebecca Shaw CLASSIFIED SALES EXECUTIVE Bianca Dufty EMAIL professionalphotographer@subscription.co.uk Archant House, Oriel Road, Cheltenham, rebecca.shaw@archant.co.uk bianca.dufty@archant.co.uk, 01242 211099 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds GROUP COMMUNICATIONS MANAGER Fiona Penton-Voak www.professionalphotographer.co.uk simon.reynolds@archant.co.uk Lucy Warren-Meeks, 01242 264783 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech lucy.warren-meeks@archant.co.uk Lisa Flint-Elkins lisa.flint-elkins@archant.co.uk kelly.weech@archant.co.uk 01242 264751 EDITORIAL ASSISTANT Jessica Lamb MD SPECIALIST MAGAZINES Miller Hogg jessica.lamb@archant.co.uk PUBLISHING PRODUCTION MANAGER CONTRIBUTING EDITORS Kevin Shelcott WHOLESALE AND RETAIL DISTRIBUTION London: Suzanne Hodgart, Geoff Waring, PRODUCTION TEAM LEADER Mikey Godden If you have difficulty obtaining Professional Photographer, Jonathan Worth. 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ABC certified circulation I The Editor’s decision is final and no correspondence will be entered into. I Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. (Jan-Dec 2010): 9,386. If you are sending your entry by text and do not wish to be contacted, please add the word ‘NO’ to the end of your text message. If you are sending your entry by post, please tick the appropriate boxes on the entry form. www.professionalphotographer.co.uk 7
- 8. PORTFOLIO Each month weshare the best of the latest postings from our online portfolio with our magazine readers, so for your chance to appear in Professional Photographer, go online and start uploading your best images to www.professionalphotographer. co.uk. If you want to see more of any photographer’s work, go to their online profile to access their website details. SIM TIAK SIEW, SINGAPORE LAURA BATES, UK JESS RIGLEY, UK SVETLANA LEBEDEVA, UK 8 www.professionalphotographer.co.uk
- 9. DAN LACROIX, UK www.professionalphotographer.co.uk 9
- 10. PORTFOLI RICHARD HORSFIELD, UK JOHN JACKSON, USA DENIS GUICHOT, FRANCE IRINA BARCARI, MOLDOVA JONATHAN McGEE, UK DARRAN ARMSTRONG, CHRIS BURGESS, UK UK 10 www.professionalphotographer.co.uk
- 11. RICHARD PARDON, UK SAM COOPER, UK www.professionalphotographer.co.uk 11
- 12. PORTFOLI ROMAN KIRILENKO, POLAND IRINA BARCARI, MOLDOVA RORY O'TOOLE, IRELAND BARBARA LUKE, UK MARIA DRAGAN, UK KHURAM CHOUDRI, KAMIL SZKOPIK, UK UK 12 www.professionalphotographer.co.uk
- 14. 2011 THE DENNISHOPPER TRUST Jane Fonda (with bow and arrow), 1965.
- 15. click In search ofAmerica Dennis Hopper was an actor, film maker, screen writer, director and artist. From the 1960s he was a photographer too and carried a camera – bought for him by his first wife Brooke Hayward – wherever he went, from film sets to bars, parties and political marches. A new book from Taschen, Dennis Hopper: Photographs 1961-1967 showcases pictures that Hopper took during a Iggy Pop, 1981. the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane decade of revolution and change. Hopper’s cultural and political awareness put him at the heart of 1960s’ America. In the book images of Tijuana bullfights and urban street scenes sit alongside portraits of Martin Luther King, Andy Warhol and Tina Turner. Hopper’s photography appeared on Ike and Tina Turner’s © ROBERT MAPPLETHORPE FOUNDATION single River Deep – Mountain High. The book also contains introductory essays by art gallery owner Tony Shafrazi and legendary West Coast art pioneer Walter Hopps, as well as excerpts from cultural writer Victor Bockris’s interviews with some of Hopper’s famous subjects. Hopper’s photography books are sought after: the limited-run Collector’s Edition of this title, priced at £900, has already sold out. We also spotted a Lucky 7 $30,000 copy of a previous book of Hopper’s work from the 1960s – 1712 North Crescent Heights: Dennis A recent retrospective at the Alison Hopper Photographs 1962-1968 – online for Jacques Gallery in London celebrated the £700. At less than £50, this is the chance to savour influence of Robert Mapplethorpe’s work Hopper’s photographic legacy for a song. on the rock band Scissor Sisters. Now a Dennis Hopper: Photographs 1961-1967, published by Taschen, priced £44.99, new book published by teNeues has brought together seven contemporary IS UP FOR GRABS ISBN: 978-3-8365-2726-2. www.taschen.com artists who have chosen pictures by Applications for the 2011 W. Eugene Smith Mapplethorpe that resonate with them. Grant in Humanistic Photography are now Among the seven are David Hockney, Hedi QUOTE OF THE MONTH being received. Deemed the most prestigious Slimane and Cindy Sherman, who have prize in photojournalism, the memorial fund each reviewed Mapplethorpe’s entire body honours the legendary American photo The immortal photographers of work and selected images that convey essayist (see our March issue for more on will be straightforward their own personal relationship with him. For those who know Mapplethorpe only for Eugene Smith). The grant for 2011 is worth $30,000, with an additional $5,000 available photographers, those who his sexually charged and homoerotic for one or more of the finalists deemed do not rely on tricks or images, this book offers new insights. Mapplethorpe X7, published by teNeues, worthy by the judging panel of special recognition. Applications are being accepted special techniques. £50, ISBN: 978-3-8327-9473-6. until 31 May. Philippe Halsman www.teneues.com For submission guidelines visit www.smithfund.org www.professionalphotographer.co.uk 15
- 16. A Battery Solution for Every Need Could you be described as a pro-on-the-go? Are you looking for a battery pack that’s not only tough, reliable and easy to use but also answers your specific needs? Well, look no further. Buy one now and get a lamp head for free. 51-919. PHOTO © Tom Muños. Product Photo Gert Jansson. Offers ends 31st of July 2011. Image shot with a Profoto AcuteB2 600 AirS. Profoto AcuteB2 600 AirS Profoto Pro-7b 1200 Profoto Pro-B3 1200 AirS The Profoto Acute B2 is our smallest and Our classic high-capacity battery powered Studio photography on-the-go. The Profoto lightest battery pack, perfect for weddings, generator for total freedom on location. Pro-B3 offers the fastest flash duration and portrait shots, editorial photography and Superb for situations when more power ultra fast recycling. Priceless features when situations where you need to move fast. is needed. shooting fashion or fast moving sports. Free Profoto AcuteB Head included. Free Profoto ProB Head included. Free Profoto ProHead included. www.profoto.com For further information go to Profoto is available from AJ’s (www.aj-s.co.uk), Calumet (www.calumetphoto.co.uk), Pro Centre (www.procentre.co.uk) and Teamwork Photo (www.teamworkphoto.co.uk).
- 17. PP -CLICK - MAY 11/04/2011 17:37 Page 17 Bill Cunningham photographing in the street. Street smart Long before street fashion power couple Scott Schuman and Garance Doré prowled the streets shooting the sartorially elegant, there was Bill Cunningham. Born in 1929, the fashion photographer for the New York Times has photographed New York street fashion for decades, moving around Manhattan on his Schwinn bike. A new independent film from debut director Richard Press, Bill Cunningham New York, pays tribute to the octogenarian street photographer and talks to some of those whose style he has documented over the years. At the moment it looks like the film is only FIRST THOUGHT FILMS / ZEITGEIST FILMS playing in the US so we’re patiently awaiting the DVD release. http://billcunninghamnewyork.com 14% Arts Council England announced its latest funding decisions on 30 March with the cuts of 14% for 2011/12 touching all areas of the arts, including photography. CUT Side Gallery in Newcastle, an independent All together now gallery supporting concerned photography, was one of those to have its The directors of the Little Black Gallery in London have launched funding axed, with the Arts Council stating a crowdfunding appeal to raise £75,000 to finance Dark Room, the that there are too many galleries Obsessions of Bob Carlos Clarke, a film about the work of the Irish dedicated to humanist documentary photographer who died in 2006. Anyone donating at least £100 will be photography in Side’s geographical location; a claim the gallery denies. listed in the credits. More details at www.thelittleblackgallery.com Photographic organisations that retained their funding for 2011/12 include The Photographers’ Gallery, Autograph ABP and Photofusion. www.professionalphotographer.co.uk 17
- 18. BP Carson refinery, California. TRIBECA FILM Band of brothers The Bang-Bang Club was a pack of four fearless photojournalists, MITCH EPSTEIN Kevin Carter, Greg Marinovich, João Silva and Ken Oosterbroek, who documented the harsh and violent conditions inside South Africa’s townships during the early to mid 1990s. The fates of the individuals have been decidedly tragic. In April 1994, just days before the first free elections, Oosterbroek was killed in crossfire. Three months Eyes on the prize later Carter committed suicide and last year Silva had both his legs American photographer and film maker Mitch Epstein has been blown off when he stepped on a landmine in Afghanistan. In 2000 announced as this year’s winner of the Prix Pictet, picking up Marinovich and Silva published an account of their experiences a $100,000 prize in the process. Epstein was selected from a short list and now a film brings their story to the big screen. Starring teen of 12, which included fellow photographers Taryn Simon and heart-throb Ryan Phillippe, we’re hoping the intensity of the story Thomas Struth. Kofi Annan, the honorary president of the Prix isn’t reduced to a rom com with Leicas. www.thebangbangclub.com Pictet, announced the results at the Passage de Retz gallery in Paris. Growth was the theme of this, the third annual photography prize for environmental sustainability, which aims to search for images that communicate powerful messages of global environmental significance. According to Sir David King, who chaired the judging panel, Epstein’s series American Power was chosen because it delivered a powerful message and met the three criteria of producing a coherent set of images with narrative power, artistic excellence and powerful storytelling. Images from the portfolios of each short-listed artist are being shown around the world during 2011, with the exhibition reaching London in October when images go on display at the Diemar / Noble Photography gallery. For more on Mitch Epstein’s American Power series visit www.whatisamericanpower.com For information about the competition visit www.prixpictet.com He’s electric Billboard greatest hits As if competition wasn’t tough enough The 1995 ‘Hello Boys’ billboard campaign for Wonderbra, shot by Ellen von for photographers, Unwerth and featuring model Eva Herzigová, has been voted by the public as electronic artist Moby the most iconic outdoor advertisement over the past five decades. Other ads has released a book that have entered Campaign of photography to magazine’s Outdoor Hall of coincide with his latest Fame include a 1978/79 album, Destroyed. It features 55 photographs taken by Pretty Polly campaign the artist, who carries a camera with him wherever he featuring an image by John goes. The images will also be on show at an exhibition Swannell and a 2006 Nike at Proud Camden from 18 May until 19 June. The book and campaign featuring accompanying album will be released on 16 May. The book is Nick Georghiou’s portrait published by Damiani, RRP £25. To find out more log on to of Wayne Rooney. www.proud.co.uk or www.moby.com MOBY To see all the advertisements visit www.outdoorhalloffame.co.uk 18 www.professionalphotographer.co.uk
- 19.
- 21. SAMUEL FOSSO, COURTESYOF JEAN MARC PATRAS / GALERIE THURSTON HOPKINS / GETTY IMAGES The cream of the crop The Guernsey Photography Festival is back for its second year, presenting some of the most PAUL TREVOR respected names in photography during the month A young boy on the of June. Martin Parr will be showing work from streets of Everton. Street games. his Small World series, beside the black-and-white photography of Tony-Ray Jones, who documented the British at leisure in the 1960s before his death, Portraits of the past aged just 30. Images from Richard Billingham’s Two new exhibitions featuring historic images by two British photojournalists throw the spotlight 1996 photobook Ray’s a Laugh, which set the bar on the past. Thurston Hopkins at the Getty Images Gallery in London runs until 4 June and for personal photography in Britain, will be on highlights the work of one of Britain’s greatest photographers. As a staffer on Picture Post view as well as new work. Samuel Fosso will magazine, Hopkins captured all walks of life, from actresses to children playing on the street; all exhibit work from both his African Spirits and the images in the exhibition are taken from the Getty Images archive. For more on Thurston Tati series. One of Africa’s most important Hopkins and his wife Grace Robertson, read our profile of the couple in the May 2010 issue. photographers, he is known for his self-portraits, Meanwhile, at the Walker Art Gallery in Liverpool, Like you’ve never been away: photographs by in which he borrows the identity of both fictional Paul Trevor features 60 images of children playing among the terraced streets and high-rise flats and real characters. of mid-1970s Liverpool. Despite the fact that Trevor was working in deprived areas, the energetic The Guernsey Photography Festival runs images reveal a positive side to inner-city life. from 1-31 June; all exhibitions are free of charge. Thurston Hopkins, Getty Images Gallery, until 4 June. www.gettyimagesgallery.co.uk; www.guernseyphotographyfestival.com Like you’ve never been away: photographs by Paul Trevor, Walker Art Gallery Above: The Chief (the one who sold Africa to the 13 May- 25 September, www.liverpoolmuseums.org.uk/paultrevor colonisers) by Samuel Fosso. The French connection THIS MONTH WE’VE MOSTLY BEEN LOOKING AT…. FURTHERMORE France has a long relationship with photography and is home to two of the world’s greatest photo festivals, in Arles and Perpignan in southern France. A new festival, The author of this Photomed, launches on 27 May at blog on photography Sanary-sur-Mer in the south of France and books is a New runs until 19 June. The festival aims to York-based book cover both traditional and emerging dealer. However, photography. The ubiquitous Martin Parr the blog is written is a guest of honour and Turkey will be anonymously honoured with exhibitions of that country’s in order to create © STRATOS KALAFATIS masters and rising stars. discussion rather For more information on the festival visit Le mont than business. http://festivalphotomed.com Athos, 2009. http://furthermorebooks.blogspot.com www.professionalphotographer.co.uk 21
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- 23. PP -DIARY -MAY 12/04/2011 12:59 Page 23 HD Video: We have done the hard work for you this month and chosen our essential To Buy / three photographic exhibitions on show now or coming up soon. For a full list of exhibitions and events visit www.professionalphotographer.co.uk Rent / Try Rigs CHUMLONG NILKON, COURTESY OF SONY WORLD PHOTOGRAPHY AWARDS 2011 Sony World Photography Festival 2011 Somerset House, Strand, London, WC2R 1LA 020 7845 4600; www.worldphoto.org Festival: 26 April to 1 May Exhibition: 26 April to 22 May The Sony World Photography Festival has come to London. The festival and exhibition at Somerset House features the 10 open category winning Sound images from the 2011 Sony World Photography Awards. The annual competition is open to anyone with an interest in photography and this year Yee Peng. received more than 51,000 submissions from about 50 countries. The six-day festival consists World Photography Organisation website. The overall of seminars, talks, workshops and events. award winner is being announced at a gala ceremony Full programme details can be found on the at the Odeon, Leicester Square on 27 April. Lights Girl with White Paul Graham: Photographs 1981-2006 Face, Tokyo, 1992. Whitechapel Gallery, 77-82 Whitechapel High Street, London, E1 7QX 020 7522 7888; www.whitechapelgallery.org Grip 20 April to 19 June A collection of British photographer Paul Graham’s intriguing images are on show at the Whitechapel Gallery. The collection includes more than 100 photographs taken over the 25-year period between 1981 and 2006. Many of the images included are of everyday scenes and experiences from his travels, as well as vivid portrayals of the people that he met. The images on show demonstrate his unique style of documentary Camera photography and showcase his ability to expose the beauty of PAUL GRAHAM commonplace scenes that might normally be overlooked. Paul Graham produced several books documenting his travels in Europe, Japan and America, and some of this work is also included in the collection. and more.. Vera Lutter: Egypt Gagosian Gallery, 17-19 Davies Street, London W1K 3DE 0207 493 3020; www.gagosian.com Until 21 May Gagosian Gallery in London presents a collection of work from German IMAGE COURTESY OF GAGOSIAN GALLERY / VERA LUTTER photographer Vera Lutter. Through her Red and Bent pyramids, conceptual approach to the camera Dahshur, April 14 2010. obscura she manages to capture and create dramatic landscapes. Travelling through Egypt in 2010, Lutter experienced This exhibition showcases images from her Egypt suspicion towards her photographic apparatus, as local series, in which she records ancient architecture. law forbids the photographing of certain monuments. Lutter produced these photographs using an empty This led her to choose landscapes and pyramids as her suitcase lined with photosensitive paper, creating a final subjects. Lutter says of her work: “It’s fascinating covert camera obscura. With exposures taking days to me that these enormous buildings have been left or even months to produce, she has chosen to alone and are in a natural state of deterioration within retain the negative image as her final printed work. the magical landscape of the desert.” FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk
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- 25. GOING GAGA This month PP Editor Grant Scott revisits a hot, steamy afternoon their entourage with them, which not only included their own creative director but also an entire film crew from the Bravo TV channel in the US who were making a fly-on-the-wall in the City of London and a documentary series about how Markus and shoot with Lady Gaga that tested Indrani as photographers worked in locations across the world (it’s called Double Exposure and everyone’s patience. you can also track it down on YouTube). This wasn’t a shoot as most photographers would There are times when recognise it, this was a circus with more than 35 you get to photograph a cast members – and Lady Gaga was still to make celebrity before they an appearance. are discovered (I’m The location was a Masonic temple hidden lucky enough to include deep within a hotel just next to Liverpool Street Brad Pitt, Colin Firth railway station. It was a stiflingly hot day and the and Elizabeth Hurley in temple was windowless and airless with a this category); or when temperature racked up by the film crew lights and they have settled into a couple of massive Broncolor lights and their star status after celebrity madness and reflectors. The room was unbearably hot, tempers hysteria have died down (for me this would were definitely getting frayed and no pictures had include Kylie Minogue, David Bowie and Jennifer Aniston). And there are times when you yet been shot. The shoot was meant to begin at 2pm, but by 4pm Lady Gaga was still in “The room was unbearably hot, collide with the full-on celebrity hysteria moment. wardrobe. No one was rushing her and although tempers were definitely getting This was certainly the case when I art-directed the location had a penalty clause for overtime shoots for Jason Donovan (please sign that the rental which began at 6pm and which no one frayed and no pictures had images taken will not be turned into duvet covers), Posh Spice (please sign that the images seemed keen to pay, we were all being patient with Gaga’s creative needs. yet been shot. The shoot was will not appear on anything), McFly (we own Meanwhile Markus and Indrani were checking meant to begin at 2pm, but your pictures, err... no you don’t) and Lady Gaga. By the time I came to be on the Lady Gaga out potential setups, with Indrani taking the role of Gaga while Markus captured her poses with his by 4pm Lady Gaga was still shoot complete with the ‘Haus of Gaga’, in Mamiya RZ67/Leaf back setup, with a handle in wardrobe.” Grant Scott London in 2009, I thought I had seen and hand carved from a mammoth’s tusk! experienced pretty much everything on a celebrity When Indrani was not creating poses she was to put in some creative energy and be filmed by shoot (I once spent 24 hours with Janet Jackson, running around capturing possible angles with her Bravo, but my better judgment was telling me to her caterer, florist etc etc to get three shots in a cheap point-and-shoot. Whether or not this keep a very low profile. studio in Los Angeles, for goodness sake, but process usually worked for them I was not sure Finally Lady Gaga entered the dark-panelled that’s another story for another time). But how but the air on the Gaga shoot was crackling with chamber room teetering on impossibly high wrong I was. creative disagreement. Markus and Indrani were ‘Hello Kitty’ heels wrapped in white fishnets and The concept for the shoot was that Gaga was to not seeing eye-to-eye on anything and the wearing a black rubber bikini, leather jacket and be shot dressed in ‘stuff ’ made from the Japanese situation between them was getting worse and fake eyelashes and eye covers. The assembled, toy ‘Hello Kitty’ as part of the 35th anniversary being recorded by the Bravo team – every overheated crowd cooed in admiration, of course. MARKUS KLINKO / INDRANI celebrations of the cartoon character, as well as glowering look and harsh comment. Markus let out the first of his many “Gaga, you’re in a series of suitably bizarre outfits for the Throughout all of this I was sitting in the so HOT” in his heavily accented Swiss-German photographers’ own project. The photographers background surrounded by miniature bottles of accent and we were off as the team carefully were Markus Klinko and Indrani, who had flown water trying to keep hydrated, unsure whether or positioned Gaga 12ft in the air on a narrow in from Los Angeles for the shoot and brought not to get involved. I’d been asked to come along marble ledge clinging to a Masonic column. www.professionalphotographer.co.uk 25
- 26. MARKUS KLINKO /INDRANI Markus started shooting and Indrani moved into the background. Gaga made shapes and Markus continued to inform her she was “so HOT” as the rest of us boiled. Markus got the shots he wanted in no time and Gaga was slowly lowered down a less than fabulous ladder and manoeuvred (she could hardly see due to the eye make-up or walk due to the shoes) back to wardrobe to be prepared for the next shot. The Bravo team immediately “By this stage the heat was truly unbearable for the crew, moved in on Markus and Indrani to get their take on the take. They both agreed that Lady Gaga was but Markus kept up his rallying cry to Gaga of “you’re so HOT” an icon and a phenomenon, and I’m sure I heard the Virgin Mary referenced at one point. and we all agreed.” Grant Scott With the first shot in the bag the tension between Markus and Indrani softened a little and on a Masonic throne. For each shot Markus and begin but not before I was interrogated by Bravo thankfully, before we all passed out with heat Indrani’s crew had carefully rolled the vast about the shoot, the photographers and how exhaustion, Lady Gaga returned to the chamber. Broncolor umbrella in front of Gaga for a very lucky we were to be graced by the talent that This time she was wearing black fishnets, a simple lighting setup. As this was to be the was Lady Gaga. I did my best to answer the sequined ‘Miss Kitty’ bum bag (which she last setup, the lighting stayed the same for a questions but may have fallen a little short of described as a ‘fanny purse’!) and a sequined full-length in the coat and close-up with a the praise required for all concerned to avoid the oystershell bikini top with matching eye mask. huge red bow placed on her head. By this stage cutting-room floor. Markus screamed out that she looked “so HOT” the heat was truly unbearable for the crew, but Shortly after the shoot the finances of Markus and we were off again with Gaga throwing even Markus kept up his rallying cry to Gaga of and Indrani were called into question by creditors more dramatic shapes next to another column but “you’re so HOT” and we all agreed. The overtime and they briefly went their own way. Today they without the need to climb a ladder this time. deadline was just passed but with the last shot are back working together. Me? I escaped into the Just as with the first shot both Markus and Gaga completed an end was in sight. grubby, hot air of Liverpool Street, happy were quickly convinced they had the shot in the The moment the wrap was called the Bravo that the whole experience was over. I still wonder bag and Bravo moved in again for more comment. team moved in again, interviewing Markus and whatever happened to Lady Gaga. PP Next up was a floor-length (and longer) coat Indrani together and apart. Everybody was made up of ‘Hello Kitty’ dolls, with Gaga seated now friends and the creative comedown could www.markusklinko-indrani.com GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 26 www.professionalphotographer.co.uk
- 27. WITH THE ROYALPHOTOGRAPHIC SOCIETY ACHIEVE the LRPS, ARPS or the coveted FRPS (LRPS/ARPS available by exemption to those holding the relevant qualifications including LBIPP/ABIPP members) PROMOTE yourself and your business on The RPS Website NETWORK via the members forum, facebook and specialist/ regional groups PROGRESS by uploading your images for exclusive expert advice* BELONG to a Special Interest Group free in your first year of Membership ENJOY The Society’s acclaimed journal (10 issues per year) packed with news, reviews, in-depth articles and inspirational photography AFFILIATE with The Society through exclusive use of our crest on your website** SAVE exclusive member discounts on selected photographic workshops, entry to Society competitions and associated offers With Membership at just £8.50 per month*** invest in yourself and join a growing community of professional photographers GO TO WWW.RPS.ORG OR CALL 01225 325 733 * Only applies to members working towards a Society Distinction ** The Society crest must be used as a hyperlink to www.rps.org *** By direct debit only, monthly payments will be less for student, disabled, over 65 and overseas subscriptions IMAGE: KEVIN WILSON FRPS award winning Wedding Photographer Premium Photobooks Not premium prices www.photoproductions.com Professional Photobook design and printing The highest quality at unbeatable prices Easy online ordering and online proofing ** Special Offer For Pro Photographer Readers ** Free Pocket Book with your first order, just email us quoting promo code PP8
- 28. PP -Podcast -MAY 11/04/2011 15:23 Page 28 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 March Issue and photojournalist Peter Dench to discuss the May Issue THE PERSONAL PROJECT SPECIAL importance of learning from the masters, and CONVERGENCE AND THE FUTURE The team grapple with the importance of creating debate the point at which they believe a OF PHOTOGRAPHY personal projects for sustaining and developing photographer becomes an icon. PP Editor Grant Scott and deputy editor a photographer’s career. Should a photographer Eleanor O’Kane are joined by regular columnist approach the project in the same way as a December Issue and photojournalist Peter Dench to discuss commission or adopt a different tack? They look PHOTOGRAPHIC COMPETITIONS the impact of HD DSLR film making on the at photographers who have got it right and ask if Grant Scott is joined by Eleanor O’Kane and world of professional photography. With many there are too many introspective projects. photographer Peter Dench to discuss the world of photographers now being asked to shoot video, competitions, the contentious Taylor Wessing the team focuses on areas that are posing February Issue Photographic Portrait Prize and whether there is problems for some stills photographers, such THE BUSINESS SPECIAL such a thing as a formula for winning. as narrative, recording sound and the editing The regular podcast team talk tax, finance and process. They also examine how the industry marketing. They ponder whether possessing November Issue at large is reacting to the new challenges and business and photography skills go hand in SEXY OR SEXIST? increased workloads that shooting video brings. hand, discuss potential areas where seeking Grant Scott, Eleanor O’Kane and Peter Dench professional advice could reap rewards and ask discuss an issue that often crops up in the AND THOSE YOU MAY HAVE MISSED… if current photography students are aware of industry: why some images are seen as sexy April Issue the importance of business skills when choosing while others are labelled sexist. Does it depend GETTING YOUR WORK EXHIBITED a career as a professional photographer. on context or are there other factors at play? The regular PP podcast team discuss the world of exhibitions. As curator and exhibitor January Issue You can subscribe for free and download the respectively, Grant and Peter share their ICONS OF PHOTOGRAPHY podcasts from iTunes by typing professional experiences and the team discuss the right PP Editor Grant Scott and deputy editor photographer into the search tab or listen via way to make an exhibition of yourself. Eleanor O’Kane are joined by regular columnist www.professionalphotographer.co.uk. PP 28 www.professionalphotographer.co.uk
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- 30. dispatches Clive Booth tales from the frontline of professional photography This month: As a photographer I have become used to being in control of everything I shoot – the still image and all it involves, from digital capture, to editing, Clive sits down to edit his post-production and printing. Of course, there are times when the post is outsourced, depending London Fashion Week on the type and complexity of the shoot. But for the most part my pictures are all mine. footage and finds that what It’s both incredibly hard and at the same time can take just a few hours to easy. Having shot the pictures I then strive to develop a look, feel, atmosphere or sometimes shoot requires rather more an emotion, and it’s all at my fingertips under one roof without interruption or interference. time in the editing suite. The photographer’s life can be a lonely one at times and yet I love the solitude and silence while immersing myself in the calm waters of the As I sit and trawl through five hours of digital darkroom; to relive the shoot, working my HD DSLR footage from London Fashion Week way through every frame and then finding that in February, attempting a first edit, colour special something which distinguishes one coding my favourite shots and putting them snapshot in time from the next. Shooting stills is into some kind of order, I find myself CLIVE BOOTH all about the captured moment and as such our pondering the crossovers between the energy and attention are focused on the minutiae still and moving image. within that moment: the location, direction and 30 www.professionalphotographer.co.uk
- 31. “It is preciselybecause of the huge amount of energy we expend on a single frame, along with the video capabilities of our hardware, that many of us are now turning to the moving image.” Clive Booth Above: Model cards backstage, Canon EOS-1D MkIV, 85mm f/1.2. Right: Model in make-up, 1D MkIV, 100mm f/2.8. Far right: Wardrobe detail, 1D MkIV, 85mm f/1.2. Opposite page: Runthrough, 1D MkIV, 135mm f/2. type of light in combination with a subtle facial expression, a nuance, eye contact, the shape of the body or the simple movement of a hand. It’s instinctive and yet takes a huge amount of sensitivity and practice, not to mention the experience gained from many previous mistakes, And just because our pictures move doesn’t when it is well-practised, the viewer can become before one can reach a point where this process mean they are going to move our audience. so engaged that we aren’t even aware of their even nears feeling comfortable. My latest shoot at London Fashion Week was input. And as I rush from Oxford Circus tube, It is precisely because of the huge amount of reportage and not scripted; no storyboard, just a hard drive in hand, just a day after completing energy we expend on a single frame, along with documentary, a moving record of what I saw. shooting at Somerset House, it is the editor whom the video capabilities of our hardware, that many My first edit of selected shots is completed, and I I am meeting at Therapy Films in Soho. of us are now turning to the moving image. If we am not sitting in the cosy, familiar comfort of my Since 2008 when I first shot HD DSLR, put this much effort into one frame then surely own home but teetering on the precipice about to I’ve worked with several editors and each has we can work wonders when we have 25 per fall into the unknown. Putting it another way, I’m brought something new to my work. While I like second to play with? Maybe, but it’s going to taking a leap of faith and placing my work in the the thought of being able to edit at home, much in mean facing a word that strikes horror into some hands of another. The work of the editor is the same way as I do with stills, the comparison and signals a challenge in others: change. sometimes referred to as the invisible art, because ends there. Editing is a profession and as such www.professionalphotographer.co.uk 31
- 32. dispatches “Unlike my lastshoot – a perfume commercial, scripted and storyboarded to a carefully selected piece of music – this project is a blank canvas and in some ways even more of an editorial challenge.” Clive Booth requires training, experience and, not least, talent. Having made our selects, Tristram transcodes able to walk out into the centre of a major city is When I watch an experienced editor at work, it the H264 files for FCP to ProRes. (FCP does not stimulating and somehow appropriate when focuses my energy on the other aspects of the like the native H264 codec.). It’s a necessary and editing film. Apparently a Soho address still has film-making process and to work with the editor for the most part time-consuming process, which kudos within the film industry, and I suppose that as a team, a collaborative creative partnership. will make sure the edit runs smoothly and, to my if a company is able to afford the rent, they must Tristram Edwards is the first to admit that his eyes at least, the converted ProRes files seem be good, very good! But for how much longer? childhood was unconventional, having been better. I feel sure this will all change in the near As the property that we frequent is the intellectual surrounded by creativity throughout his early future but for now we must work with it. I decide kind and requires no fixed abode, we could just as years. “I grew up in somewhat unusual that I will transcode the data myself next time, as easily be editing this project in a bedsit. circumstances, around colourful, creative, slightly this could potentially save a day in the editing The phone rings and it’s Charlotte Lurot, my eccentric people. My dad is a director and suite. I laugh to myself; just three short years ago collaborator, director of Bacchus Studio and photographer and mother a stylist.” Having left I wouldn’t have known the difference between London Fashion Week producer. This is our school at 16 and with no formal training, his FCP and an NCP, H264 could have been a boy fourth project together and I trust Charlotte early career included stints at film production band and codec a new form of Dalek. implicitly when it comes to fashion and film. company Arden Sutherland-Dodd and Sue Moles My five hours of footage is now five minutes It was Charlotte who gave us access to LFW and Editing, Soho, specialising in TV commercials, and organised into sequences, some of which even we had been discussing making a film short there where he learned his understanding of the start to look like edits in themselves. Unlike my for two years. I also trust Charlotte when it comes post-production process. “My proper, traditional, last shoot – a perfume commercial, scripted and to that other most vital of film-making ‘heat of battle’ training that I learned there is still storyboarded to a carefully selected piece of ingredients, music. Having sat through hours of something I refer back to, even now.” music – this project is a blank canvas and in some footage, Tristram and I are feeling a bass beat His recent client list is impressive, including ways even more of an editorial challenge. thumping in time to models marching up and Sony, Qantas and RBS, and his speciality is still Contemplating this, we sit in the peace and down a catwalk in a show that never seems to end, with commercials for the likes of M&C Saatchi, quiet of the offices at Therapy Films. Tristram is an infinite loop of colour, clothes, flashguns, legs, along with putting up with photographers, freelancing here and Barry Hughes, owner and heels and attitude. This contrasts with peaceful experimenting with the moving image and cutting MD, has kindly given us a working space for cutaways to the relative calm of backstage hair, short films. His tools of choice are both Avid several days. Talking with Barry highlights the make-up, wardrobe and line-ups. As always and Final Cut Pro, all packaged up in a 27in iMac changes taking place within the film industry, not Charlotte surprises: Piana & Murcof ’s Amor from and second monitor. I was introduced to Tristram least due to the advent of HD DSLR, RED and Monteverdi’s Lamento Della Ninfa madrigal, via my agent Mark George who felt that our newer ARRI derivatives, with their savings in Book 8. We listen, silence; we listen again, more collaboration would be mutually beneficial and equipment and crew, plus the capability to edit silence; and again. Our expectations are crushed; add something new and different to both our using FCP on a laptop from almost anywhere. it sounds slow and has nothing in common with portfolios – or should I now say show reels? Even though equipment can never replace talent our marching army of mannequins. I listen to it I immediately liked Tristram; his enthusiasm, and experience, existing production companies 30 times while Tristram starts to mould our energy, drive and obvious talent were apparent are having to change to remain competitive. rough-cut scenes around the framework of its from day one. With his darting eyes and hands The room is practically a Buddhist temple delicate tempo. Each sequence is starting to form more akin to a touch typist than a film editor, compared to where the film was shot backstage at as a ballet of movement and as we work, the I felt a surge of excitement at the possibilities our London Fashion Week. I peek through the music grows on us until at the end of the second partnership could produce. After all, I could be window and watch the world go by far below on day we couldn’t imagine editing this film to CLIVE BOOTH at home this very minute fumbling on iMovie or Oxford Street, in stark contrast to my normal anything else. I like it so much I listen to it all the FCP Express, faced with a mountain of footage surroundings of our 17th-century cottage in way home; there is depth to this piece, it is and very little else. Derbyshire. I like the buzz of Soho, and being complicated and yet beautiful, emotive, ethereal 32 www.professionalphotographer.co.uk
- 33. Catwalk boot detail, Canon EOS-1D MkIV, 85mm lens. Model line up abstract, Canon EOS-1D MkIV, 50mm f/1.2. and above all atmospheric; all the things I strive including model release and music. What is legal enter cut 38 we wait for the music rights for in my pictures. The choice of music for film is and what is not? My agent is far better qualified approvals; having cut and re-cut from the original so incredibly important that it could form the than I am to discuss this and maybe it’s a subject four minutes we are nearing a final 2min 30sec basis of a feature in itself and when the subject for future Dispatches. As these are international film short. There is still much to do, including a matter is fashion the choice becomes even more shows which are covered by hundreds of camera title, credits and last, but by no means least, the relevant, as the music should be ‘on trend’ as crews we should not need to seek further model grading, colour timing or, as it’s sometimes ‘they’ say and yet fulfil the film maker’s vision. release, but it’s always well worth taking advice known, telecine: making sure the look and feel This brings me to one of the single most and much of what is and is not possible relates to are consistent – colour temperatures, saturation, important and often neglected areas of the final usage. Initially this will be a personal highlight, shadow, contrast etc. It’s similar to the HD DSLR film-making process, ‘rights’, project and is not promoting an individual, photographic post-production, but dealing with company or product, so it’s okay to use the music, 25 frames per second over 2min 30sec, and make the film and show it on my website. requires sophisticated hardware and software “This project takes me well If, for example, it is selected for inclusion on along with the associated skills. into double figures with SHOWstudio or even shown at a film festival, then we have to seek approvals from the author of This project takes me well into double figures with HD DSLR film making but in many ways HD DSLR film making but in the music. This need not necessarily mean a huge has taught me the most. My energy and sum of money and indeed the artist may well even enthusiasm for the genre only increase with each many ways has taught me enjoy the collaboration, seeing it as being in sync new opportunity and with that comes the the most. My energy and with their work and drawing attention to it in the process. Depending on the budget, it’s often a eagerness to learn. Every personal project should be a voyage of discovery and while the final enthusiasm for the genre great deal easier to have music written and agree result is, of course, hugely important to all only increase with each the terms before production but that relies on knowing talented musicians in a multitude of involved, what I’ve learned in the process is equal to this and in some ways surpasses it. PP new opportunity...” Clive Booth genres – not exactly realistic and sticking to one may limit the creativity of the whole. To watch the latest version of Clive’s London Tristram’s approach to editing is different to Fashion Week short film go to: others with whom I’ve worked in the past. www.clivebooth.co.uk/lfwaw2011 “I believe in being unconventional (when I’m allowed) and that rules are there to be broken, See page 88 for our feature on Nick Knight’s provided that through proper training and hard SHOWstudio online project. graft you know exactly what and why they are there in the first place!” After four days I head home to Derbyshire; Tristram and I screenshare and continue to cut and re-cut. It’s like a painting GO ONLINE FOR MORE DISPATCHES that we just can’t seem to finish. Working with FROM CLIVE BOOTH Tristram has taught me a great deal, and as we www.professionalphotographer.co.uk www.professionalphotographer.co.uk 33
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- 35. the dench diary Left: One of the ‘heart-punchingly beautiful’ ladies in Minsk, Belarus. 1st My wife has taken to buying boxed wine in This month, our sometime working an effort to save money. It’s not going well. pro revisits old drinking haunts in Paranoid because you can’t see how much is left, each of us secretly tops up. I suggest having one his former university city of Derby box each that we can lug from room to room like a medical drip or reverse catheter. I’d hoped where his work is part of a major that as I aged the quality of wine would improve. I once drank a 1989 Haut Brion (currently street photography exhibition, retailing online at £1,200 a bottle) from a glass antler as a guest at Chateau Lafite. That set the discovers he’s the inspiration for a standard. Today I find myself ripping out the foil literary character and goes in search interior and maniacally pumping for the last drops like some wheezing Scots piper. of perfection for a new project. 3rd “If you can smell the street by looking at the photograph, then it’s a street photograph.” That may be so, Bruce Gilden, but this is Derby, it mostly smells of Greggs and its Steak Bakes are selling well. I’m back in my old university city for the FORMAT Festival, looking at the Market Square exhibition Take to the Streets, a Above: A blonde major survey of street life from around the world Belarusian woman studies by the by leading Magnum photographers. Before the Svislach river in official festival opening I take a tour of some old Minsk. haunts. I stand on the spot where 18 years ago I was punched and kicked to the ground and mugged of my Mamiya RB67. The blood has gone. I visit my former local, the Crompton Tavern. I never took a girl there, didn’t want to risk ruining a good local if the relationship went flat. The day I was to move to London, after three years of lock-ins, persistent drinking and Left: A picnic for PETER DENCH headed goals for the pub football team, I took in servicemen in Minsk my girlfriend. “Hey Pete, we all thought you includes the were gay.” The landlord is a face from the past ubiquitous vodka. www.professionalphotographer.co.uk 35
- 36. and I askafter my old drinking partner and film 7th Visiting Focus on Imaging at the NEC, tutor John Hawkridge. I find him for a few Birmingham, I meet wedding photographer Mr at the home of great real ales, the Smithfield, Roger Tyas, a PP subscriber for decades. before finally heading to FORMAT where it’s Well, he was a subscriber but feels the content straight into drinks with Twenty-Twenty Agency relevant to him has disappeared. I ask Roger if director Frede Spencer and omnipresent artist there’s anything he likes in the magazine, PollyCampanyDavidBraden. I totter to find my anything at all? “No.” He asks what I do, pictures on a digital loop. I submitted 85 but as “Write a column for PP.” Pose for a picture with each frame remains for 15 seconds it’s too Jake handing out bags for Aaduki Insurance prolonged to verify the number. It’s good to be resplendent in orange-striped swimming pants. involved and I’m in stellar company; surrounding Scour the Sony ‘make.believe’ stand; there are exhibits include Raghu Rai, Vivian Maier, Joel only soft drinks, ‘can’t.believe’ and defect to Meyerowitz, Jeff Mermelstein and some striking, the Denis Wright exhibit, ‘the longest established crisp colour prints of automobile breakdowns and most experienced manufacturer of albums, from the Amy Stein project Stranded. During the strut mounts, presentation folders and frames.’ after party at Revolution I say hello to former Denis has it right, bubbles and crust-cut Magnum snapper Paul Lowe, now course director sandwiches. I nibble with enthusiasm at the world of the Masters programme in photojournalism of strut mounts. There must be so much to learn and documentary photography at London College here, so much to see and much of it free. of Communication. I haven’t talked to Paul Instead, hot but not that bothered, I cool down properly since 2002 when I was a student in Amsterdam on the five-day World Press Photo Joop Swart Masterclass. Paul was one of the “Meet with international thriller writer Tom Knox for Masters. I’d hoped the week would be treated as a free-flowing exchange among equals. Paul was I scan the acknowledgements. ‘My great friends and more of the opinion the Master would master and the student would listen. When the course had run I stayed on a few days for a break. So did some others. In the bar of Hotel Arena, Paul joined the table where I was drinking with photographers Tim Hetherington and Narelle Autio. He picked up my pint and poured some into his glass. I let it pass. Then he did it again. Now, I’m from Weymouth where people have been killed for less. So today I keep a firm grip on my tumbler as Paul talks excitedly about his anticipated slot spinning discs at the Revolution DJ booth. It’s a new Lowe. 4th Pop back to FORMAT and stand through a bit more of my slideshow. Spot publisher Dewi Lewis chatting to Magnum’s Chris Steele-Perkins. I’m trying to get a book published and Dewi is a key figure. I really should say hello but it looks too tight to interrupt. Take in the Dougie Wallace collection Reflections on Life on the flight down from the first floor and blink into the presentation by Flickr group Hardcore Street Photography. Settling down on the train home with two cans of Strongbow and a copy of the Derby Telegraph I happy family. Remembering the women, I give a Above top: Jake and Peter at the Aaduki Insurance absorb the local news. “A man has been arrested sympathetic nod for the unnamed 39-year-old exhibit at Focus on Imaging 2011. Above: A bearskin-topped foot guard collects for allegedly carrying out a sex act on a man. “The donkey was checked out afterwards by money at the Ideal Home Show. PETER DENCH 25-year-old donkey called Jane.” I was once told a vet. She was found to be fit and well.” Derby had the highest number of people born in a I toast Jane’s health and mentally pencil a return city that remain there for life, literally one big, to Derby in another 16 years. 36 www.professionalphotographer.co.uk
- 37. the dench diary Left: A model poses on the catwalk in the Ideal Woman section of the Ideal Home Show. drinks in Camden. He hands me a copy of his new book Bible of the Dead. colleagues Peter Dench and Dan White, brilliant photographers both...’ ” Peter Dench Above: Visitors to the Ideal Home Show try the massage chairs. Left: A demonstration of Zumba at the Ideal Home Show, a fusion of Latin and international music that creates “a dynamic, exciting and effective fitness system”. www.professionalphotographer.co.uk 37
- 38. in the pressroom with a vodka tonic. On one last 15th Arrive at Alphabet Bar in Soho for leaving circuit of Focus I wait to be noticed at the drinks with Joanna Moran, picture editor at Men’s Calumet stand. A welcome interception comes Health magazine. I’ve not thought this through. from chef and photographer Pete Cranston. I’ve never met Joanna in person before. Order a I think Pete is looking for a Dench drink wine and scan the throng for familiar faces. challenge. Sitting in Wetherspoons he shows his MH has been good to me. Before Tom Knox intention and chugs the first two pints to my one. became an international thriller writer he was Four hours pass with our interpretation of the humble hack Sean Thomas. Together on classic Smith & Jones beer-darts sketch from Not assignment for MH we spent a week quaffing at a the Nine O’Clock News (visual on YouTube) French vineyard; another sun-drenched on the before Cranston walks, a near-full Guinness left Caribbean paradise of Martinique. When the on the table that I drain before the train. troops rolled into Iraq for Gulf War Two we were safely waiting for Swifty the Swimming Pig 11th Meet with international thriller writer Tom to take the plunge at the Star of Texas Fair and Knox for drinks in Camden. He hands me a copy Rodeo. My highlight was the trip to landlocked of his new book Bible of the Dead. I scan the Belarus, the only country in the developed world acknowledgements. “My great friends and where men die 11 years before women. Why? colleagues Peter Dench and Dan White, brilliant I think it was the heart-punching beauty of the photographers both, have always been ready to ladies. At times I felt like killing myself. tell me – over a warm beer in London, or a cold We drank vodka with the locals to numb the beer in Bangkok – just how wrong I am about senses and watched the Slavic sirens pass. almost everything.’ Knox says the main character, Photo director Cat Costelloe, who pours me into photographer Jake Thurby, is part himself, Dan the MH pool, rescues me from my reverie and “It’s good to have a project to shoot when work is slow and money is tight. I’ve been adding to one for some time. In an Ideal World is a study of society’s perception of perfection.” Peter Dench and me. It’s fair to say Knox has had a rather explains that the nation’s best-selling quality raises the pulse, ‘The Amaze Brush, Good on scandalous life; I’m hardly a role model and ask men’s magazine is looking for health-related Fluff & Lint’ beads the brow and the ‘Miracle about Dan. Yikes! It seems he’s the dark Dan photo-essays, committing at times to eight pages. Shammy’ (absorbs 25 times its weight in liquid) Diary of Asia. Promises to be an entertaining read. This is encouraging; I start to formulate a plan. has me twitching for the wallet. Then I discover a jaw-dropper, never before seen in the United 14th Last week saw drinking at its most 17th It’s good to have a project to shoot when Kingdom, it’s the all-in-one more effective self-destructive; often without purpose or hope. work is slow and money is tight. I’ve been adding cleaning, never again need for separate sponges On one occasion at university, Jonathan Worth to one for some time. In an Ideal World is a study and scourers designer glove Onhandz. The firm’s asked me to meet for a quick pint. With a course of society’s perception of perfection. Today I’m managing director Colin O’Neil proudly shows deadline looming I was wary but Jonathan didn’t off to the Ideal Home Show; a slap of the Oyster me a picture of him with Prince Charles taken 20 come out much, so I agreed. Eight days later card and flash of the press pass and I’m in. years ago. I humbly ask if I can snap this moment I called time on the session. Jonathan had, of As a compulsive cleaner keen to see what’s new, with marketing director Angela Riviere, also course, left after one drink and completed I zip past the bearskin-topped foot guards, selling the scouring sensation. It’s a good start to PETER DENCH a project in the interim. Keen not to fritter away ignore the pap pack chasing Prince Charles and the day. Move on to the Ideal Woman section another week I get to work emailing out PDFs of suck up to the houseware section. It doesn’t to see if I agree, pause at the catwalk, seems I do. news-relevant images from my archive. disappoint. The ‘Magic Mop, Best Mop Ever’ Last stop before bus stop the painstakingly 38 www.professionalphotographer.co.uk
- 39. the dench diary Left: Girls drink beer in a suburb of Minsk. Opposite page: A visitor to the Ideal Home Show at Earls Court takes a picture of himself in front of a re-creation of the Rovers Return Inn from ITV soap Coronation Street. www.peterdench.com You can hear Peter in person each month on the Professional Photographer podcast, available on iTunes or on our website at WWW.PROFESSIONAL PHOTOGRAPHER.CO.UK re-created Rovers Return Inn, with one thing like a fruit machine triple bell jackpot. Job done, amiss, no painstakingly re-created real beer. we twinkletoe into the sunshine. “Not too disheartened, I’m 18th Today I peed on the floor of the pub. I did it 25th Only one day’s commissioned shoot for the booked for the first 11 days of for Comic Relief. third successive month, at least I’m consistent. April on three commitments: 23rd “Squirrel.” I’m kneeling on the floor of a Not too disheartened, I’m booked for the first 11 days of April on three commitments: two days in two days in Glasgow, Belgravia flat. “Squirrel.” Shooting a portrait for Glasgow, three in Norway, six in Jamaica. Then I three in Norway, six in Stern magazine of Ingrid Seward, Editor-in-Chief receive an email cancelling Norway; not too of Majesty magazine. “Squirrel.” She has white disheartened, I’m still booked for eight of the first Jamaica. Then I receive an Puffie on her lap. “SQUIRREL!” Apparently this 11 days of April. email cancelling Norway; makes the Westie dog prick up its ears. I glance across at Coventry University second-year student 26th Receive an email cancelling Glasgow; not too disheartened, I’m still Dean O’Brien on a two-day internship breathing the life of a sometime working pro. He looks not too disheartened, I’m still booked for six of the first 11 days of April. Then I receive an booked for eight of the first nonplussed. “FOSTER’S!” O’Brien’s eyes level email... PP 11 days of April.” Peter Dench www.professionalphotographer.co.uk 39
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- 42. [ ] / THE WORLD OF CONVERGENCE To make sure you don’t get left behind in the rapidly changing world of DSLR film making, John Campbell brings you the latest news, the most exciting films and the best kit from this brave new world that is transforming our industry. NEWS the video mode out of the Canon cameras... We tried to figure out ways to break the code, BLACK SWAN get uncompressed RAW out of the camera – Iron Man 2 used footage shot on and there was no way. What he ended up doing HD DSLRs and the format is constantly being was shooting in still mode at 10-frame bursts, chosen by film directors and directors of and in post he would double it to 20 frames. photography (DPs) for its ability to shoot in He definitely bends the rules. The 20 frames low light, or because it is so mobile and are an interesting effect and will look really inconspicuous. The fact it can be integrated cool. The Canon cameras had their own set of with more standard video means its place in Black Swan. challenges, as they were really designed for Hollywood is now secure. Matthew Libatique, still photography, so we had to come up with who worked on Iron Man 2, was also DP rigs to control the focus. We had questions on of the 2011 Oscar-winning ballet movie how you monitor and how you get the director Black Swan, on which he used a Canon EOS a video feed. We used the 1D MkIVs for a lot 5D MkII for all the rehearsal scenes, as well of high-contrast, overexposed sunlight, snow as an EOS 7D or EOS-1D MkIV to shoot caps and skin-tones-type shots. This camera sequences guerilla style on the New York could hold those shots in still mode. In the subway. With very few lights available and video mode it wouldn’t get anywhere near.” aware that he was shooting illegally, he had to www.professionalphotographer.co.uk/0573 24. work fast to capture star Natalie Portman doing the scene in an uncontrolled 24 AND NUMB3RS environment, and shot at an ISO of 1600. It’s wonderful to see DSLRs being used With the Canon’s large sensor, the grain is more and more for big TV dramas, with many minimised when shooting in low light, but I DPs choosing to use them in specific roles. think plenty of extra work was done in DP on 24 Rodney Charters picked the Canon post-production. I can’t condone guerilla film EOS 5D MkII to shoot an intricate scene with making, obviously, but it certainly lends Numb3rs. a car. In this video he seems more in love with an air of immediacy that works for this scene a new monitor, but it’s still good to see the 5D in the movie. “We used a Canon 7D or 1D Millionaire, and Enrique Chediak. They used being considered by such a blockbuster series. MkIV for all the subway scenes,” Libatique DSLRs for some scenes and didn’t find the www.professionalphotographer.co.uk/0524 said. “I could just carry a 7D and shoot on the experience entirely successful, but pushed the But even more inspiring is DP on subway all day with a very small crew.” cameras’ abilities to the max and got what they Numb3rs Ron Garcia who has released two www.professionalphotographer.co.uk/0522 needed. In an interview with HD magazine, behind-the-scenes films on YouTube showing Michael Mansouri of Los Angeles-based HD him using the Canon EOS 7D to shoot a 127 HOURS Rentals which provided equipment, spoke variety of scenes, including extreme close-ups. Danny Boyle’s film 127 Hours, based on the about the ups and downs of shooting on a The insights he gives help to explain true story of a climber trapped in a canyon, had variety of Canons. “We shot with the 5D MkII the industry’s increasing interest in HD DSLRs two DPs: Anthony Dod Mantle, who won the as well as my favourite camera, the 1D MkIV ,” and the situations in which they will be used. 2009 Oscar for cinematography on Slumdog he said. “Anthony was very frustrated with www.professionalphotographer.co.uk/0566 42 www.professionalphotographer.co.uk
- 43. MASTERCLASS /////////ON THE GRAPEVINE– We have occasionally covered the exploits of NAB is the world’s biggest show Dan Chung, the for video professionals and as journalist/film maker for satellite news we went to press the 2011 event channel Al Jazeera was being held in Las Vegas. among others, as he In the run-up, people in the BE INSPIRED has explored and used DSLRs to make community were saying we ICE AGE factual films that have might see confirmation that Although you don’t get to see the greatly benefited the convergence movement. following movie as a whole, the ‘making of’ By showing the versatility of the DSLR in Sony is looking at life beyond The Ice Book shows the kind of film making often difficult situations, Dan has really pushed HD. They predict that within the that I find inspiring. It was shot entirely on the boundaries, so I’m quite excited that he has a Canon EOS 5D MkII, using the techniques created a two-hour downloadable masterclass, next three years we will see of a pop-up book, and tells of a mysterious filmed in Malaysia while he was on assignment cinema standard resolution of princess who lures a boy into her world. there. I have no doubt that for him to share his Husband-and-wife creative team Davy and 4K (4,096 x 2,160 pixels) on Kristin McGuire got a grant and a studio in knowledge will help many photographers and film makers, especially those in news and consumer displays at a Germany, and spent four months putting this documentary making, or even anyone reasonable price. At a Sony little piece of art together, using cheap fabric interested in doing more real-life, fact-based for a green screen, and builders’ lights. work. For only £89.95, this has to be the development site, 4K SR “Almost everything was shot on a Canon 5D bargain of the month, and you don’t even have memory cards have been seen MkII because of its super-duper image to leave your house! quality,” said Davy. “The extra stops that the www.professionalphotographer.co.uk/0505 with data rates of 5Gbps, and 5D provided were a massive help in our a CineAlta camera that shoots badly-lit studio. The problem, however, was 4K. At this rate, within six to that all of the footage and all of the photos I took were actually too sharp and crisp, so I eight years we could see 8K had to dirty everything up. At the time, READ ALL ABOUT IT developments. Another rumour the 5D would only shoot at 30fps. The motion was over-smooth for the aesthetic we Lighting techniques is that Avid will be producing a were after. I added a Posterize Time effect are the basis of non-linear editing system (NLE) to simulate a 15fps feel. I then added lots what we do as of dust and grain to give the footage an aged film makers and showing practicable 4K editing. film look.” We could do with more photographers. If this is true, then we will see well-thought-out pieces like this to combat It is one of the all NLE editing going this way. the overload of student zombie flicks. things that www.theicebook.com/Home.html separates You can check if these rumours amateurs and professionals, so knowing have been confirmed how to set up for any given situation is a must. Developing your lighting techniques on www.nabshow.com is a never-ending process, as even top DPs continuously hone their skills. One such is author, award-garlanded cinematographer and Oscar-winning SOFTWARE lighting equipment inventor Ross Lowell, Struggling to who shares his insight and decades of find a cheap PARTY ON experience in an amazing book, Matters of media converter Astropolis Starparty is a stunning Light & Depth. This critically acclaimed to transfer your time-lapse film by director Patryk Kizny, manual is a must for any film maker DSLR footage to following a group of amateur astronomers in wanting to expand their own skills. other formats? Poland as they set up to view the skies at The illustrations, photographs and text Well, a little piece of software called night. I’m particularly impressed by the first make this a valuable resource – it was MediaEspresso 6.5 will do just that, sequence, using a motorised track and crane. originally a pamphlet on lighting, but converting a variety of video, music The shots produced are fantastic and the Lowell soon realised the need for a larger and image files to a multitude treatment in post-production is something I volume. The book is out of print, of media platforms. A steal at only have only seen in HDR photography, creating but I found a copy online for about £30 $39.99 (£25). an almost non-realistic style. (try Amazon and AbeBooks). www.cyberlink.com http://patry.kizny.com/#148/vimeo www.lowel.com/book.html www.professionalphotographer.co.uk 43
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- 45. frontline from the Need to put a face to a name, get the background story, the right advice and the inside track on how to get commissioned? This month we speak to stylist Karina Garrick about how to approach an interiors shoot and the best way to build a portfolio, and we find out what the commissioning editors of interiors magazines are really looking for. Tell me a bit about your background. originality is very important, otherwise there’s I studied graphic design and illustration at little creative satisfaction. Of course sometimes Medway College of Art and Design. I later clients have a very clear idea of what they applied for a job as junior designer at Conran want, so you need to be able to adapt to the Associates Advertising and was lucky enough requirements of the job. to be one of the three selected. I worked with Terence Conran and Stafford Cliff who were Does photography inspire you? very inspiring and both incredible talents. Definitely. I always carry a camera. I love a At the time I probably didn’t realise what a snapshot and use my Leica daily, in part to record huge opportunity it was, but looking back it inspirational moments but also as a memory was very much a finishing school in the world stick so I can remember things for later on. I love of advertising and design. photographers whose work completely captures Everything was pre-digital then so a lot of a moment, like Robert Frank and Diane Arbus. preparation went on in terms of presenting ideas. I also admire the work of Willy Ronis and Robert I was working on the Habitat account producing Doisneau, Tim Walker and Wim Wenders. catalogues for the UK, Karina Garrick France and USA. We hand drew every layout in detail for Stylist presentation before shooting it; not just a sketch but quite an Career history: accurate drawing of Designer and art director: Conran Associates how items would work Creative consultant: live it, The Conran together on the page. Magazine After three years I left Creative consultant: Habitat to work freelance and Style Director: Livingetc magazine since then I have Freelance stylist worked as a designer, art director and stylist. I still always start with drawing up my ideas; it’s very important how a group of images will work together. Single images are rarely used in isolation so it’s Nick Knight too, for experimenting with about creating a series with a narrative. I know technology and doing incredible things. “...clients have a very clear that if my layout ideas work as sketches then they will work on the shoot. Can you define those factors that idea of what they want, make working with photographers a What are your visual inspirations? good experience? so you need to be able to TOM MANNION / LIVINGETC Inspiration is everywhere... in life and in nature. Collaboration is important. I don’t think anyone adapt to the requirements I can be inspired by a colour combination that I thinks, “Well, I’m the photographer or the of the job.” Karina Garrick see somebody wearing on the street, or the mood of a painting in a gallery. I have been inspired stylist so I won’t relinquish control over that.” It’s always nice to work with people where there’s by trash and things I find on the beach. I think an easy informality. Sometimes jobs can be www.professionalphotographer.co.uk 45
- 46. frontline some people do. Test shots are a good idea if a relationships and hopefully go on to do bigger photographer wants to explore a new area of and better things. work to show that they can do a certain type of job. I worked on a magazine and used to What factors make for a good shoot? commission photographers. Often I met people Having a great team with the right people for the I liked who didn’t have a certain type of shot job. The best atmosphere to have on a shoot is calm. in their book. Sometimes I felt by instinct that It can be chaotic so everyone needs to be able to they had the capability to do a job, but that’s work under pressure. Preparation and focus are key, not always enough to say, “Let’s give it a go.” time is always tight and every day is different, so Those in commissioning roles do have to you need to be on top of things and aware of that. play it safe, they can’t afford to gamble with their budgets. Often clients will want a certain What do commissioning editors want to see photographer because they like their style, from a shoot? For houses, magazines like to see a variety of shots, a few details, some mid shots and some pulled-back room shots. It’s about documenting “As a commissioner if I see a the space, particularly the architecture and the great picture in someone’s personality of owners through the things that are in it. The images should link and work as a series. book that I have not worked If a photographer is interested in getting into with before I have to stop interiors work they have to love it and they have to be able to adapt. Shooting interiors isn’t easy, you and think, ‘But how long did ALEXANDER JAMES / MODÉNATURE have to be ready to deal with what you find on the it take them to create this? day and so it can be logistically and technically demanding. Some rooms can be very small, such Was this what they were as bedrooms and bathrooms, and they need to be included, so it’s not just about the easy bits. aiming for?’” Karina Garrick Do you think assisting is a good path for emerging photographers? taxing so it’s about keeping focused. A lot of or they want a certain feel for their product. I think assisting is an excellent idea. people can take a good picture but the measure I think that the taking of test shots is quite a It’s valuable experience and a reality check too. of a really good and experienced photographer useful exercise when looking to attract a new There’s nothing like being on a job to see is being able to take a great shot in difficult area of work. how it all actually works. Many emerging circumstances. In the commercial world that photographers do assist and even if they aren’t could mean encountering problems with the Do emerging photographers seek out stylists given a specific role they are able to observe. product itself, such as a sample that doesn’t stand in the same situation to work with in order to up to scrutiny, or a difficult lighting situation, build their respective books? Do some photographers work better with so those who have consistency are the ones that I think that does happen, certainly with models than others? stand out. It’s very much a team effort. I’m very photographers’ assistants getting together with Yes, absolutely. It’s a real skill. There’s a big fortunate to have worked with, and continue to stylists’ assistants. Often the problem is having difference between working with a professional work with, lovely people. If you like and feel the time to do it and being able to source the right model and, say, a homeowner who doesn’t like comfortable with the people you’re working props, equipment and location. It’s best to work having his or her picture taken. A good with there’s every chance you’ll do a great job on a fairly small scale, be original and don’t photographer will make the subject feel at ease, and have a good day doing it. It shouldn’t be attempt anything too ambitious, or worse, copy take a few shots while talking to them, invite them a struggle. something! As a commissioner if I see a great to look at the pictures and once the subject sees On big interiors projects there are planning picture in someone’s book that I have not worked that they can look okay they usually relax and then meetings and discussions beforehand so with before I have to stop and think, “But how we can do more. Like a good portrait, it’s about everyone knows what the goal is. After that long did it take them to create this? Was this what trying to capture an aspect of their personality. it’s about contributing your part to make it they were aiming for?” happen. There should be no surprises, although When you’re commissioning you might want Where should emerging interiors sometimes there are logistical problems. So by the eight of those shots in a single day. You know photographers be looking for influences? time we start to really build the image everyone the photographer can get one, but you ask Never underestimate the value of your own just naturally plays their role. yourself whether they were lucky on the day personal view. Don’t focus on analysing existing or if this is a real indication of their skills. interiors or architectural magazine photography, Have you ever worked on personal That’s one of the reasons why it’s hard for new but do experiment, shoot some interiors and then projects with photographers in order to photographers to get into the industry, but if they shoot some more. They don’t have to be special build your portfolio? are prepared to take the small jobs, do a favour places but document them as if they were. PP It’s something I’ve never done personally, but and always be reliable, they can build up www.karina-garrick.com 46 www.professionalphotographer.co.uk
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- 49. feedback. tell us whatyou think at feedback@professionalphotographer.co.uk Dear Professional Photographer, cameras snapping frantically at any development and present legislation Your decision to write an editorial semi-clad woman they could find to protect its customers from piece on mental health problems in (and they even brought their own cowboy operators? the professional photographic sarnies!). Is this what the industry I can already hear the cries from community was brave and has become? quite a few of my esteemed unsensational [‘Talkin’ Photography I realise that the exhibitors are colleagues that this form of Blues’, April 2011 issue]. As a in many ways responding to protectionism is unworkable (it retired psychiatrist who has the change in purchasing patterns worked for accountants, solicitors, reinvented himself as a professional within the industry and the rise of doctors, engineers etc). I would now photographer I feel in a good the weekend warrior snapper as the have to agree with them. We missed position to comment. Only now after major purchaser of equipment. our opportunity in the 1990s when seven years am I beginning to This new breed of photographer no the first signs of decline became realise the stresses involved in the longer needs photography as apparent but we chose to ignore it. ‘creative world’. I realise that in the their main source of income, as We now sit on the edge of a perfect NHS I was protected on all levels. they rely on their weekday job storm: day-rates are substantially There is nothing now between me and good judgment in this brutal, as an accountant or bus driver to reduced due to the flux of incomers, and my customers. I feel exposed commercially driven environment. fund them. To them, photography retooling and running costs are high, in a way I never did as a doctor. Ian Macilwain, via email is almost a status symbol to the volume of work has decreased I have experienced the profound a more glamorous life with almost due to the recession and new satisfaction derived from publication Dear Professional Photographer, Walter Mitty pretensions. I am technologies, and the quality of and recognition but also the intense Over the past few years, I have forever being introduced to trade craft being taught is dysphoria which comes from being found myself becoming more and these types at parties and social significantly poorer due to the ignored or rejected, or just losing more frustrated with the Focus on gatherings where they spend hours dilution of teaching practices and motivation. There is little or no gap Imaging show at the NEC, debating the virtues of Nikon lack of assisting places. between me and my photography, Birmingham, and what it has to and Canon lenses and how their next So where do we go now? A hard consequently there is nowhere to offer a commercial photographer free shoot will be the ‘last one’ question but one that needs to be hide. The [accompanying] piece by such as myself. I know many of my and they will then charge a massive confronted by all. Do we continue to Andy Craddock, ‘Loneliness ex-students affectionately refer to £75 a day. defend our small patch of territory (Depression) and Photography’, me as a ‘dinosaur’ but I do realise Don’t get me wrong, I am not and hope that we are ‘the last man describes this turbulence beautifully. that the industry I first entered bitter – just perplexed at how we got standing’ or do we as an industry I am struck repeatedly that many nearly 30 years ago has changed to this state in the first place. finally decide to unite, forget photographers are quite isolated and markedly and this is now reflected In some ways, I feel professionals our petty squabbles and confront vulnerable despite needing to in the exhibitors at the show. and the organisations that represent the difficult decisions ahead? project an image of competence and I struggled to find many of my them have no one to blame but Richard Southall, via email professionalism. There is little old favourites such as Broncolor, themselves. We have encouraged camaraderie and working in a highly Hasselblad, Sinar and ARRI, who through our openness new people Dear Professional Photographer, competitive market makes this even did not appear to be anywhere in to enter the profession but with Can I say how impressed I’ve been less. Support and understanding are easy sight. This is so different to the little of the safeguards that other with the magazine – since I started the antidotes to isolation and days when the show was called professional institutions have reading it I’ve felt a load more demoralisation. An honest, truthful Photography at Work and held in insisted upon. Given that for many knowledgeable about photography sharing of problems goes a long London and Harrogate. Then there of us over the age of 40, it took at and the different photographers out way towards making them bearable. was a profusion of studio-based least four years at college and a there. More importantly, however, I I wish I had some more tangible photographic lighting and camera couple years as an assistant to now feel part of a community, with solutions but your establishment solutions with major stands by become competent to start shooting like-minded people. It’s great and of The United States of Hensel, Strobe, Balcar, Goddard and commercially, wouldn’t some form it’s the first magazine I’ve read Photography is a commendable Broncolor. Now, I found myself of chartered institute have been a where I can’t wait for the next issue. attempt to provide support. surrounded by wedding albums, ink good progression for our industry so Keep up the good work and I hope Professional Photographer stands cartridge companies and sad, as to protect its members, the standard you’ve set never drops. out as a beacon of common sense middle-aged men festooned with standardise rates, promote career Kristian Leven, via email PP www.professionalphotographer.co.uk 49
- 51. GUESSLIGHTING In his blog,professional photographer Ted Sabarese tries to work out how other photographers have lit their images and offers THE his own theory on how the shoot went. In this issue he brings his lighting experience and limited drawing ability to Ellen von Unwerth’s old-school Hollywood lighting for Absolut. ELLEN VON UNWERTH / ABSOLUT ELLEN VON UNWERTH/KATE BECKINSALE ABSOLUT AD, 2009 This light is aimed at the Absolut bottle and creates the alluring highlight on When Absolut Vodka asked ex-model turned fashion photographer the side of the bottle. A 1.2K Fresnel at f/16 ½ (+1½ stops) with a full CT extraordinaire Ellen von Unwerth to tackle its new ad campaign, she Orange gel aimed at the rear wall rests just off the ground, directly behind jumped at the opportunity. Working with [actresses] Kate Beckinsale and Kate. Another 1.2K Fresnel with barn doors at f/16 ½ (+1 ½ stops) sits on Zooey Deschanel, Ellen brought a playful, enchanting aesthetic to the the floor behind Kate and is focused upwards at the rear wall. This creates imagery (makes me fancy a tall glass of Absolut right this moment, the whitish glow on the wall as well as the floor. actually). This enigmatic still (I’d like to be a fly on the wall of one of TED’S THEORY ON HOW THE SHOOT WENT: The set designer for this Ellen’s dreams) was created with four HMIs. shoot loved the creative concept but had some logistical problems with its CAMERA: Canon EOS-1Ds MkIII with 70-200mm lens, set on a tripod execution. Born into an incredibly superstitious family, she was not willing 15ft back. Shot at 1/60sec, f/11, ISO 100. to chance seven years’ bad luck (or worse, the death of a family member) LIGHTING: The key light is a 6K ARRI Fresnel HMI at f/11 ½ (+½ stop) propping the broken mirror. As a compromise, she agreed to watch via a set on a high boy roller directly above and behind the camera. A set of barn video feed from a nearby room and direct her assistant over walkie-talkies. PP doors helps to focus the light on Kate. A 1.2K ARRI Fresnel HMI with barn doors at f/16 ½ (+1½ stops) sits just out of frame to camera right. www.guessthelighting.com Remember, this is called ‘Guess’ the Lighting. Therefore, all lighting, camera, lens, grip, f-stop, shutter speed etc information may not hold up in a court of law. Any guesses as to what the featured photographers were wearing, drinking or pondering while creating the shots are not necessarily subject to any reality other than my own. Suggestions of marital problems, hangovers, jet lag, disease or any other contributing factors should, likewise, be taken with the proverbial grain of salt. There is a lot of guesswork in guessing – Ted Sabarese www.professionalphotographer.co.uk 51
- 53. exposure Images that have us thinking, talking and debating... The creative relationship that exists between photographer Nick Knight and fashion designer Yohji Yamamoto began back in 1986 just after Knight had first appeared on the scene. Knight’s intensely coloured, soft-focus images perfectly captured the colours and angular shapes being created by Yamamoto. The first catalogue project they worked on became an instant classic of iconic images created in collaboration with the equally iconic art director, Peter Saville (he of Joy Division and New Order album covers, among a million other projects). That creative triumvirate continues today, as this image illustrates. If you want to check out more of Yamamoto’s collaborations and creations get down to the Victoria & Albert Museum, London. You may be more inspired by fashion than you ever thought possible. Our feature on Knight’s NICK KNIGHT / PETER SAVILLE SHOWstudio is on page 88. PP Yohji Yamamoto, Victoria & Albert Museum, London, SW7 2RL, until 10 July, admission: £7. www.vam.ac.uk www.professionalphotographer.co.uk 53
- 54. PICTURE {THE INTERVIEW} PERFECT Jill Greenberg’s flawless images cross the line from commercial to political and back again. Eleanor O’Kane talks to the Canadian-born, LA-based photographer to find out what lies beneath her perfect images. It’s 9am in Los Angeles, where Jill Greenberg mid-1990s. Growing up surrounded by images torn they miss me.” Over that time she thinks the is talking to me from her studio. I’ve managed from pop culture staples such as The Face, fashion industry has got tougher for commercial to pin her down for a short while between magazine W and Interview, the glossy so-called photographers. “There are a lot more of us than shoots and already her day is in full swing. crystal ball of pop founded by Andy Warhol, has when I started. Sometimes it’s hard when you’re In the background a printer is whirring shaped her flawless style of photography. bidding against someone who is just starting out noisily, I can hear her two children playing “I have always played with images and not and they’ll go with the cheapest photographer.” and, it transpires, a news story is breaking always used them in a straightforward way,” But perfection comes at a price, I suggest. online about a controversial cover that Greenberg explains. “I’ve always achieved different “The production value is what’s expensive rather she recently shot for a major US magazine. kinds of effects. Before digital I was projecting on than the retouching. That doesn’t have to be A glance at Greenberg’s website gives you an to subjects and projecting images on to cracked expensive at all. The number of lights and the idea of just how prolific she is. Her super-glossy, surfaces and rephotographing them.” With an quality of the camera: that’s what’s expensive. highly stylised portraits are in big demand and academic background in art, as well as a lifelong Also the quality of the hair and make-up people, she is commissioned by major magazines and love of painting and drawing, Greenberg believes the studio, the props...” advertising agencies on both sides of the Atlantic. the manipulation is a way of making the images What may come as a surprise is that Greenberg’s Pop star Gwen Stefani specifically requested that better, more interesting. trademark images owe less to Photoshop than to her Greenberg shoot the cover of her 2006 album The Greenberg has been working as a commercial desire to achieve perfection in-camera through Sweet Escape after seeing the photographer’s work. photographer for almost 20 years, something she lighting and make-up. “People assume my work is The name of her website, Manipulator.com, is tries to juggle with personal projects as well as more manipulated than it is. It looks like that in the JILL GREENBERG inspired, or “borrowed” in her words, from the title being a mother to two young children. “I have been camera, it really does. I get the lighting and of the large format German magazine, The travelling a lot recently. I do enjoy it but it’s hard everything looking perfect so it almost doesn’t need Manipulator, published from the mid-1980s to the because I have two little children; I miss them and to be retouched.” 54 www.professionalphotographer.co.uk
- 55. JILL GREENBURG Actress Lindsay Lohan. Singer Joss Stone. www.professionalphotographer.co.uk 55
- 56. {THE INTERVIEW} “I’ve beendrawing and painting my whole life. I’ve always drawn animals that are interchangeable with people so I draw people with animal heads or vice versa. What interests me are different characters and emotions. I love doing portraits and I love doing portraits of animals...” Jill Greenberg As much as time and workload permits, myself but because I’ve been travelling a lot Sometimes when they send me a rough draft I’ll do Greenberg does her own retouching. “In the past recently I’ve handed some jobs over completely, something in a layer and they’ll put the layer on I’ve done it all personally but lately, because I’ve which is quite unusual for me. I’ve found their picture.” Does she have final say on how much been so busy, it’s being done externally. I will do some people I can work with who do what I want retouching is done to an image? Does it ever go certain commercial jobs from start to finish by them to do without any interference from me. further than she would like? “In some cases I drive how retouched the subject is,” she says, “but the client can have ideas about compositing and special effects.” She guards her personal projects closely, however, retouching all of those herself. One of her first major personal projects – Monkey Portraits – was inspired by an advertising commission. “I came across that idea a bit by accident. I was on a commercial job and had to shoot this monkey. I had some time so I decided to do a portrait of it for myself. I was taken aback and very pleased with the results. I realised I’d never really seen portraits of monkeys before and I wanted to continue to do that. It took off from there.” Although Greenberg had to return and reshoot the job with a poodle because the client thought the monkey looked too menacing, the human resemblance and apparent intelligence of the monkey in the resulting pictures sparked a desire in Greenberg to use her subjects as a method of social commentary. This was October 2001, the post-9/11 landscape. Over the next five years, when finances and time allowed, she shot 30 portraits of 20 different species of primate. The simian portraits are in turn humorous, melancholy and menacing, with a slight suggestion that the monkeys are looking back at us humans, their genetic cousins, in judgment. From there, Greenberg has also done portraits of COPYRIGHT JILL GREENBERG COURTESY OF THE CLAMPART GALLERY, NYC trained bears for her Ursine project, capturing them looking both ferocious and friendly. Like her urge to manipulate images, the fascination with animals stems from a young age. “I’ve been drawing and painting my whole life. I’ve always drawn animals that are interchangeable with people, so I draw people with animal heads or vice versa. What interests me are different characters and emotions. I love doing portraits and JILL GREENBERG Left: A portrait from Greenberg’s Ursine project. Opposite page: Actor Aaron Eckhart for Los Angeles magazine. 56 www.professionalphotographer.co.uk
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- 58. I love doingportraits of animals, it’s just how my brain works.” While the reaction to the animal pictures was overwhelmingly positive, one of Greenberg’s subsequent projects, End Times, was met with an outpouring of vitriol for the photographer. The title, which refers to the belief held by some extreme religious groups that the second coming of Christ will be preceded by major natural disasters, famine and hardship, was Greenberg’s photographic response to the George W. Bush administration and its environmental policies. It was a series of portraits of angelic, luminous children sobbing their hearts out and the pictures bore titles such as Four More Years and Deniability. “It was a series of children crying as if they knew the direction that the world was going, that the environment was being ruined,” Greenberg explains. “They are crying because George Bush was re-elected. Here [in the US], the religious Right believes in something called End Times, when people will go to heaven when Jesus returns. It’s total nonsense. The people who believe in End Times want horrible things to happen because that proves the end is near. It’s a crazy, backwards logic where the more tsunamis and earthquakes we experience, the better. At the time these crazy religious fanatics had the ear of a lot of the politicians, including Bush, and a lot of environmental policies were being affected by this logic. The politicians didn’t care that they were trashing the environment for the future, for our children, and the religious Right wanted it to be trashed because that meant End Times would happen sooner.” Instead of focusing on Greenberg’s message, the public largely chose to fixate on the methods she used to get her subjects to cry. One was to give the “In some cases I drive how retouched the subject is... COPYRIGHT JILL GREENBERG COURTESY OF THE CLAMPART GALLERY, NYC children – one of whom was her own daughter – a lollipop and then simply take it away and wait for the resulting wails. “People didn’t really talk about the subject matter, they didn’t discuss the ideas behind the work but just how I was a horrible person for making children cry. Of course, children cry as if the world is ending when they can’t have their lollipop! It was upsetting because at the time it became a big deal for some reason.” End Times resulted in national TV coverage in the United Right: An image from The Glass Ceiling project, inspired by a shoot with the US Synchronised Swimming Team. 58 www.professionalphotographer.co.uk
- 59. {THE INTERVIEW} but theclient can have ideas about compositing and special effects.” Jill Greenberg www.professionalphotographer.co.uk 59
- 60. “You need tobe business minded so you spend the right amount of money on photoshoots; you don’t spend too much money but you don’t scrimp where you shouldn’t and you save where you should be saving.” Jill Greenberg States, was the coverline of the Sunday Times for each one. “You think, ‘Oh, this will make sense I like to shoot film and all the End Times portraits Magazine and provoked an outcry from outraged for this magazine’ or ‘I’m feeling this at this and the portraits of the animals were film. I love photographers who posted online rants against particular moment, a particular type of lighting’. how that looks.” Greenberg. The title of one such blog posting ran: That’s the fun of photography, it doesn’t have to Greenberg’s career seems to travel along parallel Jill Greenberg is a sick woman who should be be so rigid.” tracks, the commercial one, with her glossy arrested and charged with child abuse. Working as a professional photographer, she advertising and editorial commissions, and the Despite the negative reception for the project in says, means you have to be good at a lot of things. personal path, where she explores her thoughts and some areas, Greenberg not only made her point, but “Photography, obviously, but also client relations, ideas on society as she sees it. Sometimes those also managed to woo new clients with the marketing and recognising trends. You need to be paths cross over, or blur together. A recent project, distressing yet beautiful pictures. “When the End business minded so you spend the right amount of The Glass Ceiling, was inspired by a 2008 Times series came out I got a bunch of jobs because money on photoshoots; you don’t spend too much commission to photograph the US Olympic of the lighting in that work. People wanted me to money but you don’t scrimp where you shouldn’t synchronised swimming team. In the series of shoot portraits just like those ones.” Around the and you save where you should be saving.” serene, dreamlike images, women wearing high studio, the setup Greenberg used for End Times is She thinks she’s lasted because of her head for heels struggle to break the surface of their known as ‘monkey lighting’. “It’s a setup that we business. “I wasn’t that great at math at school, but underwater world. She mentions that she’s just done use for the monkeys, the bears and the children, and I’m good at running a business and not going over some cat food advertisements because of all the one which I use for some of my commercial jobs.” budget. I’m good at keeping budgets in my head. animal photography and is shooting a dog food Although the project brought her media attention Sometimes I have agents and producers who help commercial the following week. Personal projects and new clients, Greenberg is keen not to be me with budgets but other times you have a client are still important, she says, but admits that for pigeonholed. “I don’t think it’s appropriate for who wants you to do a job for $5,000 or $10,000 young photographers it’s hard to do everything everyone to be lit that way. I have a bunch of flat and you have to figure out how to do that. when you are trying to gain a foothold in the variations on that lighting setup and I’m also I think it’s just the way I’ve been brought up, to be commercial sector. “When I first started out I was looking at trying new things because I get bored of careful with money. It’s a nuisance this whole doing art photography but when I was trying to it. Sometimes people think I only shoot that way, business thing but that’s the way it is.” establish myself I had to focus on commercial which I don’t like. It’s nice to show my versatility.” Although she loves shooting film, it’s her photography, getting work, working on my Three years ago she was shooting her slick, business brain that often determines which camera portfolio. It’s not easy.” stylised portraits, known as ‘shiny faces’, all the she picks up. “I use digital for commercial jobs The list of celebrities she has photographed is time but says that as her commercial career because it’s easier. I don’t own my own digital vast, ranging from Arnold Schwarzenegger to develops she’s doing more straightforward work. equipment but I do own my own film camera, a “I’m still exploring personal work and that can be Mamiya. If, for example, I’m doing a small JILL GREENBERG more stylised or more manipulated,” she adds. editorial job where I’m shooting a portrait it’s Above: Actor Zachary Quinto as Spock for the Working for so many different types of client cheaper for me to shoot film rather than renting all 2009 Star Trek film. means she needs to “get into a different headspace” the gear that I don’t own. For private commissions Opposite page: R&B artist Nicki Minaj. 60 www.professionalphotographer.co.uk
- 61. {THE INTERVIEW} www.professionalphotographer.co.uk 61
- 62. {THE INTERVIEW} actress ZoeSaldana, star of sci-fi epic Avatar. she sounds somewhat concerned about. “I will have “Photoshopped!” and “For shame!” Wired has been Which is tougher, I ask, working with bears or to schedule that around my commercial jobs. criticised online for a ‘cartoonish Photoshop’ celebrities? She laughs. “Well generally it’s easier I’m also thinking about directing videos and treatment of its cover star, the young American working with celebrities because you can tell them working on some book projects related to fine art female electrical engineer and entrepreneur Limor what to do. People are great because you can give photography; that, plus being a mother of two small Fried. In an attempt to show how manipulated the them direction but with animals you have to be children, it’s a lot to do.” cover image is, a snapshot of Fried looking vastly really patient. You are working with a trainer but As a guilty pleasure, she’d love to shoot fashion. different – paler, wearing glasses and a lip ring and you’re working within the boundaries of what the “When I was younger I loved fashion photography. with shorter hair – is circulating online. When I animal is going to do. Or not do. Animals can be On a very surface level it’s fun to photograph check back a day or two later, Fried herself has “When I was younger I loved fashion photography. On a very surface level it’s fun to photograph beautiful people in beautiful environments. I think all photographers love making beautiful images.” Jill Greenberg hard work so you need to prepare everything and beautiful people in beautiful environments. I think stepped in and defended both Greenberg and the try to make sure they don’t bite you or fly away.” all photographers love making beautiful images.” Wired cover. It turns out that the ‘natural’ image She has just committed to delivering 110 During our conversation a furore is building on was taken more than three years ago after a 20-hour portraits of horses in a few months’ time, a prospect the internet regarding a cover image she shot for flight and when Fried had short hair. Fried states the April 2011 issue of US Wired magazine. online that due to the make-up and lighting she was “Good magazine is accusing Wired of retouching the girl in the cover image on the day and is happy Below: A test shot for a Russian vodka advertising shoot. the subject beyond recognition,” she says. After we with how she looks. The only elements that had Opposite page: Trillions, from the End Times series. hang up I follow the story online. Amid cries of been Photoshopped, she says, were the background colour and the power tool she’s holding. Although Fried’s subsequent defence of the image and its photographer were yet to come to light, Greenberg didn’t sound in the least perturbed, confident in the knowledge of how the image was achieved. She tells me that after our interview she has to sit down and write a speech. She’s due to return to her old college, Rhode Island School of Design, during its Women’s Focus Week to talk to students about women’s body issues and the media. “It’s kind of good that there’s a scandal,” she says with a hint of glee. “It means I have something to talk about.” PP To see more of Jill Greenberg’s images visit her website www.manipulator.com JILL GREENBERG FOR MORE INTERVIEWS WITH THE WORLD’S LEADING PHOTOGRAPHERS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 62 www.professionalphotographer.co.uk
- 63. COPYRIGHT JILL GREENBERGCOURTESY OF THE CLAMPART GALLERY, NYC. www.professionalphotographer.co.uk 63
- 64. Convergence has changedthe role of the photographer and brought an extra THE dimension to the traditional stills shoot. Does this create new revenue opportunities for photographers or does it merely give clients a reason to demand even more for the same fee? Julia Molony finds out by talking to those leading the way in PRICE multimedia shoots. THE AGENT: NIALL HORTON-STEPHENS “There is increasingly a need to have the ability to do moving images in the skillset,” says leading agent Niall Horton-Stephens. “The choice IS between photographers remains based on the stills ability and the stills portfolio. I think that’s still what drives things. [Moving image] is just another box that photographers have to tick to be in the running.” Does he think that this phase, while the industry is still in flux, is potentially ripe for exploitation? “Clients are trying to extract more value from shoots,” he agrees. “In many ways it does make a lot of sense. If you’ve got props, hair and make-up and models, and everything all there, the add-on cost of shooting some moving imagery isn’t necessarily that great. It’s definitely a good thing for the client. Things are evolving and the distinction between different types of media is increasingly blurring, as RIGHT clients look at integrated campaigns. And, of course, the poster sites are going digital now and showing moving image loops.” Pinning down specifics of cost remains an imprecise, informal process. “In terms of the fee, it’s all worked out on an ad hoc basis. If you equate it purely to the photographer’s time, you might be looking at perhaps another 50% increase in their day fee. However, there is obviously a media and usage aspect which one might seek to factor in. It does depend on what’s being shot and how it’s going to be shot. You might expect a shooting day that is already full of stills to have to extend if it’s going to accommodate moving imagery as well. There are clearly going to be some overtime costs, some run-on costs in any case,” he says. In general though, it’s all there to play for in these uncertain times. “In the cut and thrust of the market these days, it’s more often than not part of the bargaining process. Clearly, if you can provide the client with more material that gives them everything they need, then in theory it should make more budget available for the project. It may be that the addition of a moving image aspect is the thing that makes the whole project viable. It might not have been worth doing it just for stills. But if you can inject a moving image need as well then maybe it all comes right.” The challenge for him, just like other photographers and agents operating in today’s competitive market, has been calculating the extra value that an increasingly versatile and skilled photographer, able to operate across several channels, brings to the table. “Over the last while, photographers’ agents, models’ agents and everyone else involved in this world have been trying to 64 www.professionalphotographer.co.uk
- 65. {THE BUSINESS} Stills from Conventional Superman by Gary Salter. “In terms of the fee, it’s all worked out on an ad hoc basis. If you equate it purely to the photographer’s GARY SALTER time, you might be looking at perhaps another 50% increase in their day fee.” Niall Horton-Stephens www.professionalphotographer.co.uk 65
- 66. find new waysof breaking down the new media,” he says. THE PHOTOGRAPHER: GREG WILLIAMS THE “In the stills field we are breaking down what someone The chances are you’ve already seen Greg Williams’s multimedia work. Perhaps you were among the two million people who clicked PRICE might initially describe as an online usage – we’ll be asking what a given commission is supposed to be used for. on the viral hit he created, a lo-fi, raunchy video he shot of English IS Is it for web banners, is it for the client’s own site; if so, is that in a particular country, is it genuinely worldwide? model Daisy Lowe dancing in her underwear while on location for UK Esquire magazine. The viral videos he made with Megan Fox and RIGHT As the whole thing grows, it needs to be broken down into more sensible chunks.” Rosie Huntington-Whiteley for US Esquire and Agent Provocateur respectively have drawn in six million views between them. If you haven’t When one of his photographers is asked to provide caught those, you’ve probably seen his moving image adverts, such as the moving image, one of the first questions Horton-Stephens ones that covered London during the 2008 campaign for the Bond film asks is, “What is it going to be used for?” “If it’s web-native work then Quantum of Solace. clearly that’s going to have some technical requirements attached to it and For several years now Williams has consistently stayed ahead of the it’s going to indicate the kind of media it will be used for. Is this also convergence curve. But the video he made with Daisy Lowe demonstrates being used for exhibition purposes? Or even, perhaps, broadcast purposes?” the difficulty of navigating the as yet uncharted terrain of calculating a Each of these different territories of usage demands a different fee. viral video’s value. Shot spontaneously as part of a day shoot, the video has “It is evolving quickly, in the same way that we’re seeing more stills work entered the internet hall of fame. It was a hit for him and for Esquire, but as commissioned purely for web use. Where five years ago, people wouldn’t an editorial rather than commercial job, the fee was below his usual day rate. have been looking for high-end imagery because of download speeds, now “I don’t think I got anything else for doing that,” he says. “Obviously, with it’s all up for grabs,” he says. advertising it’s very different. Magazine-wise you normally get anything Though the technology and skills may be changing rapidly, the rules of the from 10% to 20% extra on the budget. But it’s not great and it needs to game stay the same. It’s still the strength of any given photographer’s identity change. The thing is that we’re in such a new turnaround.” that keeps them in demand. As for the two million hits he attracted for Esquire? “I don’t know how “Photographers have always been interested in creating imagery,” he says. that relates directly to sales of their magazine, but inherently you are still “Now that stills photo equipment is becoming increasingly capable of stuck into a market that pays very little. I don’t do editorial for the money, delivering moving imagery, obviously it’s a rapidly opening door for all the I do editorial for the exposure and to get material, and for the syndication wannabe directors out there. There are a lot of people out there using and the creativity.” “There are a lot of people out there using equipment and, in theory, capable of producing technically proficient work, but it’s the age-old thing of actually stamping your style on it.” Niall Horton-Stephens equipment and, in theory, capable of producing technically proficient work, As one of the leading names capitalising on the convergence movement, but it’s the age-old thing of actually stamping your style on it; being able to Williams is more savvy than most about how to make sure that the new market yourself and lift yourself from the morass of people all trying to do skillset he offers does pay. The bottom line? “I try to look at it from the the same thing. Because an awful lot of photographers are trying to say, client’s perspective as well. I look at what value I’m adding and think what ‘Yes, I can do that’ and very few are actually good directors.” that could mean for them monetarily. If I make a viral film for someone As for how not to get ripped off? “Get a good agent! It’s the same advice and six million people download it, all the blogs are talking about it and the that you would give a photographer being commissioned for stills. Look at end result is that someone is going to sell more underwear or more what you are being commissioned for. Try to get a feel for what the budget anything, then you are worth something because you are adding value; should be. You just have to negotiate really. It’s the same advice you’d as soon as you do that you can start putting your prices up.” give to someone buying or selling a car. Williams’s association with moving images goes back a long time, “You’ve got to fight your corner. Breaking down all the figures to show pre-dating the wholesale movement to moving image that was ushered in by the client where the value is going is obviously something that is going to Canon. He spent his early career as a specialist photographer on film sets make a budget easier to justify. However, the truth at the moment is if a and during this time his work became heavily influenced by film lighting client comes to you and says, ‘You’ve got to throw in that moving image techniques. By osmosis he quickly acquired the right skillset and visual style stuff because the other person we are considering for the job is going to do to propel him through the transition. that,’ then you have just got to weigh it up and decide whether you want to “For the past five years I’ve lit nearly everything I’ve done with hot lights do the job or not.” as opposed to strobe,” he explains. “That was a big thing because for a lot of Horton-Stephens believes that for some photographers, proficiency in photographers their entire look is based on a strobe setup and on that depth moving image may not necessarily be worth anything extra financially, of field you get from strobe. To get that same effect from hot light either but could simply provide extra leverage to win a commission. “If you can requires a hell of a lot more light or a much smaller sensor on the camera to use the ability to do moving image as a bargaining counter then it may end give that super-crispness. I’ve worked on about 130 movies as a specialist being no more than that for you as an individual.” photographer and that’s obviously been very helpful because I’ve watched GREG WILLIAMS the process.” www.horton-stephens.com In 2007 Williams even pioneered his own new unique take on See more of Gary Salter’s work at www.garysalter.com convergence; the Moto, essentially a moving photo, which first came into 66 www.professionalphotographer.co.uk
- 67. {THE BUSINESS} “ ...butinherently you are still stuck into a market that pays very little. I don’t do editorial for the money, I do editorial for the exposure and to get material, and for the syndication and the creativity.” Greg Williams Above: Rosie Huntington-Whiteley in an advert for Agent Provocateur, Love Me Tender... or Else. Left: Daisy Lowe in a film shot on location for UK Esquire. Opposite page: Carla Gugino in Tell-Tale. www.professionalphotographer.co.uk 67
- 68. widespread use duringthe poster campaign for Quantum THE of Solace. “I came up with the idea of doing these Motos in 2007. I made my first one at the beginning of 2008,” he PRICE says. His interest in film evolved into a couple of “one or IS two-minute films, which led on to doing 10-minute shorts.” He has recently been decorating his mantelpiece with the RIGHT awards those shorts have brought in. Sergeant Slaughter, My Big Brother won him Best Direction at the 2010 Chicago Short Film Festival and Tell-Tale won Best Photography at the 2011 New York Short Film Festival. “Later on last year I made a one-hour documentary, and I’m now in the process of starting work on a full-length feature. It’s really interesting how a still photo that started to breathe has led on in a really small space of time, just over two years.” This development had, however, been seeded in Greg’s work for a number of years. Formerly a reportage photographer, his experience on film sets led to the development of a unique way of working. “A lot of my portrait sessions turned into scenes,” he says. “I would light and create a scene for an actor and then would more or less do the job of a photojournalist once I had created it and just shoot them running a scene; through that I started to get background is in advertising, has been at the front line of the transition, expressions and things that felt less like poses and more like people being. setting standards of practice and financing that are fair to both the That has all been very helpful. Ostensibly, I was directing films but they photographers on his books and their clients. were just being taken on stills cameras.” Though demand for multimedia still represents just a fraction of the His Daisy Lowe video, however, was quite a different animal, being much commissions which go through him, it’s an area that is growing all the time, more spontaneous in the way it was created. He puts down its success to a especially as the technology continues to develop so quickly. “Because the combination of personality, coincidence and chemistry, as is so often the media is quite small the resolution is quite small, which means you can get case with the imprecise science of creating a viral, where luck so regularly plays a part. “The reason that film was successful was because she was so natural and into it and sexy and a great dancer. But she looked like fun, she looked like “My philosophy is that if you are doing something for she didn’t take herself too seriously. She looked like you’d have a great night a company in order for them to increase their sales, out with that girl. That’s what people liked about it,” he says. “The only reason that’s good is because it’s totally her. We did light it, but you have to get compensated for that. You have to get we didn’t light it much. It’s very, very natural. The biggest light source was compensated for when your pictures are used the wraparound ambient light outside the windows. “All that happened was that we did a photo shoot and each time she commercially; that’s your industry.” Mark George changed her clothes we put her in front of the camera and we played this song again and she danced. I think if we’d known it was going to be so away with shooting it on a Canon camera, rather than getting into the popular we would have probably thought about it a bit harder. But I thought RED Cam,” he says. This new phase favours the client in many ways, but of it as we were taking the first photo.” George is optimistic that it also offers greater opportunities to working That flexibility to create opportunities on the hoof is, of course, a real photographers. The most important thing in maintaining the balance of talent. And it’s talent, Greg believes, that is still any photographer’s calling benefit remains an assertive approach to negotiating fees. card, over and above an expanding repertoire of technical wizardry with “My philosophy is that if you are doing something for a company in video. “The best advice is to make yourself indispensable,” he says. order for them to increase their sales, you have to get compensated for “You’ve got somehow to differentiate what you offer. This is advice to that,” he says. “You have to get compensated for when your pictures are anyone trying to be a photographer or director. The people who get well paid used commercially; that’s your industry. If you shoot the film at the same are those who have an identity – a style, a look, a set of contacts, or an time as you shoot the stills, in terms of a day, you should be compensated outlook on life.” further for that. That’s the difficulty – how do you persuade agencies who think, ‘We’ve bought the guy’s time from 9 ’til 5, if at 3 o’clock he stops www.gregwilliams.com shooting stills and he’s now shooting film, he still finishes at 5pm.’ www.gandbandco.com Well, you still have to pay him more.” George is immovable on this point. “I am very well-known for being quite rigorous about fees in terms of THE AGENT: MARK GEORGE usage,” he says. “Every photographer is going to have to get into the mode of shooting There’s no fixed formula for exactly how much the ability to work in film if they want to make it,” agent Mark George states bluntly about multimedia is worth, but as a guideline, he feels that a good rule of thumb how important a multimedia skillset has become. “Media now is not is to expect to “get paid twice. Even if it takes a day. The agencies don’t costing clients anything, because they’ve got the internet. They’re not seem to mind, because they are saving so much money. I’ve always been stupid. They can save a lot of money and have the same amount of very keen that if you shoot something and it’s going to go to the UK only, recognition of the product and the services that they are trying to sell, then you get your fees. If it’s going to go all over the world, then you get without any media costs.” For several years George, whose professional bigger fees, because that means it’s not commissioned anywhere else in the 68 www.professionalphotographer.co.uk
- 69. {THE BUSINESS} Dolls. Opposite page: Levis, both by Jim Fiscus. world and worldwide the sales are increasing because of your ability to same camera, same tripod, same lighting setup and they just have to roll the produce an image that excites people enough to want to buy this product. film rather than shutter it. And you can imagine how quick that is.” So it’s part of that. If you are then going to be doing new media, then you One thing George is adamant about, however, is that in seeking to redefine should be compensated for that as well.” their role, a photographer should not try to become a jack of all trades, After all, photographers who can multitask offer something new and stretching themselves too thinly in the process. valuable to advertising clients – creative coherence across all platforms of Rather than convergence representing the total integration of the two a campaign. “It can be very creative, because they are using creative different disciplines – stills photography and film directing – he suggests photographers, and there’s a synergy between the press (the posters and that a new middle discipline is emerging that is more within the the paper campaign) and the film. Clients are jumping at it because they photographer’s remit. haven’t got all the big production costs for the film, they are getting “Photographers are not film directors,” he says, “until they down their synergy, and they are not having to spend money on media. Everyone is stills cameras and focus on understanding about film direction and all its winning really.” complexity. They are photographers who have been asked to shoot some He firmly believes there are greater earning opportunities for the moving image.” photographer who has the technical skills and creative nous to turn a day’s “My experience has been that photographers are given an idea to shoot stills shoot into an opportunity to create video, which can then potentially and they want it to reflect what the photographer has done with the stills. reach an enormous market online. In a way, you are being paid as a good technician and a good shoot director. “If photographers want to get ahead, they are going to have to be in a Those are an extension of the skills that photographers already have.” PP position where they can be employed to do that (shoot film), because agencies at the moment are thinking, just as an afterthought, ‘I wonder if www.markgeorge.com this photographer can shoot this film?’ The next stage is going to be, See more of Jim Fiscus’s work at www.fiscusphoto.com ‘Which photographer can we use who can shoot the stills and the film?’ And that becomes critical. JIM FISCUS “The canny photographers are shooting their stills with continuous light, TO SEE MORE INSPIRING FILMS GO TO which means they don’t have to change that. They literally just have the WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 69
- 70. Bruce Davidson There are few names within the world of photography that bring the sharp intake of respect due to the greats. Bruce Davidson is one of those names. His images speak of New York, of America and of the heritage of Magnum. Peter Silverton caught up with him recently to shoot the breeze and get behind the images and the man; this is the evidence of that conversation. When Saul Bellow, that great chronicler of the American male, wanted a phrase that would sum up – no, embody – the ambition and desire and drive and confidence and grasp that made the 20th century the American century, this is what he wrote: “I am an American, Chicago born...” That’s the opening of The Adventures of Augie March. (Bellow himself was Canadian and only moved to Chicago at the age of nine. But no matter.) Bellow continued: “Chicago, that sombre city – and © BRUCE DAVIDSON / MAGNUM PHOTOS [I] go at things as I have taught myself, free-style, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent.” It was Bellow’s third novel – and his first great one. It is Brooklyn gang, Coney Island, New York City, 1959. 70 www.professionalphotographer.co.uk
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- 72. the story ofa man making his own way in the since. Six decades of work since that youthful clear and gut-turning on her forearm. I don’t world, getting there on nothing more than his own declaration, all of it shaped by the rhythm of his think it’s stretching it too far to see in all his ‘pluck and luck’. It appeared in 1953. own pragmatic philosophy. “We all fail. The Earth pictures a determination to record, to never forget. In that year, Bruce Davidson – who was and is fails. The sun will fail. You have to have staying A shadow of the holocaust falling on his heart and an American, Chicago born, in 1933 – was just power.” That’s how he put it to me when we talked. work, perhaps. setting out on the life behind the lens which would I thought of the French philosophe Romain 1980s: Subway, a series of pictures taken on the pretty much follow the parabola mapped out in Rolland’s guiding principle: pessimism of the New York transport system when it had reached that combative Bellow opening. In half a century intellect, optimism of the will. some kind of nadir – albeit a colourful one. or so of photography, Davidson has shaped a He has just won the Outstanding Contribution “Almost novelistic in its multilayered ambition,” world for himself – and therefore us. Us all. to Photography prize in the 2011 Sony World wrote Michael Brenson in the New York Times in Like W. Eugene Smith, he has not just taken Photography Awards. Previous honourees include 1982. Above all, Davidson has been one of the great pictures – lots of them, lots of good ones, some Eve Arnold, Marc Riboud and Phil Stern. chroniclers – and imaginers – of the poetics of the great ones – but created a world. Or rather, like his The judging committee included photographers New York Street. first mentor, Cartier-Bresson, he has hung around such as Anton Corbijn, Dafydd Jones, Terry 1990s: Central Park. Oklahoma City and the long enough to have created worlds. As that other O’Neill, Nan Goldin, Elliott Landy, Susan Meiselas survivors of Timothy McVeigh’s truck bomb attack great chronicler of American male desire and and Magnum’s Martine Franck and Elliott Erwitt. on a government – in which 168 people were killed. dreamings, Walt Whitman, put it, in Song of Myself: The exhibition opens at Somerset House on A return to that block in East Harlem, much “I encompass worlds and volumes of worlds.” 26 April – and there’s another of Davidson’s work at changed after two decades. A series on Senator In 1953, Bruce Davidson was a student at one of the Chris Beetles gallery in May. Max Cleland who lost both legs and one arm in the world centres of photography – Rochester, New In his three-volume career retrospective, Outside Vietnam: a portrait of survival, direct and York, which was to 20th-century photography what Inside, he wrote: “Through 50 years in completely unsentimental. Auguste Belloc’s studio on the Boulevard photography, I have entered worlds in transition, 2000s: To Paris, where he’d taken quite a few Montmartre was to its 1850s predecessor. It was seen people isolated, abused, abandoned, and pictures over the years. This time, though, he was where the technological standards and methods invisible. I work out of a frame of mind that is looking not at the people or the buildings but the were set out and determined. A small city just south constantly changing, challenging perceptions and trees and the grass and the sky. of Lake Ontario, Rochester was home to Kodak. prejudices. I view my work as a series. I often find So what of the 2010s? Well, Davidson is 77 now So it was where film stock was not just made but myself an outsider on the inside discovering beauty and still living and working in the same Upper West balanced. Kodak film was set to Rochester’s and meaning in the most desperate of situations.” Side Manhattan apartment he moved into some 40 latitude, longitude and climate. Whenever we Some highlights of beauty and meaning from those years ago. His apartment is full of stuff – books, looked at a Kodak picture, we were looking at the decades behind a lens... equipment, boxes of prints. Stuff. “Oh, my god.” It’s in the Belnord, on 86th between Broadway and Amsterdam. It’s an enormous cod-Renaissance “We all fail. The Earth fails. The sun will fail. building, a quarter of a century older than Davidson, with a garden courtyard and fountains – You have to have staying power.” Bruce Davidson the kind of place that a documentary photographer would live in if life were a Woody Allen movie. (Right now, there’s a two-bedroom, two-bathroom first-floor corner apartment vacant if you’re world and experiencing it through the filter of 1950s: A Brooklyn gang, not much younger than interested – $11,500 a month.) For a while at least, Rochester’s particular light. The city calls itself he was. They were called the Jokers – a mordant Robert Frank – “a master, a living legend,” said The World Image Centre. (It’s also home to Bausch irony not lost on him. “Those pictures are not about Davidson – stored his films in the building. & Lomb, original makers of Ray-Bans. So it also gangs, they are about abandonment – how a city The last great writer of Yiddish, Isaac Bashevis literally coloured the way we view the world.) abandons people.” As a photographer, he has Singer, also lived there. One of his stories was Davidson was at the Rochester Institute of always packed a social conscience in his kit bag. turned into the Barbra Streisand movie Yentl. Technology – one of the things he learned from a 1960s: Having joined Magnum in 1956, he was In 1978, he was awarded the Nobel Prize in teacher, the photography writer Ralph Hattersley, one of the agency’s four photographers on the Literature. In 1974, he starred in Mr Singer’s was ‘the idea comes first’. He was a good student. set of the Marilyn Monroe picture, The Misfits. Nightmare and Mrs Pupko’s Beard, a short fantasy Happy, too, and diligent. Here is something he He went down south with the civil rights freedom movie directed by Davidson who also made a book wrote at the time: “In opposition to most other riders, to Welsh pit valleys and to the west coast, with and about Singer, too – Isaac Bashevis Singer college campuses, which tend to shield the student where he took the picture of Tiny Naylor’s drive-in and the Lower East Side. “He reminded me of my from life as a reality, RIT’s campus is life itself; life which was later used on the cover of the Beastie grandfather, who was from Poland. We weren’t © BRUCE DAVIDSON / MAGNUM PHOTOS and its realities are all around us... Let us find the Boys’ Ill Communication album. At the end of the orthodox or religious, so he was a missing link to things here that are here.” decade he made East 100th Street, a record of a my upbringing.” Life itself. Life and its realities. Let. Us. Find. poverty-wracked block in East Harlem, shot with When we talked, he was preparing for a The. Things. Here. That. Are. Here. Life, here, the deliberate formality of a large format camera. retrospective. “To edit is to face your truth.” He had reality, us, find. He was 20 years old when he wrote 1970s: Down on the Lower East Side, there for just come off a 10-day stretch in his home that. It was a manifesto of sorts – a declaration of the last knockings of its Yiddish-speaking, darkroom, probably listening to Maria Callas, as he intent and purpose and desire and aims. Give or semi-shtetl culture. Among the images is one of often does when printing. “Her voice is so strong it take a commission or two, he has stuck to it ever a woman with aged parents, a death camp tattoo hides the sound of water.” As ever, he did all the 72 www.professionalphotographer.co.uk
- 73. {ICON} “Those pictures arenot about gangs, they are about abandonment – how a city abandons people.” Bruce Davidson master prints himself. “Every one. When you’re in the darkroom and you’re making a print, you’re coming close to the meaning of that photograph. I’m a Midwestern morning person so I got up at 5.30 and printed until two in the afternoon.” When I wrote that he was Chicago born, I wasn’t being quite accurate. He was born in Oak Park – now a western suburb of the big city but then, in Davidson’s words, “the first village west of Chicago.” Biographies generally describe him as having been raised by a single mother but, while that’s technically true, it gives the wrong flavour of his beginnings. He was never poor-poor, just not well-off. “Poor but middle class in outlook.” His brother is a senior science academic at Rutgers University in New Jersey. His mother just made a bad marriage is all, to a lawyer who preferred to gamble than work. Then she moved on, and has lived long enough not to regret it. She’s still around, at 100, still living alone, still ‘feisty’. When Bruce was young, she Brooklyn gang, was a real-life Rosie the Riveter, making torpedoes New York City, 1959. in a wartime factory. She helped him to build a basement darkroom. There were uncles around, too. He won his first award, the Kodak National High composer-conductor’s New York gang musical West “They supported my work but thought I was a bit... School snapshot contest, at the age of 16 with a Side Story was the big Broadway show of the sensitive. They were all on varsity football teams.” picture of an owl. After college in Rochester, he moment, that just didn’t get through to him – then His first camera was a Falcon 127 – using a moved on to a graduate degree at Yale. There, he or now. “No, don’t think I was that aware of that 46mm-wide film format that Kodak stopped studied with mid-20th-century photography’s most play at that time.” A focused man. When he was making in 1995. He was given it when he was six influential non-photographer, Alexey Brodovitch. first commissioned to shoot Isaac Bashevis Singer, or so. “Cost four dollars. I have it still these days.” His precociously professional pictures of the Yale he thought he was photographing a singer. Later, for his Bar Mitzvah, he got an Argus A2, a football team were published in LIFE magazine. His first significant pictures – “my first serious 35mm rangefinder that was made not that far away, Why did he take up photography? “The need to body of work” – were taken out west, where he was in Ann Arbor, Michigan. He still has that camera, have a friend. I would have a friend with me sent for training when he was drafted into the army. too. “I have most of my cameras.” wherever I would go. A way of exploring life and One day, he was hitchhiking down to Mexico for Then came one that was “really amazing”. being part of life and giving life to others – all those adventure – something he got more than he His stepfather was a commander in the navy and things came into play. With my camera I could find bargained for on another trip when he found Kodak gave all US Navy commanders a Medalist, my way inside. Photography for me has always himself locked up in jail for taking a picture in a a two-and-a-quarter rangefinder – a “big beast of a been my encyclopaedia, my literature. It was the town where photography was illegal. This time, camera,” according to one fan. “He gave it to me way I learned, the way I understood the world. though, his eye was taken by an old man driving and I was about 15 at the time, so I could explore There’s always been that passion for photography an old car – a Model T Ford. He and his wife – the city with it.” Oak Park was close enough to the which has sustained me.” John and Kate Wall – agreed to be photographed city that Bruce could take the El into town – a So focused is he on photography that, even by Davidson. They put him up, in their old dozen or so stops to the Loop. There, he was free to though he took those pictures of the Brooklyn gang miners’ bunkhouse. prowl and learn and take some pictures – so long as and even though he took pictures of Leonard “They let me stay in one room. There was he was not back home too late. Bernstein around the same time, the fact that the something about them. They were very close to www.professionalphotographer.co.uk 73
- 74. each other andisolated in a defunct mining world. “Do you know what was dangerous about him under the ground beneath his feet, to shoot I don’t know how they existed. I just felt very these kids? They were poor, deprived. The families Subway – which, like nearly all of his work, was intimate and close to them and close to the were basically alcoholic. They had nothing put together over time. “I didn’t know what was barrenness of the desert. It was very intimate, going for them.” Unlike his own single-parent going to happen for me, I just rode the rails, so to seeing them go to bed by kerosene lamp. It was family. “My mother was working. We didn’t speak, for almost a year.” important to me. It put me in touch with the beauty drink. My uncles would buy us baseball gloves. His images found and explored the aesthetic of ageing.” Loving couples are a constant in his These kids were isolated and didn’t even realise potential of the awful. Previously, photographs of work, from that 1950s Arizona desert to an how poor they were and how drunk their families the subway – notably Walker Evans’s secret, stolen almost-coupling couple in the back seat of a car in were. This was before drugs came in and when they ones collected in Many Are Called – were in black 1959 to a pair of young lovers framed by leafy did, it was devastating.” and white. “I found beauty in the graffiti, the branches in 1990s Central Park. Strangely – particularly from the perspective of people, the fluorescent light. So I switched to Posted to Paris, he took a series of photographs 2011 – his Brooklyn pictures gave Vogue the idea to Kodachrome 64 – which was just as well as it’s the of a very old woman – The Widow of Montmartre, hire him to shoot fashion. “I did it for a couple of only film that lasts in darkness.” Which made it as they are known, a record of the aged wife of a years. Then I started going down south, for the possible for Tate Modern to show newly created, minor Impressionist painter. “I was looking at the freedom riders.” He spent a good deal of time large format dye-transfer prints and for Steidl to past. She knew Toulouse-Lautrec and Renoir.” photographing the Civil Rights struggle – and the produce a new version of Davidson’s book of his We see her from behind, pinning up her hair, a poverty, oppression and social devastation which pictures. “The colour was its meaning,” he says. tender view of a tender moment. And we see her drove it. “I couldn’t come to grips with the They are often intimate and grimy images. framed in a doorway, dusted with that painter’s dichotomy between doing high fashion for rich When asked what he was doing, he’d tell people he friend, soft, overcast north light. And again, every people and what I was doing down south.” So he was doing a book on the subway and the way it centimetre of her age showing as she rises to her stopped and did corporate work to support himself, really was – all fucked up. “What I didn’t tell them feet from a park bench – while a young couple his family and his personal projects. Even that was that I saw the subway as both beauty and beast. embrace in the foreground. didn’t last all that long. Some things that were horrible were beautiful and By the end of the 1950s he had made his first Mostly, he got his money from grants and some things that would be thought beautiful were defining work, his pictures of a Brooklyn gang. scholarships – a Guggenheim, in particular. And he banal. I didn’t tell them what was going on in my He spent about 11 months on the project, working did editorial work. Commissions such as the Duffy mind. The man on a platform in the snow – it was through the winter without getting many pictures family circus in Ireland, for Holiday magazine in beautiful, like a snow scene in Japan, like a Werner he liked. Then the sun came and the action moved 1967. “My wife and I were newly married. I took Bischof photograph. I should have titled the book Train of Thought.” He’s not good on titles. He wanted to call his Steidl retrospective Journey of “Sometimes you feel you’ll never get there. Consciousness. The 1990s found him in Central Park, taking pictures more or less on his doorstep. He arrived Then the clouds part and you do get there.” there by a diverse route. “There was a time in my life when I wanted to be a National Geographic Bruce Davidson photographer. That way, you can stay in good hotels and you can spend time on a project.” to Coney Island. “It was spring-time. It all became her there on honeymoon. It rained every day. I was The magazine invited him to do some work. “I said more juicy and sexual and vibrant. Sometimes you very moved by that family. As a group, those I wanted to go to the Congo. They said, Chicago.” feel you’ll never get there. Then the clouds part and pictures are some of my strongest work.” So he retraced the roots and routes of his boyhood. you do get there. What keeps me going is the One image among them holds my eye. It’s of a It worked out and they asked him to do another challenge of finding the truth of what I’m working flaming-knife-throwing act – a woman in cowboy project. He suggested Central Park. “I asked to do on. My first photographs are often dumb. hat, boots and spangly swimsuit. What traps my it over four seasons. They said that they could only Then I awaken and begin to understand what I’m heart, though, is a boy in the background, in a pale pay for three.” looking at.” sweater with a look of wonder, his right eye He wanted to do the project in black and white. He found and made images which are rooted in catching and reflecting the glare of the flaming They wanted colour. So he did colour. He started the moment yet so lucent that they still echoed torches. I look at it and think: that’s me. I think on the job, put together a presentation, showed it to enough for Bob Dylan to have used one of them for others do, too. The universal in the particular. the National Geographic people. “They hated it, the front of his most recent album, the suitably He did portraits, too, particularly for Esquire and practically kicked me out of the office. A man titled Together Through Life. Magnum put together Harper’s Bazaar. “Very often environmental called Grave told me, “We’re going to pull the a slide show of a number of those gang pictures and portraits which showed the life of the person as well plug.” So he spent another three years shooting the © BRUCE DAVIDSON / MAGNUM PHOTOS set it to a soundtrack of Beyond Here Lies Nothin’ as the person.” He did a series of Diana Ross and park in black and white. “Ironically, people collect from Dylan’s album. (It’s easy to find online. the Supremes, for the Sunday Times Magazine, the colour pictures. They weren’t bad, just too many I caught it at amazon.com. While you’re at it, have when they were just becoming stars. He had no idea homeless people for National Geographic.” a look at the official video for that song. It’s a whole who they were. He’s been around long enough to have been other thing. It starts with a blood-decorated motel The 1970s were dominated by his East 100th friends with Diane Arbus. She took him on one of bed and gets rougher and tougher from there on in. Street project. He used a large format camera to her bus trips, to a burlesque show in Atlantic City. Blood, syringes, knives, a hit-and-run and a final, give it a gravity and sense of historical purpose. “I think we had a mutual respect. We had tender loving kiss.) As ever, he was bearing witness. The 1980s took a friendship based on respect.” He explained by 74 www.professionalphotographer.co.uk
- 75. {ICON} “I was encountering somethingpainful in myself. I looked straight at him and he looked straight at me.” Bruce Davidson way of one of his own pictures, of a circus dwarf, Jimmy Armstrong. “I was encountering something painful in myself. I looked straight at him and he looked straight at me.” But while Arbus homed in on one image, Davidson’s approach is wider, broader. “My work has an accumulative effect from several pictures.” As he put it in a 2009 New York Times interview, “a series of images that are kind of like charcoals that catch fire and burn into each other.” A life lived behind the lens then but also, I think and feel, a life lived beyond the lens. Unusually for a photographer, he seems to have made himself a sensible and rational home and personal life. Just the one wife and still with her after more than four decades. Two daughters, one of them a photographer herself – she was conceived in Death Valley when he was on set for Antonioni’s Zabriskie Point. Grandchildren to play with – and occasionally photograph. Very occasionally. The relationship in the moment, as he told me, The Dwarf, Palisades, should always trump the distraction of image- New Jersey, 1958. making. Of course, you can never know another’s heart but, as far as I can make out, he’s had a fun New York Times in 2009, perhaps seriously. “I’m going back in June, when the hills get brown. and sensible and productive life, making a fair fist “Birds less so, but I’m getting very interested in I’m not hoping for a fire but...” of the balance between desires and possibilities. them, too.” Does he have a favourite among his own “Photography is democracy. It’s a democratic art He hasn’t taken a picture for nearly a year, pictures? “The one I haven’t taken yet.” PP form, not a snob form. If the Beastie Boys and though. The weather has been too good. “I wanted Dylan find meaning in my photographs, that’s to photograph some places in the hills that had been www.magnumphotos.com great. But we’re very careful. We’ve turned people burned out. I hired someone to find them but they down. I wouldn’t let a perfume company use my were green again. He found one canyon, though, at The Sony World Photography Awards photographs. I wouldn’t allow them to be used to an elevation of 3,000ft and five miles from a road. Exhibition is on at Somerset House, Strand, sell cigarettes.” Which would put paid to the We’d have to backpack it. I said, ‘Wait a minute, London WC2R 1LA, from 26 April-22 May. possibility of an approach by British American you give me chills, I’m not going to do that walk at www.worldphoto.org Tobacco for his shot of one of the Brooklyn gang 77. If it were at sea level, maybe.’” guys cupping a cigarette below a sign which reads: That’s when, he said, he realised it was time to Bruce Davidson is on at Chris Beetles ‘Kent filters best for the flavor you like!’ find a subject he could handle at his age. “Nudes,” Fine Photographs, 3-5 Swallow Street, Right now, he’s working on his Los Angeles he told me. “I’m the right age.” He was joking. London W1B 4DE, from 4-28 May. series, a topographical project, patrolling the He’s never done nudes. Well, hardly ever. There are www.chrisbeetlesfinephotographs.com boundaries between the city and the country – a couple of rather odd ones in his East Harlem work rus in urbe, as old Romans put it. He’s using a large and one of his wife and their two daughters on their format camera, a conscious echo of American Upper West Side apartment sofa. It’s sweet and landscape photography’s early glass-plate years – trusting but he couldn’t have made a living that way. FOR MORE GREAT INTERVIEWS WITH Muybridge, Ansel Adams. “Plants kind of speak to “Our children got teased.” Surely not. In truth, he’s PROFESSIONAL PHOTOGRAPHERS VISIT me, and trees, particularly palm trees,” he told the thinking not of flesh but of Los Angeles. WWW.PROFESSIONALPHOTOGRAPHER.CO.UK www.professionalphotographer.co.uk 75
- 76. The future is The photographic world’s approach to convergence seems to be creating hard-line camps, both for and against. So we asked film maker Richard Jobson and photographer David Eustace THE FILM Moving to put their cases from MAKER’S VIEW the perspective of the two Richard Jobson is an internationally recognised converging disciplines. film maker and figurehead typicalUK for the world of convergence. Here, with in the robustness, Their responses are he sets out why he believes photographers cannot passionately held and filled afford to ignore the new world of imaging. with common sense visual language; convergencetheabeginning ofof new movement in The past few years have seen a is celebration both the moving and personal experience. and still image, creating opportunities for people to realise their narrative ambitions with a low-cost, polished product with high production values. This was unimaginable in previous years. The awakening is global, communal and thrilling. The first Converge event, held at the National Film Theatre in London in RICHARD JOBSON 2010, presented a variety of ingenious work created through the lens of the convergence breakthrough camera, the Canon EOS 5D MkII. The event presented an eclectic mix of film work, from Dan Chung’s Chinese parade 76 www.professionalphotographer.co.uk
- 77. {CONVERGENCE} through Tiananmen Squareto Philip Bloom’s work with film director George changed the game for everyone. It’s beautifully shot and every frame is Lucas. All of the work screened caught the scale, the invention and the a near-breathing photograph, combined with a narrative edge that is an beauty of the finished image, and was created on DSLRs. all-consuming, emotional roller-coaster that is full of the contradictions On the narrative front I presented my film, The Journey, also created and paradoxes of war. Hopefully you will be able to see it later this year in on DSLRs, a harrowing depiction of the experiences of a young woman as a cinema near you. she suffers being sex trafficked from Eastern Europe to the UK. It was It’s the combination of the stunning end image and the liberation of using brutal and violent, and showed the camera in a series of different situations, such a small device that has excited film makers. The photographic eye is delivering everything that was asked of it. never lost to the HD DSLR user, it forces you to think in a different way, to Also using the camera to maximum effect was the war photographer consider the image in front of you more carefully than simply capturing the turned documentary film maker Danfung Dennis, who presented raw, moment, the motion, the action. Convergence is not a new idea, it has been unedited clips from his experience of being embedded with the American around for a long time, but it has been carefully categorised in different “Great photography captures a moment when duration is measured not by seconds but by its relation to a lifetime.” Richard Jobson Marine Corps in Helmand province in Afghanistan. His film at this stage places as we cultural librarians tend to do; it makes everything easier didn’t have a shape, it didn’t even have a name or the funds to be knowing where they are rather than why they might be there. completed, but what was shown on that particular day was enough for the When I think of convergence the work of director Godfrey Reggio and producers we put him in touch with to support and complete what has director of photography Ron Fricke in the stunning collision of images in become an astonishing piece of work. their film Koyaanisqatsi comes to mind. This montage of machines, If there were any doubts about what could be achieved with this camera, architecture, people, skies and explosions creates an epic journey through especially in the hands of a photographer who understands how to push it to modern-day human endeavour with both its destructive and constructive its limits technically, then Danfung’s film Hell and Back Again has ended ambitions. It’s the cinema of photography. The image is king, it dictates the them. At the Sundance Film Festival in the Utah mountains this year it won narrative and in essence gives the impression that the sequences are simply the grand jury prize for best documentary film and, amazingly, best beautiful stills into which someone has breathed life. French director Chris cinematography. This festival is regarded by everyone in the world of cinema Marker was also way ahead of the game with his 1962 film La Jetée, a as the most important platform for innovative, independent new work – the movie of stills telling a story that was both complex and profoundly moving. competition just to get in, never mind win, is frightening. This film has I look at the stills of Gregory Crewdson and think of narrative cinema, or even the art photographer Cindy Sherman’s peculiar and mystifying character re-creations. My favourite photographer is William Klein, whose Above: Richard Jobson’s latest DSLR short film project, I Think You Need A Lawyer. images present layers of storytelling caught in the same whisper of time. www.professionalphotographer.co.uk 77
- 78. I love howthey don’t freeze time like most photography but seem to flicker ordinary. Would Richard Avedon have turned angst into his vocabulary of with life, not death. James Nachtwey’s photography records grief, loss, loveliness? Probably. Would it have been mind-blowing? Definitely. injustice, suffering, violence and death. The images are haunting and eternal, There are too many photographers out there looking the part without and bear witness to the horror of war. He says he is seeking a deeper and being the part. I think it’s time to stand and be counted, make the serious broader treatment of events – something with a narrative, cinematic quality. frivolity of fashion more interesting, make the dull thud of lifestyle and All of these amazing, creative voices seek to enter the mind and reach the leisure more brutal, make reality less colourful and more perilous. It’s time. heart with the power of photography’s immediacy and that for me is the In some ways the world doesn’t reward ideas or emotions, it rewards single most important philosophy at the heart of convergence. The common ‘coolness’. But for me that as an objective is spent, tired and exhausted – goal is to use these new tools to establish powerful work that is both what’s cool? It’s a retro term for a retro world; what about engaging with captivating in the traditional language of cinema, which is based on what’s in front of you rather than dipping into the ink of the past? character and action, but also through the potency of photography. There is It’s a peculiar paradox that the tools are in front of us but some people feel no excuse for even micro-budget work to be of poor quality. The handheld they are the wrong tools in the wrong time. I’m afraid it’s the other way cinema-vérité style can no longer use the excuse of hopeless, cheap cameras around; if you don’t engage with this phenomenon, then you will be the with fixed lenses. There was once a commonly held argument that cheap right person at the right time who just happens, through your own choice, HDV cameras empowered us all and gave everyone the opportunity to shoot to be doing the wrong thing. “The common goal is to use these new tools to establish powerful work that is both captivating in the traditional language of cinema, which is based on character and action, but also through the potency of photography.” Richard Jobson their own movie and that this was democracy in motion. In some ways the For me the future is clear. Like punk rock somebody kick-started an idea advent of HD DSLR technology has created a massive rift in this argument that nobody was ever going to hand to you on a plate, you’ve got to get out as the technical superiority of the finished image in the hands of the people there and do it yourself. The beauty of convergence in its current state is that who know what they are doing as opposed to those who don’t is seismic. it has now moved into moulding technology to its own needs. The iPad app This brings me to an interesting area in the somewhat unbalanced area of POST Matter is a prime example of how photography, cinema, ideas, music how film makers are embracing the new photographic tools in comparison to and words converge into a virtual magazine that is more a complete photographers. I feel film makers have truly embraced this creative ‘turning experience than a pale imitation of another type of media. It’s bold in point’ and used the opportunity to put innovation to their advantage but ambition and inspiring in execution. It makes no play at futurology but photographers in general seem to be less willing to engage with motion and simply creates a world that demands that progress will win. It’s a stunning have dragged their heels to the point of denial; however, the truth is that venture that blazes with confidence on a platform that was being lost to convergence is wrapping itself around them, whether they like it or not. arcane game and information-busting apps. This is not a time for intransigence but a moment to revitalise your game POST Matter is not about information, it’s about ideas. It’s when ideas are plan. Why not think of your work as both stills and motion, why not suffocated by the repetition of commerce that creative photographers are challenge your own fears and insecurities about pressing the 25fps button? genuinely at their most vulnerable. The fear of the client, the terror of the Photographers are best placed to create sensational images, that’s what recession, a world in flux, a desire to return to how it used to be, are just they do, that’s what they have worked towards, so why not do both? We all some of the elements to confront a technically brilliant, smart photographer have stories to tell, but photographers are in an amazing place to tell them every day. The response so far has not been challenging. The determination better, make them look better and make them breathe. of the many to continue along the same old worn-out path against the will of This year’s Converge Festival at the NFT was all about ideas, about the few to embrace the new is quite tragic. Tragedy after all comes from people taking the technology into new places, yet the work coming from the encounter of human will with fate, and this is a time, one of those photographers was disappointing. There seemed to be a collective sense that exciting moments when the only thing to do is to respond, do something; reportage was enough, that just pointing the camera would do the job. It had doing nothing is not an option. the flavour of immediacy but also an inert laziness. Where was the plan? HD DSLR technology is improving by the day, but it’s only the tool, the Where were the characters? If character is defined by action, where the hell rest is up to us and for me it feels similar to the moment when I was 16 and was the action? The fashion work offered to us, for example, was little strapped on a guitar for the first time and found a way to channel my more than electronic press kits from a client’s stills shoots – big deal! feelings through a song with my band the Skids. It’s the same buzz, the Where were the ideas? Where were the images to compete in a wider, same passion, just different tools; after all, there’s plenty to be angry about more exhilarating market? The tricks were there: the Lensbabies, the going on in the world right now as well as much to admire and love. tilt-and-shift blurs, the wide-open apertures and the occasional swish of Convergence is not an HD DSLR movement, it’s bigger and more slow motion, but so what? Where were the stories? complicated than that. Convergence is essentially about the meeting point of Great photography captures a moment when duration is measured not by ideas that revitalise our desire to tell stories with a visual aesthetic, it’s a seconds but by its relation to a lifetime. I wanted to see great photography in post-modern hybrid that has no parameters other than excellence. If you’re motion that had challenged the banal and comfortable superficiality reading this magazine you already have that quality – now go get the rest. of modern living; it’s almost as if there is nothing beyond leisure, the whimsical, the pretty, the luxurious and the defined. What would Walker www.richardjobson.com Evans or Robert Frank do with one of these cameras? Certainly not the Visit the Converge website at http://theconvergence.co.uk 78 www.professionalphotographer.co.uk
- 79. {CONVERGENCE} THE PHOTOGRAPHER’S VIEW David Eustace has worked as a stills photographer process. The reason for all these extra client demands is that they now want for a variety of clients for more than 25 years. the finished work to appear on so many different platforms, including television, the web and general promotion, so they try to cram as much into He has also directed commercials with traditional the shoot day as they can and the DSLRs let them do this. film-making equipment. Having just completed Today every client’s main priority is budget and although I could try to put two more commercials using DSLRs he tells us the case for using larger film cameras, the fact that DSLRs are so cheap to of his reservations about photographers shooting work with is always going to be a compelling argument. The budget is moving image, his thoughts on convergence always the first box that needs to be ticked. From a creative’s point of view and the cold reality of shooting both still and there is no point trying to put a screw in with a saw so you have to get the right tool for the job. On that level the quality with DSLRs is there. moving images for commercial clients. The quality is incredible. The two films I shot with them had very different scripts. The first was for I try to embrace anything and everything new within reason, as I see a travel company and the script presented the ideal scenario for working no point in trying to fight innovations. But I also hold on to the belief with these cameras. The whole film was about capturing moments, snippets that whatever innovation comes along none will ever provide a of people and things. With DSLRs you can do that because they are almost universal answer. To me, just like any camera, one that shoots point and press. You can just let the camera roll. moving images is just another tool, it’s something that allows me to I seem to remember years ago David Bailey saying you can point a record my vision and lets me capture something that fascinates me. Hasselblad at someone and they know you are a photographer; if you point The current fashion for photographers to add film making to their an 8 x 10 at them they panic; and if you point a little cheap camera at them portfolio is not going to suit everyone. Film making and photography have they pull a funny face. The same thing happens when you are shooting films. come closer to each other as disciplines but they must remain as Most of the actors I work with on these commercials are not Robert De Niro, two separate ways of creating, two different ways of telling stories. they are jobbing actors and the small cameras help them to relax and go with I try to keep these two disciplines separate in my head but they do sit side the film-making process. The camera is less threatening and intimidating to by side on my website. them and therefore helps me to get a better performance from them. I recently shot two commercials with DSLRs on the Canon EOS 7D and Even though I am a photographer when I’m shooting these commercials, 5D MkII. In the past I’ve used more traditional film cameras, but the I still try to work with a director of photography (DP) and I take the role of budgets on these particular commissions made me suggest to the client that director, but increasingly I am forced to take on both roles. Again budgets we worked with DSLRs instead. Having completed the commercials I can are dictating the process. safely say that the pluses of working with them greatly outweigh the For the second film I shot on DSLRs I had to take on both roles but that negatives. The flexibility and ease of use, as well as the ability to control and was a very different script from the first film’s. This one was for Visit work with small budgets and teams, are major pluses for me, but there is one Scotland and was full of highly scripted landscapes. I picked the landscapes definite negative. When I shot with an ARRI 35mm film camera the client but the client and agency had strong ideas about what kind of action was respected my discipline in shooting; each shot was carefully constructed and going to take place within them. It required big vistas and I was amazed at controlled due to the fact that film is not cheap and the time and cost in the latitude of the DSLRs and how they were able to maintain quality. But to setting up new concepts can eat up budgets. But with the DSLRs they want get the quality you have to implement traditional photographic disciplines of you to try lots of different takes and ideas, as there is no extra cost incurred. This results in shooting way more footage than I would previously have done and therefore creating a lot more work for my editor and me in the editing Above: Happy Feet, a TV commercial commissioned by James Villa Holidays. “Today every client’s main priority is budget and although I could try to put the case for using larger film cameras, the fact that DSLRs are so cheap to work with DAVID EUSTACE is always going to be a compelling argument.” David Eustace www.professionalphotographer.co.uk 79
- 81. {CONVERGENCE} Above: The second commercial that David shot on DSLRs was for Visit Scotland. studio, then shooting both myself is not a problem because everything can be controlled, but problems can develop when you are not completely in control and that’s why you should have a full team. understanding light, taking readings and using filters; you can’t just forget Seamus McGarvey, who is a friend of mine and one of the world’s leading all the things that make you a good photographer. DPs (Atonement, High Fidelity, The Hours, Charlotte’s Web, World Trade For me the ability to make films is definitely something which I need to Center and many more), is also a beautiful stills photographer. He has offer my clients, but for a lot of photographers it’s something that has landed always been able to keep the two creative disciplines separate but has also in their laps and there is nothing they can do about it. You have to be aware allowed each to inform the other. The problem for the rest of us is that clients of it and also that film making is being devalued by clients in exactly the are looking at photographers and saying, “You own a camera, you know how same way as photography was with the advent of digital. People want long to use it, cameras now make films, so you can make a film.” tracking shots but are not willing to pay for the jibs or cranes needed to Can photographers capture something interesting? Of course they can but create that shot. The more that clients think they understand the process of what are they capturing for the client and what is its true value? film making as well as they do photography, the less they will want to pay. In addition to film making, another issue that photographers are going to Clients think they understand but they rarely do. have to come to terms with is a technical one: many now work with various Just as not all clients will understand film making or photography, it is types of strobe lighting which don’t work for the moving image, where you unrealistic to think or expect that every photographer can be a director, DP have to work with continuous light from HMIs or LEDs. That’s a whole new “... losing commissions is not why I am involved with convergence – it’s because as an image maker I’m fascinated by ways of creating images.” David Eustace or producer. Just as owning a camera doesn’t make you a photographer, way of lighting to master and a steep learning curve for photographers. It’s a having a camera that can shoot moving image is not going to make you a big jump for photographers to become film makers but a much smaller film maker. Some photographers are able to combine still images to create movement for film makers to shoot stills; even so, I think photographers narratives or shoot projects and they should be able to transfer comfortably, should get involved with convergence only if they are interested in it, not but if they can’t they will face difficulties. Photographers who go out and because they think they should do or feel pressured to. As an image maker, shoot one shot will not become film makers, you need a sense of narrative. I can’t help but be interested. Just because a photographer has a Canon EOS 7D or 5D MkII or any other I understand that some photographers will want to remain purists and not camera that shoots moving image it does not mean they are going to be able engage with the moving image, as many have not engaged with digital to shoot a 30-second commercial. They are not going to understand how one capture. I think other photographers will embrace convergence because they image needs to follow another, or about scale or proportion or any other are fascinated by its creative possibilities and I’m sure some will see offering aspects of the film maker’s art. to do both as a new way to make money, whatever the quality of the work I’m pretty stubborn and try to keep the two professions of image making they produce. Sadly, it is the last group who will probably be the most separate but if a client asks me to do both, then I will. I currently have a successful and their clients will not know whether what they are being given client in the US to whom I’m talking about a project; it’s a small, internal is good or not. This may seem brutal but I am just being honest. I just want campaign for a car manufacturer which they came to me to shoot because I the client to walk away thinking that I’ve done a good job, whether it’s stills could do both, but I’ve asked for a DP as well because I’ve told them that if or moving image. I’m shooting stills I can’t shoot the commercial at the same time. I can tell Whatever your attitude to convergence, one thing is for sure – you will the DP which lens to use and how to shoot for me – it’s like having a second lose out on commissions if you are not able to offer it. So before you dismiss shooter on a stills shoot. But again I am only going to be able to do this if the it you have to be aware of that. But losing commissions is not why I am budget allows; if not, I’m going to have to do both, even though it is not my involved with convergence – it’s because as an image maker I’m fascinated preferred way of working. I can do this, but I’m always honest with my by ways of creating images. I can’t understand why a photographer wouldn’t clients and would tell them that if I worked this way the final result would be interested in new ways of creating images. Photographers should not feel probably be okay, but if they wanted something special that was only going threatened by new things, that is not what photography is about. PP to happen through luck with this setup. Whereas I can guarantee something special if the right setup is put in place. As in all things there are reasons for doing things properly. For example, if a shoot is of someone dancing in a http://davideustace.com DAVID EUSTACE GOT SOMETHING TO SAY? TELL US YOUR VIEWS, GOOD OR BAD AT feedback@professionalphotographer.co.uk www.professionalphotographer.co.uk 81
- 83. { SOCIAL MEDIA} POWER TO THE PEOPLE! The social media revolution has Is it just me or does it feel like everything’s a bit bleak at the moment? During a Social media can sometimes feel like a dirty phrase. It still retains slightly seedy connotations made it easier than ever to recession creative industries tend to feel and I couldn’t have cared less about it until a year the squeeze more than most and, combined and a half ago. But what is it exactly? A couple get your name and work seen by with the plummeting cost of tools, the of wise web people named Andreas Kaplan and new audiences, but it could landscape looks more than a little scary. Everyone seems to own a DSLR these days and, Michael Haenlein wrote a definition in their article [in the Business Horizons journal], also help you pay for your next as a film maker, I’m seeing my territory ‘Users of the world, unite! The challenges and project. HD DSLR film maker rapidly inhabited by crossover stills/motion professionals. I’m seeing less traffic in the other opportunities of social media’. It goes: “A group of Internet-based applications that build on the Robin Schmidt breaks down the direction but photography has been far more ideological and technological foundations of Web competitive than film for a long time and that 2.0, which allows the creation and exchange of world of social media and shows no sign of stopping. user-generated content.” crowdfunding and explains how It’s not all doom and gloom, of course, and Boring. Who cares? This sounds like YouTube, I wouldn’t be writing this article if I didn’t it sounds like Facebook, and it doesn’t sound far he was prepared to go think there were some interesting ways to deal particularly relevant to professionals – amateur to finance his latest project. with it. When faced with commoditisation and increased competition, your skillset, your creatives, maybe, but the pros don’t need that, surely? I dug around for a better definition and expertise, sadly becomes less important than here’s one that really nails it for me: your ability to stand out, market yourself and “Social media is the blending of technology and carve out a unique position for yourself. social interaction for the co-creation of value.” This is where the opportunities afforded by social “For the co-creation of value”, now that’s media and crowdfunding become more than a interesting. In the digital world our work in itself little exciting. is becoming valueless. The turning point was the arrival of Napster [the music download site], which effectively ripped the heart out of the music industry business model. Increasingly, it’s in the architecture surrounding the work – the brand, or the real-world interactions you can build around the work – where the value resides. That’s very hard for us to stomach when it requires such dedication to get the work right in the first place. Social media, at its very best, is a dialogue with your peers and with your consumers, the very heart of which is the reinforcement, development and enrichment of value. And value is important because it’s how we stand out, it’s how we retain a competitive edge and ultimately it’s why we get chosen. Facebook accounts for 25% of all page views in the US. That’s powerful. So where do you start? Well, that’s entirely up to you, but I would suggest the first place is on Twitter. There’s an incredibly verbose, helpful, entertaining group of photographers and film makers on Twitter and the community is generous into the bargain. It’s not about telling people what you’re having for breakfast and it would take too long to go into the finer details about Twitter ROBIN SCHMIDT Robin Schmidt, pictured, pitching his project on crowdfunding website IndieGoGo to shoot his comedy adventure series Super Massive Raver in Hong Kong. www.professionalphotographer.co.uk 83
- 84. {SOCIAL MEDIA} Ascene from Super Massive Raver shot on location in Hong Kong. “Suffice it to say though that I’ve won jobs simply by being a good have been viewed more than 630 million times. That’s powerful. The ultimate goal is to be able to tweeter. I also write a blog about shooting film on DSLRs and continue doing what you love, to create. It may that has helped considerably in building my profile both here in seem an almighty schlepp sideways to commit so much time to social media but the opportunities the UK and overseas.” Robin Schmidt that will come and the alliances you can forge, not to mention the direct access to others’ etiquette and strategies. Suffice it to say though joy of being able to build an audience. It’s a bit expertise, mean it simply cannot be ignored. that I’ve won jobs simply by being a good tweeter. like a band getting on the road and touring to There’s another benefit to building an audience. I also write a blog about shooting film on DSLRs build up a following. The only difference is that Audiences watch, audiences talk, but now and that has helped considerably in building my you can do it from your desk and it doesn’t need audiences fund. Yes, your audience will take out profile both here in the UK and overseas. to take too long. Audiences are powerful things their wallet and give you money, but only if you You can’t turn around now without bumping into but social media audiences are particularly give them a compelling reason. Welcome to Philip Bloom’s name when researching DSLRs powerful. They’re loyal, they’re invested, they’re the distinctly peculiar world of crowdfunding. and that ubiquity is solely down to his self-empowered and they’re generous. It really galls me when people tell me they shot understanding of the power of social media. The co-creation of value. Social media requires this or that for ‘nothing’. Nothing costs nothing. People like to pass work around, to play the role time, patience and generosity. Unless you’re Creative projects still need funding and, with all of the discoverer and they like to share that with Charlie Sheen or are on The X-Factor you’re not these cuts going on, there’s very little to be found others. This is where the co-creation of value going to see your following suddenly grow from public bodies. Crowdfunding is an really starts to happen. More important than overnight. It’s a two-way street and you can’t just incredibly powerful mechanism through which anything else, this costs nothing but time. put something out there and expect people to you can go directly to your end consumer and ROBIN SCHMIDT With your social media interactions, whether flock to it. You have to cultivate your interactions have them fund your project. The secret lies in they’re commenting on videos on Vimeo, sharing but it’s worth it. The top-ranked YouTuber, Ryan micro-payments. Having many people funding photos on Flickr or just tweeting, comes the great Higa, has three million subscribers and his videos small amounts means you can build your total 84 www.professionalphotographer.co.uk
- 86. COVENTRY The Photographic Ricoh Arena 14th June 2011 Trade Show WINDSOR Royal Windsor Racecourse 29th June 2011 For All Professionals BRISTOL Ashton Gate Stadium Register now for your free tickets - www.forwardevents.co.uk 19th July 2011 DUBLIN Trade show 11am-6pm Camera Clinic FREE Entry Product Demonstrations Croke Park Stadium 6th September 2011 FREE Seminars Digital Advice KENT NEXT EVENT Brands Hatch Circuit 18th October 2011 Manchester LONDON Man Utd Football Stadium Royal Horticultural Halls 17th May 2011 15th November 2011 EDINBURGH Royal Highland Centre For more info about your local show and to register for your free 27th March 2012 tickets go to www.forwardevents.co.uk or call 01634 296 001 HERTFORDSHIRE Sopwell House SPONSORED BY: 24th April 2012 Follow us on Twitter www.twitter.com/photovisionnews
- 87. {SOCIAL MEDIA} This page: Although he didn’t reach his target in the timeframe, Robin’s crowdfunding project still helped to pay for his Super Massive Raver project, stills from which are pictured here. found the rest of the money through other sources who couldn’t fund us within the time limit we’d set but the campaign had given us a reason to put ourselves out there. We went to Hong Kong, we without asking people to take a huge risk on you. shot our mini-series and I own it. The tiny perk It’s another way of growing an audience and it’s “Crowdfunding is not a handout. level I set means I also have a very manageable particularly powerful because your funders feel You have to work really hard commitment to my funders and very little admin empowered, feel ownership and part of a small associated with fulfilling my obligations to them. community of ‘discoverers’. The more I’ve at engaging with potential I’ve seen campaigns with wildly ambitious perks looked into this the more I’ve realised that for many people, there’s just a vicarious thrill in funders and there are a lot of being offered and I don’t think that’s the right way to go. The project itself is the prize and you don’t supporting creatives. projects looking for funds.” want to handicap yourself by offering the earth to It’s important to stress right now that there’s a your funders through perks. very big difference between funders and Robin Schmidt Crowdfunding is not a handout. You have to investors. Funders don’t expect to see any return, work really hard at engaging with potential investors do. Funding is philanthropic, investing campaigns that are working hard to drive traffic funders and there are a lot of projects looking for is business. The reason this is important boils through to its site and this is where all that funds. I spent a year and a half blogging hard to down to ownership. Using crowdfunding you hard work in social media ought to pay off. build a core audience and a large chunk of my retain 100% ownership of your project and that’s I launched a campaign last year for a comedy funding came from people I’ve met in the US very important. Once the project’s done you can series I shoot which would enable me to go to through the blog. I simply wouldn’t have had exploit it commercially to your heart’s content Hong Kong for two weeks. We set the time limit access to that without my social media with no obligations to give your funders their at two weeks (very, very short) and set just one interactions. As I said, it takes time to build up money back. That’s not to say your funders expect perk level, $10. This isn’t the normal way it’s these connections but the fact remains it’s very nothing in return, but it’s not money they want, done but we felt we wanted to make it easy for possible to do so and to persuade people to get it’s a copy of the film, it’s a chance to come on set people to say yes. We raised $1,500 very quickly, involved in what you do, to invest their time and and watch you work, it’s a chance to meet you, it’s then stalled. That’s actually normal, but it felt give their money. That’s incredibly empowering. this peculiar thing we call ‘perks’. horrible. I then had an idea and for 24 hours I So, get up to speed with Facebook, learn how There are now two prominent websites that host broadcast live from my house, telling jokes Wordpress [the blogging tool] works, sign up to crowdfunding projects, IndieGoGo and non-stop, encouraging people to fund me, just to Twitter, dip a toe and start engaging with your Kickstarter but the former is the only one you can make me stop telling awful jokes. That really peers on social media. The end goal is the work use in the UK. It’s pretty simple: write a short worked and I think it showed people how and this is how you make it work for you. PP description of your project, upload a video or dedicated I was to the project. We were looking a picture, say how much you’re looking for and for $5,000 and raised $2,500 through IndieGoGo. Visit Robin’s website and read his blog at set a time limit for your campaign. To give However, as a result of having the project we www.elskid.com your funders an incentive you’re encouraged to offer perks triggered by donation brackets: $10 might grant you a signed photo, $1,000 might THE IN CROWD: There are dozens of crowdfunding websites out there and one of them make you an executive producer. It’s really up to might just hold the key to financing your next project. you how to stagger those and there’s a bit of an art GLOBAL PROJECTS - www.indiegogo.com US SITE - www.kickstarter.com to it. Once you’re up and running it’s your job UK SITE FUNDING CREATIVE PROJECTS - www.pozible.co.uk to drive traffic to the site and do whatever UK SITE FUNDING CREATIVE PROJECTS - www.wefund.co.uk you can to encourage people to pledge funds. NEWLY LAUNCHED IRISH SITE - http://fundit.ie ROBIN SCHMIDT IndieGoGo takes a fee for hosting the project: FOR PHOTOJOURNALISM PROJECTS - http://emphas.is 4% of your final total if you make your target, UK SITE FUNDING CREATIVE PROJECTS - www.wedidthis.org.uk 9% if you don’t. It actively promotes those www.professionalphotographer.co.uk 87
- 88. THAT BUSINESS For the past 10 years legendary photographer Nick Knight's SHOWstudio has been world of fashion. Alannah Sparks takes a look at what it has achieved, the shock NICK KNIGHT / SHOWSTUDIO 88 www.professionalphotographer.co.uk
- 89. {THE BUSINESS} WE CALLSHOW embracing new ways of making and showing images, democratising the often arcane waves it is still generating, and what it means for the image-making world. www.professionalphotographer.co.uk 89
- 90. JAMIE HARLEY /NICK KNIGHT / SHOWSTUDIO
- 91. {THE BUSINESS} I n the 1980s, Nick Knight brought a video Hawkins has contributed to projects as diverse as camera on to a set where he was shooting a three-day live fashion broadcast from Abbey a fashion editorial. “Don’t mind this,” he Road Studios and an intimate shoot done with one said to the team of models, make-up of the first mobile phone cameras. One of her artists, stylists and lighting technicians, and favourite projects is Vegas or Bust, the film she they all continued with their day’s work as made while on her hen trip, after only being given usual. The result was a very natural, candid, the brief of ‘Breasts’ by SHOWstudio. “It has that fly-on-the-wall observation of the image-making cheeky ‘Carry on Brits Abroad’ feel with a twist of process. The more Knight filmed, the more he saw sexual adventure and high-end fashion,” she that he was lifting the lid on a closed world, one remembers. “It was made as part of a much larger that fascinated people beyond its glossy walls. project called Moving Fashion Body for the Those who remain outside this ivory tower often SHOWstudio Fashion Revolution exhibition at trivialise or are scandalised by fashion and image Somerset House [in London]; as with everything making, but for Knight, looking through reel after with Knight, it’s all part of a bigger picture.” reel of people just doing their jobs – the passion, The adventure of SHOWstudio has been enjoyed the details, the inspiration and the hard graft – it not only by its galaxy of illustrious contributors but was something that deserved to be shared. And thus also by an enormous audience. Since its launch, the the idea for SHOWstudio was born. showstudio.com site has attracted hundreds of It took 15 years for technology to catch up with thousands of viewers and followers from Bahia to him, and on 27 November 2000 Knight finally Beirut. Its reach is phenomenal and it has paved the pushed the Go button on SHOWstudio, beaming it way for a new kind of fashion consumer, one who out to the world with a video of fashion isn’t content to sit back and watch, but who wants photographer Elaine Constantine in her room at to participate. Yet browsing through an archive that home getting ready for a night out on the town. ranges from films depicting the ‘anechoic sound’ With the launch of SHOWstudio, Knight set out to of clothes to live discourses about fashion in create a new online platform for fashion and image politics, one wonders who exactly SHOWstudio is making, free of the constraints of advertising and for. Has it intellectualised fashion beyond the reach editorial schedules. Now, more than 10 years after of common people, or has it opened it up too much its launch, his embryonic idea has become a for creative people within the industry? creative behemoth, straddling the worlds of art, “Well, my mum loves it,” says Ruth Hogben, fashion, music, architecture, food, design and director of fashion film at SHOWstudio, and one performance. It has been involved with more than of Knight’s right-hand people. “She’s a school head 300 projects with creative luminaries from all of teacher with only a passing interest in fashion, but these worlds: from Tracey Emin to Heston she checks it regularly, and not just for the things Blumenthal and from Brad Pitt to Björk, the I’m working on. I don’t think SHOWstudio is magnetic field that surrounds SHOWstudio has designed for any particular person; it’s more of an drawn many and varied creative talents to its core. invitation to be involved. Here is an incredible “Working with SHOWstudio is like being platform for creative people to say what they want involved with something that is actually alive and to and it’s allowing people to wonder not only at kicking,” says Alice Hawkins [see PP July 2010 for beautiful end products but also to wonder at the our interview with the photographer]. She has been reality of it.” a regular contributor to the site ever since Knight The big players in the fashion world are brought her into the ‘family’ in 2003, after he was a judge in a photography competition she had “I don’t think SHOWstudio is beginning to realise that an open-door policy is essential to stay ahead of the game. Fashion shows entered. “I didn’t win first place, but I felt like I had designed for any particular used to be attended by a select few editors whose when he invited me to the SHOWstudio office. It’s been one big adventure ever since.” person; it’s more of an edicts went on to dictate the trends of the following season, but now the pictures are blasted out almost invitation to be involved. instantaneously to the world, opening up the Previous pages: The video for Born this Way by Lady Here is an incredible platform floodgates of debate before the clothes even go into Gaga, directed by Nick Knight. production. SHOWstudio offers what Vogue Opposite page: Tomorrow Night We’ll Go Anywhere , for creative people to say fashion photographer Norbert Schoerner – who edited by Jamie Harley, is the first in a series of films from the Editing Kate project. Video editors are what they want to and it’s contributed a film to a project early in the RUTH HOGBEN / SHOWSTUDIO being invited to create their own film from the footage site’s development – calls “democratic texture”. of Kate Moss captured during Nick Knight’s editorial allowing people to wonder not While some brands initially saw this as a toppling shoot for the December 2010 issue of Vogue Italia. This page: Fashion designer Gareth Pugh’s only at beautiful end products of authority, others embraced it. In October 2009 the late Alexander McQueen pioneered fashion’s Pitti Immagine #79 2011 film showcases a collection of clothing inspired by religious iconography and but also to wonder at the journey into space with a live broadcast on the opulence of Florence. reality of it.” Ruth Hogben SHOWstudio of his spring/summer 2010 collection www.professionalphotographer.co.uk 91
- 92. in collaboration withLady Gaga. It was a “Outlets for moving fashion films are more in flux and it takes a true visionary to be able masterstroke and the worldwide response to the important and developing all the time,” says Alice to harness that power. show was so huge that the server crashed. “We are Hawkins, “now websites are getting equal attention SHOWstudio has established itself as the hub seeing a fundamental revolution in fashion,” said to magazines, so you have to be able to adapt.” where brilliance can really be fostered. This is Knight later. “Why even bother with a fashion show As Norbert Schoerner puts it: “The work of a because it has opened the doors to everyone – when you can just make a film?” photographer or film maker today must be effective professionals and the public – creating a unique Clothes are designed to be seen in movement and in a digital environment – anything you do has to be environment where, as author and journalist Matt many fashion houses are beginning to come around able to end up on multiple platforms, whereas 10 Ridley might put it, “ideas can have sex with ideas.” to the idea that their designs could be broadcast to years ago your work was destined only for the At the end of our interview Alice Hawkins millions using the film format. Ruth Hogben has gallery or a magazine.” reasserts her opinion of SHOWstudio’s importance: been creating the films to showcase London-based Embracing new methods of image making is the “Whatever else is going on, I think SHOWstudio designer Gareth Pugh’s collections for three nucleus of what SHOWstudio is about and it will always be a step ahead. It’s unique, it stands seasons now. “A film brings emotion to clothes. continues to be in the vanguard of technological alone as a solo fashion medium, and it can invite I am obsessed with making films that appeal to the developments today. The Fashion Revolution the best creative people from all different areas of women who are buying the clothes, and I do believe exhibition at Somerset House was a glorious the fashion world to work for or with them. You get that film can become an alternative to showing celebration of the most daring, provocative the cream of the crop together in one amazing fashion.” Indeed her film for Pugh’s spring/summer and visually arresting projects that SHOWstudio place, and I think they have achieved this because 2011 collection is emotive and demonstrative in has produced in its first 10 years. A giant Nick Knight is a visionary leader of our time.” PP equal measure, starring supermodel Kristen monolithic sculpture of Naomi Campbell greeted McMenamy in an abstract, visually-led narrative visitors, who were able to draw messages on to the viewed by hundreds of thousands across the world. contours of her body with a laser pen. Visitors to http://showstudio.com Pugh isn’t the only designer to have grasped the the exhibition could then take part in a live casting, www.patriciamcmahon.com for Alice potential of fashion film to reach a wider audience. submitting their photos and vital statistics, with Hawkins’s portfolio The series of Lady Dior movies starring French some being chosen to participate in a photo shoot www.dayfornight.tv for Norbert Schoerner’s actress Marion Cotillard and directed by David and installation. website Lynch has done much to raise the fashion house’s On the eve of the exhibition’s opening, Knight profile in Asia. The high street is catching on too, said: “We are now entering the restless world of with clothing retailer H&M releasing a teaser video interactive, self-created, digital-imaging: accessible, that brought the blogosphere to fever pitch before downloadable and constantly changing.” FOR MORE GREAT INTERVIEWS WITH it announced that Lanvin was to be its next Like bacteria, the technology of today is a PROFESSIONAL PHOTOGRAPHERS VISIT designer collaboration. continuously morphing monster, ever growing, ever WWW.PROFESSIONALPHOTOGRAPHER.CO.UK Over the past decade SHOWstudio has worked with hundreds of names in the creative industry, from actors and fashion designers to writers, chefs and architects. Here are just some of the people who have either inspired or collaborated on SHOWstudio projects. David Bailey, photographer Katy England, stylist Alexander McQueen, fashion designer Fabien Baron, creative director Linda Evangelista, model Kylie Minogue, singer Björk, musician Marianne Faithfull, musician and actress Kate Moss, model Erwin Blumenfeld, photographer Mike Figgis, film editor and director Roland Mouret, fashion designer Heston Blumenthal, chef John Galliano, fashion designer Erin O’Connor, model Guy Bourdin, photographer Philippe Garner, auction specialist Harri Peccinotti, photographer Alex Box, make-up artist Bobby Gillespie, musician Brad Pitt, actor Naomi Campbell, model Katie Grand, stylist Terry Richardson, photographer Jake and Dinos Chapman, artists Jefferson Hack, writer Liberty Ross, model David Chipperfield, architect Inez & Vinoodh, photographers Sergio Rossi, fashion designer Donald Christie, photographer Marc Jacobs, fashion designer Paolo Roversi, photographer Lily Cole, model David James, footballer Peter Saville, graphic designer Matthew Collings, artist and writer Richard Kern, photographer David Sims, photographer Cindy Crawford, model William Klein, film maker and photographer Martine Sitbon, fashion designer Sophie Dahl, model Nick Knight, photographer Mario Sorrenti, photographer Oscar de la Renta, fashion designer Lady Gaga, musician and performer Juergen Teller, photographer Patrick Demarchelier, photographer Peter Lindbergh, photographer Stella Tennant, model Robin Derrick, creative director Christian Louboutin, shoe and bag designer Gavin Turk, artist Agyness Deyn, model Massive Attack, musicians Max Vadukul, photographer and director Karen Elson, model Stella McCartney, fashion designer Tim Walker, photographer Tracey Emin, artist Sam McKnight, hair stylist Vivienne Westwood, fashion designer 92 www.professionalphotographer.co.uk
- 93. {THE BUSINESS} RUTH HOGBEN/ SHOWSTUDIO Scenes from In Conversation, About Yohji Yamamoto in which graphic designer Peter Saville, art director Marc Ascoli, photographer Nick Knight and writer Magda Keaney discuss the visual identity of the Japanese designer. www.professionalphotographer.co.uk 93
- 94. TALKIN’ ABOUTA REVOLUTION The history of camera development is filled with technological novelties and highly innovative formats, but over the past year a dominant new force has entered the market and seems to be working for photographers and manufacturers alike. As PP Editor Grant Scott discovered, it should be making a lot of pro photographers reconsider what to grab first from their kit bag. I ’ m going to start this article with a true director as low-resolution images for them to lay lens construction, wasn’t possible. That’s the story that happened to me recently. out the pages. A week later an email arrived simple answer but what exactly was the I was on an assignment for Russian asking for high-res files for five images in total. challenge the manufacturers had to overcome to Vogue shooting a highly respected – two from the 5D and three from the GF1. give us what we wanted? Traditionally, DSLR fashion designer on location in her studio. These were the five images they liked best and cameras are defined by having a through-the-lens As always my bags of kit contained a number of they were more than happy with the quality. (TTL) optical viewfinder which allows light to cameras and various pieces of kit I drag from What’s my point? That they enter the camera through a lens and into a light shoot to shoot ‘just in case’. As any regular didn’t care what camera box; it reflects off a mirror and then off a reader will know my first cameras of choice are I had used, only the images pentaprism (or pentamirror) before still my ever-faithful Canon EOS 5Ds and on I had shot. exiting through an optical viewfinder. this shoot, as on any other, these were the As with all good ideas the When a picture is taken, the mirror flips cameras I chose to use. The shoot went well and one behind the CSC (Compact out of the way and the light hits the the designer and I connected, so I decided to System Camera) is simple: digital sensor instead. experiment with some more informal portraits, a great-quality The only way to knowing that I had the portraits that Vogue camera you can fit change this and wanted in the bag. To do this I pulled out my in your pocket and on make the camera Panasonic Lumix DMC-GF1 fitted with the which you can both smaller and 20mm pancake lens and started snapping. change the lenses. lighter is to Its arrival on the shoot brought a cacophony of It’s something every remove these “What’s that?” from the assembled fashionistas. serious photographer mechanisms. The GF1 had created a moment. has wanted for years Without a mirror Having downloaded and edited the shoot I but which, due to that flips there is was happy with a number of frames from both various technological the 5Ds and the GF1 so I sent them off to the art problems concerning Olympus PEN E-P2 . 94 www.professionalphotographer.co.uk
- 95. {THE BUSINESS} no needfor a light box or pentaprism. Sony NEX-5. The traditional viewfinder is then replaced by a digital display screen on the camera, although which has taken the threat of the additional digital viewfinders can be added to Sony NEX-5 seriously and responded. some models. If the lens is then positioned closer to the sensor, smaller and lighter lenses “...an email arrived asking But in doing so it has taken the CSC into an interesting new area, that of the compact can be used, which is particularly significant for wide-angle lenses. for five images – two from photographer upgrade. Suddenly the CSC starts to look like a very serious contender to the Over the past few years manufacturers have the 5D and three from the beginners’ DSLR throne. been able to come up with a range of solutions to tackle these problems and companies such as GF1... What’s my point? Although all of the CSC manufacturers are rapidly expanding their ranges of compatible Olympus, Panasonic Lumix, Sony, Ricoh and Samsung are now tapping on our wallets. That they didn’t care what lenses, an interesting and fervent community has already developed and taken to the format. They’ve created what we said we wanted, camera I had used, With a wide range of third-party adaptors now but are we buying? If we take Panasonic Lumix and its sales only the images I had shot.” available many photographers are using the lenses they already own and existing classic figures as an example, the future is looking Grant Scott vintage lenses on CSCs. Third-party adaptors pocket sized. Compact System Camera sales in now exist for classic lenses such as those with Japan grew by 33% last year. Although the replacement for the much-loved and Leica M, M42, Nikon, Olympus OM, Pentax K overall market for sales of DSLRs is down 9% highly-regarded DMC-GF1. The simply-named and C mounts. Although the autofocus may not year on year, the CSC market has risen by a DMC-GF2 sees upgrades on its predecessor’s always work (there was a time when we were all staggering 261%. It’s clear then that the CSC is video capabilities, with 1080i 60fps full HD happy to focus our images, remember), the no gimmick to file alongside Laser Discs and video (from 25p sensor output), continuous ability to combine classic lenses with modern Betamax. It’s a growing market which shooting at 2.6fps with Live View, a built-in micro technology has proved too good an manufacturers are taking seriously, meaning that stereo microphone, the introduction of a touch opportunity to miss for many people. 2011 is going to bring even more models and sensitive LCD screen, an increased maximum It seems that now the CSC ball has started further developments. ISO of 6400 and a fully customisable Quick rolling there is no stopping it. Olympus is The first of these has come already from menu. All good stuff but it is also smaller and constantly refining and developing the Panasonic Lumix with the launch of its lighter than its predecessor. This is a camera relaunched PEN series, Sony has come into the www.professionalphotographer.co.uk 95
- 96. {THE BUSINESS} “Although the overall market for sales of DSLRs is CHECK THESE OUT down 9% year on year, the CSC market has risen Sony NEX-5 by a staggering 261%. It’s clear then that the CSC The NEX-5 is mirror-less, which is no gimmick....” Grant Scott makes it both small and lightweight. It packs the same 14.2-megapixel sensor as the market with the excellent NEX-5 NEX-3, plus it takes the same E-series and, as I have mentioned already, lenses or conventional Sony-mount Panasonic has evolved the GF1 into digital SLR lenses with the aid of an the GF2 for a less professional user optional adaptor. The single biggest (not something I was that pleased to difference, however, is that the NEX-5 see, I must admit). shoots full high-definition 1,920 x 1,080i At the beginning of this year Sony (interlaced) video compared with the announced projections for its camera NEX-3’s HD 720p (progressive) video. sector that would see CSC sales The NEX-5 has a wide range of exposure increase by 80% while DSLR sales modes, including aperture and shutter would go up by only 12%. Now I know priority, as well as the opportunity to we need to bear in mind that the CSC growth is work manually. There’s also a healthy Above and below: Panasonic Lumix DMC-GF2. pretty much from a standing start and that selection of exposure overrides and Sony is not a leading manufacturer of DSLRs and obvious step. Any regular reader of camera metering options. Add to this its rapid but even so these are still pretty confident reviews will have got the message by now that autofocus capabilities in movie mode and expectations. Its NEX-5 is fast becoming an manufacturers are constantly upgrading and you have a camera not to be ignored. iconic camera with its super-fast HD movie refining their existing models with smaller PRICE: £559 www.sony.co.uk focusing and recent announcement that Sony and smaller versions of the previous offering. has made available to other manufacturers the There has been a big influx of female Olympus PEN E-P2 basic specifications of its E-mount system. photographers into the camera-buying market The E-P2 was the second What does that mean? Well, put simply, lens (and the pro market) over the past few years and PEN model to be and adaptor manufacturers such as Carl Zeiss, they are definitely being catered for with both introduced and Cosina, Tamron and Sigma are now able the smaller DSLR and the CSC. As the type of features all of the to create lenses which you can bolt on to the people now using cameras and the ways in key functions and Sony CSCs without an adaptor. This is a which they are used evolves, so the type of advantages of the game-changing move which opens up all sorts camera also changes to meet that demand. E-P1 with the addition of an accessory of creative possibilities. Of course, the big question facing pro port, which allows you to attach an But who is buying these CSCs and why? photographers has to be ‘when’ or ‘if ’ Nikon electronic viewfinder or microphone Well, from a personal perspective I can tell you and/or Canon will enter the CSC market. adaptor for improved sound with moving that my move from having the Ricoh GR III So far there has been an extended silence from image capture. The styling of the E-P2 is in my pocket as my sketching camera to the both camps but as the CSC market continues to very similar to the E-P1. There’s no Panasonic Lumix DMC-GF1 grow, surely they will both have to address the integral flash (only the E-PL1 has this in was based purely on issue of photographers starting to work with the PEN range) but, like the E-P1, the my need to have a non-traditional photography brands such as E-P2 features an all-metal body. great-quality camera Sony and Panasonic. PRICE: £699.99 www.olympus.co.uk always at hand which gave All of this may seem a little strange to me the option of adding consider for those who see the CSC as lenses. The fact that I could nothing more than a compact on which you I’m not saying it will replace your existing kit also use the GF1 for HD can change the lens, but if you have yet to but I know that mine has become an essential video was a great bonus. get your hands on a CSC to see what they piece of my photographic arsenal which I would I was moving from a are capable of (and I am sure not want to be without and it will definitely high-end and you will be both be in use on my next commissioned shoot. excellent surprised and impressed) After all, wasn’t the Leica M series the first compact to a I suggest you waste no CSC? And few of us have a problem shooting CSC, a simple more time and try one out. with a Leica! PP 96 www.professionalphotographer.co.uk
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- 98. CANYOUBUILDIT? YES,YOUCAN Clikpic is aneasy to use web I t’s fair to say I’m not the most technical or to suit escalating through Intermediate practically gifted individual. I’ve never put (200 images), Professional (500 images) to service created especially up a shelf, tinkered with an engine or the Super Pro account with bulk load ability for photographers and completed an instruction manual. I was of 2,000 images – an option perhaps more fourteen when I changed my first light bulb. suited to clubs and societies or those looking artists to present their work I will never wallpaper a room or build a shed. to sell photographs in large numbers. on a website which they can So it was with some hesitation that I embarked One of the advantages of a Clikpic site is style and edit themselves. on a journey to construct a website using the that photographers can think about having Clikpic system, a web service for professional separate niche sites that may be more search We put award-winning and amateur photographers and artists. engine effective and may not be appropriate photojournalist Peter Dench You can sign up for a free 14-day trial before to include on the main domain. Or you could to the test to build himself a subscribing. The standard subscription in the just reinvent yourself as a totally different free trial, and the one I opted for, is £35 per photographer altogether. I’ve photographed Clikpic website and find out annum for a maximum of 100 photographs. at weddings before, I could create a site as just how easy it really is. For the more prolific snapper there’s a package wedding photographer Richard Splash or
- 99. ADVERTORIAL “One of the advantages of a Clikpic site is that photographers can think about having separate niche sites that may be more search engine effective and may not be appropriate to include on the main domain.” combine images from events documented and the Clikpic opportunity seems ideal to own website quickly, easily and very cost Clikpic them together as event photographer showcase them all in one place. I edit a top 50 effectively. I scoffed and with the images Hunter Nelson or perhaps food photographer and prepare the files for upload. True to form, uploaded prepared to dedicate the next month Charlie Shark. Then again, perhaps not. The it’s only afterwards that I download and print on and off to creating the ultimate Dench truth is I like my work, and I like my name. As a the 35-page Clikpic user guide that states Portraits website. Two and a half hours later photographer I want to be accountable for the different file sizes are required. This is not I have the basics done to a standard that would images I unleash into the world. I don’t even a problem. The oversized JPEGs are have been acceptable for the site to go live. put a pseudonym on my stock. automatically resized. I’m advised this may It seems the claim was correct. However, it I think hard. I’m probably best known for my cause blurring or ‘artefacts’ but detect none. would be rude not to explore the depth of quirky reportage style documenting the Images are uploaded quickly as singles without choice offered by the system. With this in mind, English but I have created skilled work in diminishing the colours, saturation or it’s advantageous to have a clear idea of what advertising, corporate, fashion and portraiture brightness. Each image can be assigned to type of site you hope to achieve. Before you in particular where a significant archive of a gallery, sorted, captioned, dated, accredited start, have a careful look at the extensive eclectic individuals has been produced. and keywords added on its own page. sample sites to visualise how you would like to While I do have a few portraits on my main site Clikpic claims you can create and edit your apply the templates to your own. The clearer
- 100. “Within the Clikpic system you can set up your site to have a shopping basket facility that links directly into a payment provider (currently PayPal and Google Checkout supported).” you are at the outset the easier it will be. the price will be recalculated according to how for a photographer’s website – it concentrated The first decision was to choose one of the far along you are in any one subscription. on the photographs and showed them off 11 site styles. I tried them all. Simple 2 with All decisions can be previewed and reversed. to their best effect, allowing for the images to the black and blue combination appealed to Personally, I prefer the undiluted basics of shine as the beauty queen while the system me. The background can be jazzed up and photography, to see a photograph clearly, performed as a buffeting, preening and customised with your own repeat or single cleanly and where possible without distraction, supporting aid. photographs but it worked better, well – simple. gimmick or fuss. You need to let the image I divided the portraits into two galleries In addition I wanted it to reflect the style of my breath and confront the viewer with all four of 25 and arranged them in a grid format of main site, which it does. For 48 hours I skipped fixed corners firmly in place. I found myself applied rows of five with the captions located through the Clikpic experience accompanied stripping the website back to basics to many of beneath. You can size the thumbnails to crop by various snacks and beverages. The website the default settings that suggest Clikpic is in and fit so they are all square but mine looked design oscillated from extremes. Slideshows tune with what works visually. I kept the strong and balanced on the eye so were left as were applied, fonts pillaged and colours default that selects images at random to show they were. In addition to the gallery button liberally splashed around. One behemoth on the non-optional home page and the default I kept the useful links and contact section. moment saw a blog, calendar, guestbook and text caption colour but changed the rollover Going live is done at the click of a button. various sub-galleries all applied. Caught in the highlight to white. The random home page Between two and five minutes later it was done moment I contemplated going Super Pro. image was aligned top right, the text to the top and I began to mail out the link to clients and You can upgrade your subscription at any time; left. The system provided the necessary tools post it on social networking sites. 100 TURNING PRO
- 101. ADVERTORIAL Already having aGoogle Analytics account facility in the battle for a photographer to I was able to add my Clikpic domain and regain control of fees for sales without them began receiving web traffic statistics within being shaved off by second and third parties. 24 hours. The results it showed were The website www.peterdenchportraits.com extremely encouraging. is now a strong and useful tool for the You can work on your website while it’s live. business and the brand. A Clikpic website Selling online I think in time will appeal. can be developed as your main site. It can Within the Clikpic system you can set up your be as detailed as you want it to be. If you site to have a shopping basket facility that have an idea of how you want to customise links directly into a payment provider your site, chances are there is a way of doing (currently PayPal and Google Checkout so. The user guide isn’t overwhelming and Using Clikpic’s admin system and supported). You can use the shopping cart doesn’t have to be read from cover to cover. a choice of stylish template whether or not you have integrated an The answers can be extracted painlessly designs, you can create and edit external system into your site. The order by dipping in and out. If you do get stuck your own website quickly, easily details will either be sent to the payment there’s an email support team who respond and very cost-effectively. system for the visitor to make a payment or swiftly and clearly. This sometime working Visit www.clikpic.com for else they are saved in your admin system for pro is pleased. Now I’m off to build a shed. a free 14-day trial. you to process as you wish. It’s a welcome Well maybe.
- 102. ADVERTORIAL No doom andgloom as The Societies 2011 Convention sparkles I f you listen to the news then one might demonstrate various posing, directing and safely assume that the economy is shooting techniques. about to close down, or if you listen to the Doug Gordon also led a trip entitled weather reports you may have been safe ‘Change The Way You Think and You Will in the belief that January was going to be Change Your World Forever’, visiting some of a whiteout. London’s most iconic landmarks. Saturday evening saw more than 200 However, neither was evident due to the By Thursday attendance had swelled even trade representatives gather for the buoyant mood of attendees at this year’s further with the well-liked Members’ Training prestigious 2010 Photographic Trade Awards, Societies Photographic Convention in Day, which gave an exclusive unrivalled nine as voted by consumers. Among the winners, Hammersmith, London. It proved that things hours of top-class education to members for Best Professional DSLR went to the Canon might not be as bad as they sound. just £40. EOS 5D MkII, Best Professional Lab went Around 14,000 eager photographers Renowned lecturer Damian McGillicuddy to ProAm Imaging, Best Professional descended on the Novotel London West for headed another subterranean team. Photographic Service went to Loxley Colour the eight-day feast of photographic education Damian, often referred to as the lighting and Professional Product of the Year to and comprehensive three-day trade show. wizard, dazzled the group with his wealth of editing software package Portrait Professional The convention started on the Monday with knowledge as he guided them through v9. Other companies celebrating success hit US photographer Doug Gordon presenting the mechanics of a full-on fashion shoot. included Nikon, PhotoTraining 4U, Elinchrom, a dynamic full-day seminar on all aspects American legend Joe Photo visited some of PocketWizard, Epson and Fotospeed. of wedding photography. Doug, a popular London’s most historic locations using them At the end of a hectic week, the highlight speaker who has lectured at numerous as fashionable backgrounds to shoot a bride was Sunday evening’s glittering awards conventions, wowed his audience with his on location at London Bridge, Tower Bridge, dinner. Guest presenter, TV personality energetic approach, which went straight to and the Tower of London. Philippa Forrester, was joined on stage by the core. In the meantime the convention team convention organiser Juliet Jones Tuesday saw the start of the ever-popular welcomed the 250-plus trade exhibitors to announce the winners of the Societies SWPP Business School programme, which as they arrived to set up for the three big competitions. In total an unprecedented 50 focused on all aspects of the tricky task show days ahead. By the evening it was green trophies were awarded. Six Master awards of running a successful photo business. for go as everyone was in and settled. were also presented to George Dawber, Steve Headed by Catherine Connor, lectures were Friday morning saw hundreds of early-bird Allen, Michael Ayers, Kevin Casha and Trevor also given by such leading lights in the Masterclass attendees arrive for the 8 o’clock and Faye Yerbury. Four hundred guests industry as John Denton, André Amyot, start of an intensive three-day programme, attended the glitzy occasion, which was also Andrea Barrett, Michael Turner, Joe comprising more than 300 hours of prime broadcast live on the web and watched by Cogliandro and Andrew Collier, all of whom education. The classes touched on a broad more than 200 viewers. are successful entrepreneurs within the range of topics, from wedding to sport and For those still standing the convention industry. Doug Gordon also ran a successful portraiture to landscapes, and just about rounded up on Monday with a full-day ‘Fashion Meets Wedding’ seminar for those anything in-between. An amazing total of seminar by celebrated US master Gary Fong, who wished to focus on the taking end. 203 classes in three solid days saw many the father of ‘storybooking’ — now the As the convention moved swiftly on to photographers blown away by the depth and industry standard in wedding photography Wednesday’s programme the successful breadth of the educational content. — and the inventor of the Lightsphere, Business School continued with Mark Trade show attendees thronged the Origami and Puffer diffusers. Cleghorn teaching how to ‘Sell, Sell, Sell’. aisles every day, at some points making The convention also included two hectic Other classes were given by Jane Breakell, it a challenge to get round. All exhibitors days of judging with an unsurpassed level of Xander Casey, Charlie Kaufman, Stewart were delighted by the response, some submissions for qualifications for all levels of Randall, Glenn Hoy and Christopher Becker. ‘complaining’ that they had run out of order distinctions. While the Business School was in pads by Friday afternoon and were having Now as the convention team rest their progress, three superb off-site photographic to send out for supplies to keep them going weary legs it’s time to start planning for excursions took off. The ever-popular over the weekend! A popular stand was that 2012, when we can do it all over again. Look Big Red Bus Tour was conducted by top of Canon, who had brought along their latest forward to seeing you all there. American lecturer David Beckstead with gear and a full complement of staff who enthusiastic photographers keen to learn were kept constantly busy. Canon were Phil Jones, CEO, SWPP the secrets of his success. not alone, however, with all stands being John Denton led a group deep underground mobbed by eager customers keen to see the For more information on SWPP and the 2012 visiting disused Aldwych tube station to latest offerings. event please visit www.swpp.co.uk 102 www.professionalphotographer.co.uk
- 103. stop press... We’re alwayskeeping our eyes open and our ears to the ground to make sure we bring you the latest news, LATELY WE’VE BEEN industry rumours and kit from around the world... HEARING... G The internet is awash with geeky excitement at a concept Photoshop app NIKON D5100 AND ME-1 ALL IN THE for the iPad that was demoed at Adobe’s STEREO MICROPHONE FRAME Photoshop World Conference. Nikon has added a new DSLR to its Tokina’s AT-X 16-28mm f/2.8 Although you can already get Adobe’s range, the D5100, capable PRO FX is the first in a new generation of full Photoshop Express app for the iPad, of shooting full (1,080p) frame (FX) lenses. It includes a super-wide-angle it simply does not compare with what HD video. To complete view and a newly developed silent DC motor that was shown in the video. A release date the video package, it allows the lens to focus more quickly and quietly. has yet to be announced… has also released its first With a new GMR magnetic AF sensor, this lens G We’re always saying that being a pro external stereo provides an increased AF speed and has three SD photographer requires skills in microphone, the ME-1. super-low dispersion glass elements throughout a number of disciplines but, um, we didn’t With a 16MP sensor, the its optical design. It also features Tokina’s realise jewellery design was one of camera is the successor to the D5000 and exclusive one-touch focus clutch mechanism, them. Check out the lens bracelets we features an improved vari-angle LCD allowing you to switch between AF and MF spotted on the internet... screen. Allowing you to shoot video at up to simply by moving the focus ring. It is available http://store.adamelmakias.com 30 frames per second, the D5100 has for either Canon or Nikon fit. RRP: £1,072. G Photographer Cary in-camera editing functions and can be www.kenro.co.uk Norton has built a 4 x 5 connected to an HD television. RRP for the camera out of LEGO. UPDATE FOR LEICA X1 CARY NORTON D5100 is £669.99 (body only) or £779.99 Yes, LEGO. He has (body and 18-55mm lens). The ME-1’s RRP even shot some is £119.99. For full details of both camera Leica has announced portraits with it... and microphone see www.nikon.co.uk a firmware update http://carynorton.com/legotron-mark-i for its X1 camera. G Doctor Who star Karen Gillan is to play The firmware brings 1960s model Jean Shrimpton in a BBC 4 MANFROTTO many improvements to manual focusing film with the working title of We’ll LAUNCHES THE as well as better autofocus speed in low Take Manhattan about Shrimpton’s love 057 SERIES light and with low-contrast subjects. affair with photographer David Bailey… Users who wish to update their camera or G We loved Anton Corbijn’s A new range of carbon fibre see a detailed description of the firmware portrait of Sean Penn for supports has been added to can do so at www.leica-camera.co.uk the New York Times Style the Manfrotto tripod Magazine’s travel issue... G A row has erupted in the AQUATECH SOUND BLIMPS collection. The 057 series features a versatile and US concerning a poster for ergonomic design to meet the US underwater housing manufacturer a law firm that specialises in 9/11 legal demands of the professional AquaTech has released cases. The controversy centres on photographer. The tripods a new line of a stock image of a firefighter set against come in four configurations, so the photographer sound-reducing cases the words ‘I was there’. Robert Keiley, is free to combine two different leg extensions for professional DSLRs. a Brooklyn firefighter and part-time with two different types of column, giving rapid Cameras are held in place actor, who only joined the fire service in adjustment and control, and allowing the camera inside the case by custom-cut, 2004, posed for the picture last year to be repositioned quickly. This flexibility is sound-dampening foam, which the maker but says he did not know how the image the result of testing and troubleshooting by a team claims cuts noise by 98%. However, they would be used… of working photographers. Light and portable, are not waterproof. There are six models the 057 series has a magnesium casting available to fit both Canon and Nikon (£610). A variety of lenses may be used with construction and 100% carbon fibre legs. cameras. All feature a tripod mount, a single AquaTech’s range of interchangeable RRP: £549.99-£649.95. quick-release clip with safety latch and front lens port systems, which can be bought www.manfrotto.co.uk a two-stage shutter release. US RRP is $995 separately. www.aquatech.net www.professionalphotographer.co.uk 103
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TEL 0113 2454256 email dalephotographic@btconnect.com (Prices subject to change) USED EQUIPMENT MORE LISTED ON OUR WEB SITE LIGHT METERS UK STOCK Canon UK Stock NIKON Professional Dealer Nikon D300 body £650 Gossen Sixtomat Digital £ 188 UK STOCK- FROM CANON UK ALL UK STOCK FROM - NIKON UK Nikon MB-D10 Grip £149 PRICES INCLUDE VAT Gossen Digi Pro F £ 152 Hasselblad H4D -50 Body £13995 7D Body £ 1189 D300S Body £ 999 Hasselblad H4D - 40 Body £9995 Nikon MB-D200 Grip £75 H4D - 31 + 80mm HC lens KIT Gossen Starlite 2 £ 458 7D + 18 - 135mm IS £ 1479 Nikon D60 + 18-55 VR £329 Sekonic L 308S £148 D300S + MB-D10 Grip £ 1195 Hasselblad HM 16/32 Film back £ 395 special offer £ 9499 7D + 15 - 85 IS £ 1672 D300S + 17-55 f2.8 D £ 2099 Hasselblad 28mm HCD Lens £2295 Nikon D80 body £250 Sekonic L358 £ 209 5D MKII Body £ 1699 Nikon D3X body £4399 H4D - 31 + CF Adapter £ 9499 Sekonic L 758D £ 392 D300S + 10 - 24mm DX £ 1579 Hasselblad 50mm HC Lens £1995 5D MKII Body + 24-105L IS £ 2344 D300S + 18-200 VRII £ 1529 Hasselbad 35-90mm HCD Lens £3495 Fuji S5 Pro body £395 H4D - 40 + 80mm £13933 Sekonic L758 DR £ 432 5D MKII Body + 24-70 f2.8L £ 2575 D300S + 16-85mm VR £ 1459 Hasselblad 150mm HC Lens £1795 Nikon F3HP Body £395 H4D- 40 + 35-90mm kit £17730 Sekonic C 500 £ 799 5D MKII + 16-35 f2.8L MK2 £ 2719 Nikon F3/T HP body £395 D700 Body £ 1899 Hasselblad 150mm CF Lens £450 H4D - 40 Body set £12877 60D Body £ 839 Nikon F5 body £449 H4D - 50 Body set £19536 POCKETWIZARD 60D + 17/85 IS Lens £1079 D700 + 24 - 70mm f2.8 AFS £ 3100 Hasselblad 210mm HC Lens £1895 Nikkor 17 - 55mm f2.8G AFS £675 Mini TT1 CE NIKON IN STOCK £199 D700 + 14 - 24mm f2.8 AFS £ 3199 Hasselblad 300mm HC Lens £1995 H4D- 50 + 35 - 90mm kit £24388 FLEX TT5 CE NIKON IN STOCK £216 2 Free sensor cleans worth D700 + 24-120mm f4 VR £ 2749 Hasselblad H 1.7X Converter £695 Nikkor AFS 24- 85mm £250 BUNDLE 1 x Mini 2 x Flex NIKON £529 Hasselblad GIL £399 Nikkor 14mm f2.8 ED AFD £695 NEW H4D- 60 Body KIT £27984 Mini TT1 CE Canon IN STOCK £197 £90 when you buy a Canon D700 + 28-300mm AFS VR £ 2599 FLEX TT5 CE Canon IN STOCK £216 D3S Body £ 3599 Hasselblad 160mm CB Lens £595 Nikkor 18 - 35mm AFD £295 “Contact us to arrange a Demo” 5D II, 1DS MkIII or 1D Mk4 Hasselblad A12 - Latest type £295 Sigma EX 50mm f2.8 Macro Nikon £169 BUNDLE 1 x Mini 2 x Flex Canon £520 EOS 1 D Mk4 £ 3679 D 3S + 24 - 70mm f2.8 AFS Lens £ 4849 CFV - 39 £ 9709 PLUS II TWIN Pack £249 D 3S + 14 - 24mm f2.8 AFS Lens £ 4899 Proshade 6093T + 060 adapter £150 Sigma 18 - 50mm f2.8 DC - Nikon £229 EOS 1 DS Mk III £ 5399 Bronica RF645 + 65mm Lens £595 Nikkor AFS 24-120mm f3.5-5.6G VR £325 New CFV - 50 £11336 1 Free sensor cleans worth D 3S + 70 - 200mm f2.8 VRII £ 5248 SIGMA D3X Body £ 5199 Bronica 40mm PE Lens £295 Nikkor 300mm f2.8 ED AIS £595 HC LENSES 8 - 16mm f4 - 5.6 DC £ 529 £45 when you buy a Canon D 3X + 24-70mm f2.8 AFS Lens £ 6199 Bronica 40mm E Lens £195 Nikkor AFS 24-120mm f3.5-5.6 VR £325 28mm Lens HCD £ 3126 10 - 20 mm f 4 / 5.6 EX DC. £ 410 7D / 550D /600D/60D camera D 3X + 14-24mm f2.8 AFS Lens £ 6299 Bronica 50mm PE Lens ETRS / i £ 250 Zeiss 18mm f3.5 ZF.2 Nikon £895 10 - 20mm f3.5 EX DC HSM £ 479 2 600D +18 -55 IS £ 729 Bronica 150mm E lens £ 125 Zeiss 85mm f1.4 ZF.2 Nikon £825 35 mm Lens HC £ 2662 D 3X + 70-200mm f2.8 VRII Lens £ 6649 35 - 90 HCD £ 4962 12 - 24 mm f 4.5 / 5.6 EX DG£ 642 600D Body £ 639 D7000 + 18-105 VR II £ 1049 Bronica 150mm MC Lens £125 Zeiss 100mm Makro f2 ZF.2 Nikon £1215 50 - 110 mm zoom HC £ 3191 10mm f 2.8 EX DC Fisheye £ 487 550D +18 -55 IS £ 659 D7000 £ 899 Bronica 250mm E lens £ 195 Nikon SB600 £175 50 mm MK II Lens HC £ 2910 24 - 70 mm f 2.8 EX DG £ 447 550D Body £ 549 14 - 24mm f2.8G AFS £ 1367 Bronica 50mm f3.5 PS Lens £ 195 Nikon R1C1 Macro Kit £495 80mm Lens HC £ 1711 24 - 70mm f 2.8 EX DG HSM £610 Powershot G12 £ 419 16 - 35 mm f4G AFS VR £ 877 Bronica 65mm PS Lens £ 195 Nikon SB R200 Flash £149 100mm Lens HC £ 2370 85mm f1.4 EX DG HSM £669 16 - 35 f 2.8L MK2 £1199 17 - 35mm f2.8D AFS £1581 Bronica 150mm PS Lens £125 - £195 Canon EOS 1D MKIV body £1495 120mm Macro Lens HC £ 2694 70 - 200mm f2.8 DG OS £979 17 - 40 f 4 L USM £ 609 24mm f1.4G AFS £1735 Bronica 250mm PS Lens £ 195 Canon EOS 60D Body £675 120mm Macro MK II HC £ 3310 120 - 400mm Apo DG OS £689 17 - 55 f 2.8 EFS £ 829 24 - 70 f2.8G AFS £ 1282 Bronica S-36 Tube £ 75 Canon BG-E4 Grip £99 150 mm Lens HCN Lens £ 2478 150 - 500mm Apo OS £ 795 10 - 22 EFS USM £ 633 New 24 - 120mm f4G AFS VR £899 Bronica E-42 Tube £ 125 Sigma EX DC 17-50mm f2.8 OS £395 210 mm Lens HC £ 2586 50 - 500mm Apo OS £1197 17 - 85 EFS IS USM £ 385 10 - 24mm f3.5/4.5 DX £ 683 Mamiya 645 AF 55-110mm New £ 695 Canon EF 24-85 f3.5-4.5 USM £139 300mm Lens HC £ 3083 TOKINA 18 - 200mm EFS IS USM £ 429 12 - 24mm f4 DX £ 855 Mamiya 645 AF Polaroid Back NEW £95 Canon EF 20 - 35mm f3.5/4.5 £ 250 HTS Tilt + Shift adapter £ 3774 10 -17mm f 3.5/4.5 ATX Pro £ 509 60 mm EFS Macro £ 347 16 -85mm f 3.5/ 5.6 DX VR £ 469 Mamiya 645 110mm f2.8 Lens £ 179 Canon EF 28 - 135mm IS £199 1.7 X Teleconverter £ 1139 11 - 16mm f 2.8 ATX Pro £ 560 24 - 70 f2.8 L USM £987 17 - 55 mm f 2.8 DX £1109 Mamiya 645 210mm f4 Lens £ 105 Canon EF 28 - 200mm f3.5-5.6 £250 GIL - GPS £ 523 16 - 28mm f2.8 ATX Pro DX £ 849 24 - 105mm f 4 L IS £ 899 18 - 200mm DX VR II £ 624 Mamiya 645 210mm f4 Lens £195 Canon EF 70-200mm f2.8L IS USM £995 Battery Grip 7.2V £183 16 - 50mm f2.8 ATXPro £ 621 24 - 105mm f 4L IS White Box £799 NEW 28 - 300mm AFS VR £ 779 Mamiya 645 300mm f5.6 Lens £ 199 Canon EF 70-300mm DO IS USM £695 X1 Scanner £ 9499 100mm Macro f2.8 £ 407 TSE 17mm f4L £1999 PC-E 24mm f3.5 Tilt +Shift £1449 Mamiya 7 - 43mm Lens + finder £995 Sigma 28 - 300mm Macro EOS £149 X5 Scanner £ 15095 TSE 24 mm f 3.5 L II £1749 35mm f1.4 G AFS £1499 Mamiya 7 - 50mm Lens Ex Demo £995 Sekonic L359 £149 BOWENS Lighting 24mmf1.4 L II USM £ 1375 50mm f1.4G AFS £ 307 Mamiya 7 - 150mm Lens £505 SEE OUR WEB SITE FOR LATEST USED ColorMunki Photo £299 500R/500R Kit £887 50mm f1.8 II £101 70 - 300 mm AFS VR £ 449 Mamiya 7 - 150mm Lens + finder £695 LISTINGS X-Rite Eye 1 Display 2 £139 50 mm f 1.4 USM £ 322 70 - 200 mm f 2.8 AFS VR II £ 1689 Mamiya 7 - 210mm Lens + finder £607 500/500 Classic kit £730 50mm f1.2 L USM £1310 80 - 400 mm f 4.5 / 5.6 VR £ 1099 Mamiya 7 - 35mm Panoramic kit £78 BILLINGHAM STOCKIST X-Rite ColorChecker Passport £79 500/500C Pulsar Kit £820 Spyder 3 Pro £107 70 - 200 f 4 L USM £ 539 200 -400mm f4 AFS VR II £ 5199 Mamiya 120 back 645 Super £ 50 550 £475 445 £263 335 £242 225 £233 500R/500R Travel Pak£1326 70- 200mm f4 L IS £ 922 200mm f2 AFS VR II £ 4432 Mamiya RZ 180mm Lens £ 125 555 £297 307 £ 272 207 £255 107 £233 500R/500R/500R Kit £1299 70 - 200 f 2.8 L £ 984 Mamiya RZ Polaroid back NEW £ 125 Leica 500/500 PRO Kit £1075 70 - 200 f2.8 L IS MKII £ 1864 300mm f 2.8 AFS VR II 400mm f2.8 AFS VR £ 4265 £ 6999 RB67 Pro SD + 50 + 90mm lenses £895 Zeiss Lenses - NIKON + CANON M9 STEEL GREY BODY £4899 500/500 PRO Travel £1541 70 - 300mm f 4 / 5.6 IS £ 417 500mm f4 AFS VR £ 6153 RB67 180mm PRO SD Lens NEW £195 18mm f3.5 Distagon - Nikon ZF.2 £ 1098 M9 BLACK BODY £4899 70- 300 f 4 5.6 L IS £ 1199 600mm f4 AFS VR £ 7433 Mamiya RB 67 210mm Sekor £ 150 18mm f3.5 Distagon - Canon ZE £ 1055 500/500/500 PRO Kit £1741 85 mm f 1.8 USM £ 319 60 mmf 2.8 AFS Micro £ 408 Mamiya 6 - 50mm Lens £ 350 M9 demo in stock - take a look 750/750 PRO Kit £1291 21mm f2.8 Distagon - Nikon ZF.2 £ 1395 85mm f 1.2 L II USM £ 1813 85mm f3.5 AFS Micro £ 426 Contax 645 Film back + Insert £ 195 21mm f2.8 Distagon - Canon ZE £ 1395 ALL LENSES 6 BIT 750/750 PRO Travel £1719 100 - 400 f4.5 / 5.6 IS £1243 85mm f1.4G AFS £ 1399 Contax TVS £149 25mm f2.8 Distagon - Nikon ZF £ 780 21mm f2.8 Elmarit asp M £2807 750/750/750 PRO Kit £1994 100 mm f 2.8 Macro £ 417 105mm f 2.8 Micro VR £ 639 Pentax 645 - 200mm f4 £ 295 28mm f2 Distagon - Nikon ZF.2 £1006 24mm f2.8 Elmarit asp M £2573 1000/1000 PRO Kit £1517 100mm f2.8L IS Macro £ 749 SB 700 Speedlight £ 259 Pentax 6x7 300mm f4 £ 249 28mm f2 Distagon - Canon ZE £ 982 35mm f2.5 Summarit M £1153 1000/1000PRO Travel £1999 300 mm f 4 IS USM £ 1195 SB 900 Speedlight £ 342 Rollei 40mm PQ f3.5 super angulon £1495 35mm f2 Distagon - Nikon ZF.2 £ 846 50mm f2.5 Summarit M £883 300mm f 2.8 L II IS £ 5999 SB-R1C1 Macro Flash kit £ 608 Minolta booster II £ 50 35mm f2 Distagon - Canon ZE £ 846 QuadX Studio Set £ 3298 400mm f 5.6 L £ 1149 Nikon TC 14 EII / TC17 £ 323 Leica Tri Elmar 6 bit £3250 50mm f2 Summicron M £1347 QuadX 2400 kit £ 2532 50mm f1.4 Planar - Nikon ZF.2 £ 569 75mm f2.5 Summarit M £1122 400mm f 4 DO IS £ 5344 WE STOCK LEE FILTERS 50mm f1.4 Planar - Canon ZE £ 550 90mm f2.5 Summarit M £1122 Explorer 1500 - 2 Kit £ 2552 400mm f 2.8 L II IS £8899 50mm f2 Makro-Planar Nikon ZF.2 £1006 Fresnel 200 £ 449 500mm f 4 L IS £ 5499 NEW FUJI GF670 Big Stopper £100 In Stock X1 STEEL GREY £1377 50mm f2 Makro-Planar Canon ZE £ 982 Pulsar twin pack £ 233 1.4x EXTENDER III £ 499 medium format, rangefinder 85mm f1.4 Planar - Nikon ZF.2 £ 1006 X1 BLACK £1395 Pulsar Trigger Card £75 2x EXTENDER III £ 499 POLAROID FILM 85mm f1.4 Planar - Canon ZE £ 1000 V-LUX 20 £489 580 EX MKII Speedlight £369 6x6 / 6x7 folding camera, with PX100 Silvershade B+W £18.38 100mm Makro-Planar - Nikon ZF.2 £1415 D - LUX 5 £645 Pocket Wizard card £107 430 EX MK II Speedlight £199 lens hood + case + film £1699 PX600 Silvershade B+W £18.38 100mm Makro-Planar - Canon ZE £1423
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- 114. legend Jeanloup Sieff 1933-2000 “Can it be true that after 41 one merely repeats oneself? I refuse to believe it, but I fear it may be true.” a childhood memory.” He turned this sensibility 1961: New York, where he both realised his into rapturous, sensual black-and-white, fixed potential and that he belonged back in France. forever via that most plastic and textural of film He did a lot of work in England and Scotland, too, stocks, Kodak Tri-X 400 ASA. using his wide-angle lens to create many of the He always stressed the pleasure of taking defining images of London fashion as Biba and photos. If his favourite source of that pleasure was Shrimpton swung it towards the Beatles and in what was behind us, it was also in behinds Twiggy. Landscape, flesh and cloth all meld and themselves. No one can ever have been more mesh in these photographs. taken by and taken more pictures of female 1966: Paris. “Living with my Abyssinian cats, bottoms. (In French, derrières.) Not arses, note. working for French Vogue, still wandering around Or bums. “It is the bottom that remembers; it with my old Leica.” And that’s kind of how it was faces the past, whereas we advance inexorably for the rest of his life. For a while, he was the new into the future,” he wrote. He was, unsurprisingly, kid in town, making pictures which brought a great admirer of the Anglo-German the scent of the world to Paris – a city so often photographer Bill Brandt and the French painter parochialised by its own self-regard. Pierre Bonnard – both great poets of the female It was then and there he made the work that bottom. “For it is the most protected, the most made him famous beyond the tight world of art secret part of the body, and retains a childish directors – the nudes, luscious yet never innocence long since lost by gaze or hands.” lascivious. You never get the sense he was poking He started taking pictures as a teenager. Why? his lens through the keyhole – as you do in, say, “Because someone gave me a camera,” he always Steichen. Nor, though, is there the dangerous replied, with a characteristic insouciance – which thrill of Newton, let alone Mapplethorpe or French-born photographer may or may not have been genuine but which Goldin. The archetypal – if not the best – Sieff Jeanloup Sieff is best known for certainly became one of his defining stances image of female sexuality is the smart, sweet his iconic nudes, era-defining towards the world, along with an almost Woody picture of his wife Barbara exposing her breasts fashion images and simple style. Allen-ish anxiousness. He was vain, too, always in Death Valley, smiling. dressed à la mode, always working out. Then, somehow, he went from tyro to elder Peter Silverton looks at his Having studied photography formally in Paris statesman – maybe even has-been – seemingly enigmatic personality and career, and Switzerland in the immediate post-war era, without passing through the status between. which spanned five decades. he quickly became a professional. Like other He had a first act and a third but no second. French photographers – Cartier-Bresson and “Can it be true that after 41 one merely repeats Jeanloup Sieff was born in Paris on Bourdin, to take just two obvious examples – he oneself? I refuse to believe it, but I fear it may November 30 1933 to Polish parents. absorbed Man Ray’s surrealism and distilled it be true.” Like many a child of immigrants, he never into the everyday. He never stopped taking pictures, though. really found where his own home was. For someone so focused on the past, he moved He did campaigns for Patek Philippe watches and “My childhood companion was solitude,” he forward at pace. And kept moving... was used, in the early 1990s, to rebrand wrote. “A lost father – the wanderings of wartime. 1954: Elle magazine and fashion shoots. Häagen-Dazs ice cream with his sensuous – and But I came to accept it and the pain it gave me.” 1958: Magnum, the unlikeliest of homes for such smutless – nudes. He spent his life making pictures filled with a sensualist. 1959: Jardin des Modes and a tight He died, aged 66, of cancer, in his beloved longing for a past that he may or may not have working relationship with the magazine’s art Paris on September 20, 2000. “I don’t believe in known. “I have been searching for time past all director, Jacques Moutin who, according to Sieff, God,” he wrote. “But women and trees are proof my life.” His work is, in a sense, a popular was “attempting to do what Alex Brodovitch had of his existence.” PP response to Proust’s Remembrance of Things Past. done in New York.” That is, revolutionise fashion “I remember states of accidental euphoria, certain photography via a small group of new spring mornings, caused by the unexpected photographers – notably Sieff and Frank Horvat, coincidence of a ray of sun, a forgotten scent and who shared a studio for a while. www.jeanloupsieff.com GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 114 www.professionalphotographer.co.uk
- 115. AUSTRALIA Camera CANADAPhoto Life CHINA Chinese Photography FRANCE Réponses Photo GERMANY digit! • Foto Hits Magazin • Inpho Imaging & Business • Photographie • Photo Presse • ProfiFoto GREECE Photographos • Photobusiness HUNGARY Digitális Fotó ITALY Fotografia Reflex • FotoGraphia NETHERLANDS Fotografie F+D • FotoVisie • P/F POLAND Foto SOUTH AFRICA PiX Magazine SPAIN Arte Fotográfico • Diorama • Foto/Ventas • FV/Foto-Vídeo Actualidad • La Fotografía Actual UNITED KINGDOM Digital Photo • Photography Monthly • Practical Photography • Professional Photographer UNITED STATES of AMERICA Shutterbug the independent photo and imaging awards you can trust. If you need expert advice on which are the best photographic, video and The TIPA awards are judged on quality, performance and value, making them the editors of 30 worldwide leading photography and imaging magazines vote to decide which new products are the very best in their respective categories. imaging products, look out for products with the TIPA Awards logo. Every year