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Professional photographer uk 2011-06

  2. 2. welcome june The moment we put an image onto a website we become international. The minute we post on Facebook we are global and the second we tweet on Twitter we reach a worldwide audience. I always speak about Professional Photographer being an international magazine, but this month we decided to bring it all back home. Our Best of British is a celebration of those photographers from these shores that have defined history through their images. Of course, many spanned decades and so we chose to include them within those years in which they first made their photographic mark. You can find out who we chose to include from Page 54. Another great of British photography is Harry Benson, a legendary photographer and proud Scotsman who has taken on and captured the New World across the pond over the last 50 years. You can read about his incredible career in our exclusive interview on Page 80 in Can I Get A Witness? Coming very much back to the present day we speak to two photographers who are experiencing very different fortunes. Miles Ladin had a high-flying career shooting the life and times of the rich and famous in the 1990s, but now finds that his graphic work has gone out of favour. You can find out what he has to say about this in Reality Used to be a Friend of Mine on Page 72. Los Angeles-based Kevin Shahinian, however, has fully embraced film making, bringing Hollywood values and concepts to the world of weddings with great commercial and financial reward. You can read his story in Let Me Tell You a Story on Page 84. This month we are also asking What is Fine ArtEDITOR’S IMAGE: MATT HALSTEAD Photography? and profiling photographer Bela BorsodiTHIS IMAGE: BELA BORSODI and his composite fashion images which are bringing his distinctly cheeky, sexy and often bizarre take to that world. A bit like us really – slightly naughty but well worth taking notice of! Grant Scott, Editor
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  4. 4. NEW PHOTOGRAPHY contents june 8 Portfolio The best of your work posted on to our online portfolio. 53 Exposure Our favourite image from the Sony World Photo Awards and a little insider gossip. NEED TO KNOW 25 Being There PP Editor Grant Scott remembers a shoot with Jarvis Cocker. 30 Dispatches This month Clive is on location around London with a bunch of satin bunnies. 35 The Dench Diary The sometime working pro travels to Jamaica. 44 The World of Convergence Film maker John Campbell’s regular news-packed take on the world of convergence. 47 Pause for Thought PP Editor Grant Scott takes a moment to reflect on the death of Tim Hetherington and the rise in war photojournalism. 51 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 54 The Best of British Our pick of the photographers who have made their international mark. 70 Call it Whatever You Want but 72 Reality Used to be a Friend of Above: Miles Ladin’s image of the grande dame of the Don’t Call it Art! Mine fashion world and American Vogue, Anna Wintour, and singer Alicia Keys. It’s an easy label to use but a difficult concept to New York based party photographer Miles Ladin define. PP Editor Grant Scott has a go. creates images which pull no punches, but the industry is not as keen on his work as they once 84 Let Me Tell You a Story were. We find out why. We speak to Kevin Shahinian about wedding 101 Stop Press... videography as Hollywood blockbusters. The latest essential news, gossip and kit from the 88 Small but Perfectly Formed EXCLUSIVE... pro world. Boutique picture libraries are a breath of fresh air. 80 Can I Get a Witness? We speak to the founder of one, Millennium Images, Legendary Scottish photographer Harry Benson KEEP IN TOUCH to find out more. speaks exclusively to PP about his career, life and recording the history of the 20th century. 28 Podcast 114 Legend Check out our free photographic discussion for the Peter Silverton takes a look at the life and times of masses. Every edition we record a podcast debating the photographic pioneer Roger Fenton. NEWS & REVIEWS the issues affecting professional photographers. 14 Click 42 Subscribe INTERVIEWS WITH... This month’s line-up of the best news, dreams, themes and photographic schemes. Check out our latest subscription offers so that you never miss an issue. This month you can save 33% 64 Material Boy when you subscribe by Direct Debit. 23 DiaryMILES LADIN He’s sexy, funny, talented and successful – we put the spotlight on fashion/still-life photographer Our pick of this month’s most exciting photographic 49 Feedback Bela Borsodi. exhibitions around the UK. Your thoughts, your opinions, your page. 5
  5. 5. Shoot wide open. So sharp it hurts. X Z -1
  6. 6. friends juneHarry Benson Ian Berry Eleanor O’Kane Kevin ShahinianPhotographer Photographer Deputy Editor Film makerHarry Benson is a legend and he This month friend of the magazine Despite her Irish background via There are few photographers whoreturns to the magazine this month and award-winning Magnum north-west London, Eleanor O’Kane can take a genre and make it new,to share his experiences of recording photographer Ian Berry returns to launched herself at the task of exciting and their own, but Kevinsome of the most momentous the East End with the new Fujifilm writing about The Best of British Shahinian is one of those few.moments and people of the 20th FinePix X100 to record the same photographers on page 54 with her We first came across him and hiscentury with Eleanor O’Kane and locations which he famously customary diligence and good Hollywood/Bollywood approach toPP readers. Despite having been photographed for his exhibition This humour. The research and difficult wedding videography at thebased in New York for many years is Whitechapel in 1972. Where that decisions as to who to include did Converge Festival in March andHarry is still very much a proud exhibition was shot on film in black not phase her either. A keen walker instantly knew he had to be in theScotsman, who speaks fondly on and white, for us he has created a and user of social media, Eleanor magazine. You can read what he sayspage 80 of how he got his break portfolio of digital colour images has rapidly become an intrinsic in our interview with him on pageand the importance of his humble which have all of the power of his member of the PP team over the past 84, but to really understand him youbeginnings and training. original work. See page 92. year that she has been with us. need to see his films. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES, 01242 211092 CUSTOMER CARE 01858 438832 DEPUTY EDITOR Eleanor O’Kane SALES EXECUTIVE Amy Pope ORDER HOTLINE 01858 438840 Professional Photographer is published, 01242 216054 VISIT monthly by Archant Specialist. ART EDITOR Rebecca Shaw SALES EXECUTIVE George Blandford EMAIL Archant House, Oriel Road, Cheltenham,, 01242 265895 HEAD OF DIRECT CUSTOMER MARKETING Gloucestershire GL50 1BB MANAGING EDITOR Simon Reynolds CLASSIFIED SALES EXECUTIVE Bianca Dufty Fiona Penton-Voak, 01242 211099 SUBSCRIPTIONS MARKETING EXECUTIVE Twitter: @prophotomag FEATURES ASSISTANT Kelly Weech GROUP COMMUNICATIONS MANAGER Lisa Flint-Elkins Lucy Warren-Meeks, 01242 264783 01242 264751 EDITORIAL ASSISTANT Jessica Lamb MD SPECIALIST MAGAZINES Miller Hogg PUBLISHING PRODUCTION MANAGER CONTRIBUTING EDITORS Kevin Shelcott WHOLESALE AND RETAIL DISTRIBUTION London: Suzanne Hodgart, Geoff Waring, PRODUCTION TEAM LEADER Mikey Godden If you have difficulty obtaining Professional Photographer, Jonathan Worth. New York: Jake Chessum, REPROGRAPHICS MANAGER Neil Puttnam contact Seymour, 86 Newman Street, London W1T 3EX Printed by William Gibbons Phyllis Giarnese, David Eustace With special thanks to Mandy Pellatt TELEPHONE 020 7396 8000 01242 264767 © Archant Specialist. Archant Specialist is part of Archant Ltd. I While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. I Employees of Archant Specialist, and those professionally connected with the competition/ giveaway, for example, employees of the sponsor company, are not eligible to enter. I Unless otherwise stated, competitions/giveaways are only open to UK residents. I Prizes are as described and no alternatives can be offered. ABC certified circulation I The Editor’s decision is final and no correspondence will be entered into. I Archant Specialist may wish to contact you in the future, or pass your details to selected third parties, to introduce new products and services to you. 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  7. 7. PORTFOLIOEach month we share the best of the latest postings from our online portfolio with our magazinereaders, so for your chance to appear in Professional Photographer, go online and startuploading your best images to If you want to see moreof any photographer’s work, go to their online profile to access their website details.JAMES CALLAGHAN, NEAL REED,UK UK SARAH FALUGO, UK8
  12. 12. Create a killer web gallery in a flashYour best photos deserve the best possible showcase Web ho sting fr £2.49 om Your photography, your gallery a mon th A free web gallery will never truly be your gallery. So use the free apps that come with 123-reg web hosting. Create your own, unique photo gallery with up to 20GB of web space and unlimited traffic. Great value hosting from just £2.49 a month. Find out more at:
  13. 13. click Quality street As part of the London Street Photography Festival 2011, the Brixton-based Photofusion gallery has curated an exhibition that brings together five female photographers who shoot on the street. On Street Photography: A Woman’s Perspective features work by an international the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane line-up including Polly Braden. Inspiration comes from the everyday… TIFFANY JONES On Street Photography: A Woman’sFrom the series Perspective at Photofusion, 10 June-Soho Nights. 22 July. www.photofusion.orgDesign for life American beautyA new display at the Victoria & Albert Michael Thompson is one of the world’sMuseum from 4 June will showcase the greatest and most respected beauty,photography of Bedford Lemere & Co, fashion and portrait photographers.a firm that pioneered architectural A former assistant to Irving Penn he isphotography in the late 19th and early 20th renowned for his flawless images andcenturies. Offering a glimpse into lavish late attention to detail. His new book,Victorian interiors, the photographs were Portraits, charts his 20-year careermade from large format negatives and are through images of actors, musicians andtaken from the archives of the V&A, English celebrities. The images featured in theHeritage and the Royal Institute of British book have been curated by photographyArchitects (RIBA). The photographers of critic Vince Aletti, who has contributed toBedford Lemere & Co were known for their publications such as Rolling Stone andsuperior technical ability; the firm’s archive the New Yorker as well as writing ancomprises more than 21,000 glass negatives appraisal of Thompson’s work. There isand approximately 3,000 prints dating from also an afterword from actress Juliannethe 1880s to the 1930s. To accompany the Moore, who has been photographedexhibition, English Heritage is publishing by Thompson. For our exclusive ENGLISH HERITAGEa book, The Photography of Bedford Lemere interview with the photographer, see& Co, which features more than Bedford Lemere & Co’s the April 2011 issue. premises, The Strand,250 photographs from the collection. London, 1907. Michael Thompson Portraits,Recording the New: The Architectural published by Damiani, £45,Photography of Bedford Lemere & Co, V&A/RIBA Architecture Gallery Room 128a at the V&A, ISBN: 978-8862081566.4 June-30 October 2011, London SW7 2RL. www.damianieditore.comAt a grim time for photojournalism, we were delighted to see that the New York Times has released footage on its Facebook page ofphotojournalist João Silva walking after months of painful rehabilitation. The Portuguese photographer lost both his legs below theknees when he stepped on a land mine while on assignment in Afghanistan in October 2010.14
  14. 14. MICHAEL THOMPSON Mischa Barton, New York City, 2004.
  15. 15. CALUMET NEW Fujifilm Finepix X100 Inspired by the beauty and form of classic cameras from the past, the new FinePix X100 combines all the latest technical digital innovations in a beautiful, traditional chassis which oozes class and prestige. Echoing the functional aesthetics of analogue film cameras, the ‘manual’ dials have been carefully positioned to give the photographer easy control over creative shooting. Aperture, shutter speed and exposure compensation can be checked even before the camera is turned on. • 12.3MP APS-C CMOS Sensor & EXR Processor • 720p HD Movie Mode & HDMI port • 23mm Fujinon F2 lens (135 equivalent: 35mm) • Motion Panorama Function for 180° and 120° • New unique Hybrid Viewfinder offering both panoramic images optical and electronic VF systems 331-101X £899.00 Epson Stylus Photo R3000 Profoto Pro 7B Battery Generator Achieve outstanding A3+ prints which offers complete image control Purchase a Pro7b generator and receive a ProB Head inc Disc and wide media compatibility. Reflector Free of charge. Studio Quality Light on the go. With high capacity inks ideal for medium • up to 250 full power flashes from a single battery cassette print runs and a small footprint, this A3+ • asymmetrical or symmetrical power distribution printer makes professional-quality prints • motion-freezing flash durations: 1/1400–1/3000 s accessible. Enjoy a smoother, more • full 7 f-stop range in 1/6 step natural-looking tonal range thanks adjustments FREE ProB HEAD to Epsons UltraChrome K3 Ink. • fast recycling, 0.09–2.8 s & DISC • 100 W modeling lamp REFLECTOR 650-335A WORTH £629.00 999-393S £3319.00 £696 Bowens Gemini 500R Includes Cineroid EVF extra softbox Twin Head Kit & remote control The Cineroid EVF-4L is a professional electronic viewfinder with composite and HDMI inputs. This EVF-4L is specially designed The Gemini 500R monolight boasts a range of new features for Video-DSLR Cameras and finished to the highest quality. designed to offer photographers not only ultimate freedom but unmatched power, durability and control too. This • peaking, zebra - pixel to • underscan pixel mapping – flip-up and limited kit offer contains two 500R heads and Gemini • monochrome, image removable loupe Remote Control, bundled together with an flip, auto signal • composite input 80cm x 60cm and 100cm x 100cm detection of the HDMI • HDMI input soft-box, stands and kit bag. input (480p,720p,1080i) • HDMI loop through 500R Kit BW4812UK £969.00 999-776C £599.00 999-776D Articulated Arm £59.99 Calumet 8000 Series Calumet 7” HDMI Tripods LCD Monitor Its 8x technology features eight layers of carbon fiber designed An extremely lightweight and portable to provide maximum strength and stability while keeping the monitor that allows you to enjoy tripods weight to a minimum. broadcast-quality viewing in both color Calumet 8121 4-section Tripod + Ball Head and black-and-white. It can be attached CK8121 £199.99 NEW LOWER directly to your DSLR or camcorder, or be used as a remote viewing monitor when Calumet 8132 3-section Tripod PRICE the situation warrants. CK8132 £149.00 DF0200 £349.99All prices include Vat at 20%. Prices correct at time of going to press. E&OE.Call: 08706 03 03 03Click: stores nationwide
  16. 16. The outsider The Tate Modern has added a collection of works by Diane Arbus to its Artist Rooms collection. Until the end of March 2012 you can see a collection of works by the influential American photographer who is known for capturing those on the fringes of society with compassion and skill. ARBUS Above: A young Brooklyn family going for a Sunday outing, New York City, 1966. Right: The king and queen of a senior citizens’ dance, New York City, 1970. The 2011 Kraszna-Krausz Book Following the death of Awards have been announced, with South African photographer David award-winning Getty Images Goldblatt jointly winning the best photographer Chris Hondros, a photography book prize for TJ: Johannesburg Photographs fund has been established by his 1948-2010 along with Ivan Vladislavic, fiancée to assist aspiring whose novel Double Negative describes the experience of living in photojournalists covering conflict the South African city. The Best zones. The American photographer Moving Image Book award went to died in Misrata on 20 April in Disappearing Tricks: Silent Film, Houdini, and the New Magic of the an attack by Libyan Government 20th Century by Matthew Solomon, forces that also killed the British while Gerhard Steidl picked up anDAVID GOLDBLATT award for Outstanding Contribution photographer Tim Hetherington. Concession store interior, Crown Mines, May 1967. to Publishing. 17
  17. 17. Left: Paul McCartney, Jamaica, 1971.Here, there and everywhereLinda McCartney: Life in Photographs charts the career of one of the most famous rock and roll wives in history. The book shows McCartney as a versatileand prolific photographer who was equally able to shoot music portraits and tender family pictures. Born Linda Eastman in New York, she began to establisha music photography career after taking informal images of the Rolling Stones at a promotional event in 1966. The following year she came to London, LINDA McCARTNEYwhere she met and subsequently married Beatle Paul McCartney. The book also features images shot in more private moments, casting a gentle light on theMcCartneys’ family life. The book is available in both a limited edition in a clamshell box priced at £650 and in a modestly priced trade edition at £44.99.Linda McCartney: Life in Photographs, published by Taschen, £44.99, ISBN: 978-3-8365-2728-6. Raised in Harlem The new book Harlem: A Century in Images sheds light on a historic district of Manhattan and features the work of 80 photographers, including greats such as Cornell Capa, Bruce Davidson, Gordon Parks and Leonard Freed. The images reflect the changing face of the neighbourhood, which started life as a Dutch village and was annexed to New York City only in 1873. Over the years Harlem has been defined by the economic climate, witnessing waves of immigrants. Its largely black population began arriving in the early 20th century and the area has remained predominantly African-American ever since. The book contains almost 200 images which tell the story of a New York neighbourhood that has been a hotbed for music, literature and social change. GORDON PARKS Black Muslim Harlem: A Century in Images, published by Rizzoli, rally, 1963. £35, ISBN: 978-0-8478-3335-1. www.rizzoliusa.com18
  18. 18. AUSTRALIA Camera CANADA Photo Life CHINA Chinese Photography FRANCE Réponses Photo GERMANY digit! • Foto Hits Magazin • Inpho Imaging & Business • Photographie • Photo Presse • ProfiFoto GREECE Photographos • Photobusiness HUNGARY Digitális Fotó ITALY Fotografia Reflex • FotoGraphia NETHERLANDS Fotografie F+D • FotoVisie • P/F POLAND Foto SOUTH AFRICA PiX Magazine SPAIN Arte Fotográfico • Diorama • Foto/Ventas • FV/Foto-Vídeo Actualidad • La Fotografía Actual UNITED KINGDOM Digital Photo • Photography Monthly • Practical Photography • Professional Photographer UNITED STATES of AMERICA Shutterbugthe independent photo and imaging awards you can trust.If you need expert advice on which are the best photographic, video andThe TIPA awards are judged on quality, performance and value, making themthe editors of 30 worldwide leading photography and imaging magazines voteto decide which new products are the very best in their respective categories.imaging products, look out for products with the TIPA Awards logo. Every year
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  20. 20. If anyone asks:IT’S RESEARCH Lady Milbanke as Penthesilea, Queen of the Amazons.This month we’ve been gettingphotographic inspiration from S Magazine.Bringing fashion, photography and art A life in colour MADAME YEVONDEtogether, it’s a great place to see how Madame Yevonde cut a dash on theother photographers are approaching Mrs Edward British photography scene betweeneditorial shoots. Fashion photography, Mayer as Medusa. the wars and was a pioneer ofit seems, sometimes, doesn’t have to colour photography. Born Yevondeinvolve any clothes at all. Cumbers into a liberal family, became a suffragette as a teenager Out of but after realising she wasn’t cut THE DEUTSCHE BÖRSE Africa out to be a leading light in women’s rights, decided to pursue a career in PHOTOGRAPHY PRIZE 2011 To coincide with the photography. Setting up her own IN NUMBERS exhibition at the studio aged just 21, she began £30,000 Victoria & Albert photographing well-known society Museum, Steidl has figures and her images were soon published Figures appearing in Tatler and The Sketch. & Fictions: In the early 1930s she began to Contemporary experiment with colour. In contrast The amount awarded to Jim Goldberg South African to the general feeling in the for his Open See exhibition about Photography. industry she was greatly taken by the experiences of immigrants, It features more the phenomenon and in 1932 refugees and trafficked populations. than 250 images by some of South Africa’s most staged her first exhibition to feature15 exciting contemporary photographers, showing her colour photographs. The number of years people at home and in their communities. An exhibition at the PM Gallery & the Prize, which is The book’s author is Tamar Garb, professor in the House in west London highlights organised by The history of art at University College London and her most famous work, Goddesses, Photographers’ Gallery, co-curator of the V&A exhibition. Throwing the which presents mythological has been in existence. spotlight on both established photographers and figures portrayed by 1930s 3 rising stars, the works of South African veterans socialites such as Lady Diana The number of short-listed David Goldblatt and Santu Mofokeng sit with the Mosley. In Role Play, the images photographers who were images of rising stars such as Zanele Muholi. are shown alongside portraits by each awarded £3,000. Figures and Fictions: Contemporary South African contemporary photographer Neeta Photography, published by Steidl & Partners, £40, Madahar, who was inspired by ISBN: 978-3-86930-266-9. Madame Yevonde’s images. Role Play – Madame Yevonde and Neeta Madahar, until 3 July,French photojournalist Agnes Dherbeys has received the Robert Capa Gold Medal award from the PM Gallery & House, PitzhangerOverseas Press Club of America.The prize is presented for the “best published photographic reporting from Manor, Walpole Park, Ealing.abroad requiring exceptional courage and enterprise” and went to Dherbeys for her powerful images for the York Times of violent anti-government demonstrations in Thailand. andhouse 21
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  22. 22. The D-Lite-it We have done the hard work for you this month and chosen our essential three photographic exhibitions on show now or coming up soon. For a full list of exhibitions and events visit The Doors of Perception The Doors. Proud Camden, The Horse Hospital, Stables Market, Chalk Farm Road, London, NW1 8AH 020 7482 3867; 23 June-14 August 2011, admission free Proud Camden presents a photographic portrait of the Doors and their life on and off the stage. The exhibition brings us an exclusive insight into the evolution and final years of the band and their BOBBY KLEIN charismatic front man Jim Morrison. The images by Frank Lisciandro and Bobby Klein create a D-Lite-it Kits candid photo journal taking us through the Doors’ career in the 1960s and 1970s. Lisciandro’s capture the private life of the star. Klein was the band’s from £439 inc vat images have rarely been seen by the public. He met Morrison in 1967 and they became good friends; through this friendship he was able to first official photographer and created early publicity shots in California. Combining work from both photographers makes this show a must for all Doors fans. BXRi 2000 Islington, Peter Marlow: Point of Interest London. The Wapping Project Bankside, 65a Hopton Street, London SE1 9LR 020 7981 9851; Until 2 July 2011, admission free The Wapping Project is displaying a collection of Peter Marlow’s thought-provoking work this summer. The Magnum photographer has developed a body of work over 20 years consisting of thousands of contemporary images and this exhibition displays 27 colourful examples. Marlow’s photographs focus on less obvious subjects and ‘non-places’ that he has encountered. He says: “I go for photography that overlaysPETER MARLOW and enhances. By blending observation and wit with reason, I want my work to generate a sense of the BXRi Kits unexpected, the hidden and the seemingly spontaneous.” from £744 Burke + Norfolk: Photographs from the War in Afghanistan inc vat Tate Modern, Level 2, Park Street, Bankside, London SE1 9TG RANGER RX 020 7887 8888; Until 10 July 2011, admission free Q UADRA British photographer Simon Norfolk and 19th-century Irish photographer John Burke are brought together in an exhibition at Tate Modern. Burke was one of the first people to take photographs of Afghanistan, travelling there Above: Afghan police receive shooting training from US during the second Anglo-Afghan Marines, Camp Leatherneck, war between 1878 and 1880 and Helmand, 2010 . capturing landscapes, cities and the inhabitants. The works prompted Norfolk to create a new series of photographs in SIMON NORFOLK 2010 by finding the same locations or modern equivalents. The images, shown alongside each other, draw comparisons about Britain’s involvement in the region over 150 years. Kabul, 2010. Quadra Kits FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE from £1143 inc vat
  23. 23. We studied at Saint Martins College, that’s where he caught my eye... When PP Editor Grant Scott was commissioned to shoot Jarvis Cocker for The Guardian Weekend magazine he not only broke his golden rule, but also asked the inevitable question: Who was that girl? It is a reasonably well-known fact that Jarvis Cocker studied film at Saint Martins shoot Jarvis (of whom I was a fan) but also to ask Jarvis Cocker photographed in Barnsbury Wood, Islington, in 2001 for the cover of The Guardian College of Art in Covent about the identity of the girl who had ‘a thirst for Weekend magazine. Garden. (Today the knowledge’ and whose eye he had caught. building, a former Because I thought I knew! banana warehouse, Anyway before the opportunity presented was called The Trees. The combination of this is an H&M store). itself I had to concentrate on the main matter in title and Scott Walker’s involvement led me He sang about it in his paean to posh girl hand and shooting Jarvis. Pulp were just about directly to two concepts for the shoot. love gone bad in Common People, for to release We Love Life and the shoot was to The first was directly influenced by the original goodness sake. But a much lesser-known promote the album. (It proved to be the band’s covers to Scott Walker’s albums of the 1960s fact is that I also studied at the prestigious final album, although this was not known at the on which he was photographed in a series of banana warehouse at the same time that time.) To make the shoot even more exciting for atmospheric close-ups. This was how I wanted to Jarvis and ‘that girl’ were there. me, the album had been produced by a hero shoot Jarvis; close with lots of grain in deep,GRANT SCOTT So when the chance came about to photograph of both mine and Jarvis’s, the legendary and muted colours. But it was at this point that I broke Jarvis thanks to The Guardian Weekend magazine reclusive Scott Walker. The first single from the my golden rule: ‘Never decide on the perfect I saw it as the perfect opportunity not only to album, which I got to hear before its release, shot before you start shooting or arrive at 25
  24. 24. the location’. To me and many others, Jarvisis known for his heavy rimmed glasses (just like “The afternoon of the shoot In person he was serious, reflective, friendly and intense. There was no hair, make-up or stylist,Eric Morecambe) and for his floppy fringe (justlike the lead singer of 1980s band A Flock was dry with muted light just just someone from the record company, and I suggested to Jarvis that we went for a walk andof Seagulls). It was these aspects that I knew as I like it and Jarvis turned just see what happened. In those days (this was inhad to be the picture. The Guardian wantedone of the images to be a cover so I roughly up on time wearing glasses, 2001) I was shooting on film with Hasselblads and on a Nikon F. Jarvis liked the look of bothsketched my idea. I would shoot Jarvis from thenose up! fringe and an oversized, and our conversation soon turned to influences, film making, our time at Saint Martins, cameras The second concept was for the location and over-loose knitted jumper... and all sorts of related stuff. As we walked andwas a literal representation of the first singleoff the album. I would shoot in a rural location In short he looked great and talked I snapped away. At one point a black cat walked across his pathand surround Jarvis with trees! Not original,clever or unexpected, but there you go. It was perfect for my Scott Walker and he bent down to stroke it while I continued to shoot images as free-flowing and unplanned aswhat I decided upon. The location concept was homage.” Grant Scott our conversation. We must have spent well over an hour together sitting, walking and snapping. He was intense but at the same time easy to photograph, interested in what I was doing but comfortable enough to let me just go about my business. As the time passed I completely forgot about my cover concept; I knew I had more than enough for the feature and the images had occurred naturally without artifice. We both agreed that the shoot and our conversation were over, shook hands and were in the process of saying our goodbyes when I remembered my ‘nose up’ cover concept. So I grabbed a Hasselblad with a 50mm lens on, took a light reading with the other hand and shot one frame. The shoot was over. Film processed and contact sheets edited, I sent off my chosen frames to The Guardian and a few weeks later over Saturday breakfast I was able to see the fruits of my labour. An extreme, high-grain, muted colour 35mm close-up ran across the first spread of the article, the second spread featured an image of Jarvis stroking the lucky black cat and the cover was the grabbed ‘nose up’ portrait. That cover portrait of Jarvis went straight intoapproved by The Guardian’s photo editor A black cat provides an impromptu moment during my portfolio and received more comments thanand the record label, but I kept the first concept the photo shoot with Pulp frontman Jarvis Cocker. any other image I had taken, or have taken myself. Now I had to find the right trees. I cannot tell you how many times people have said: I put forward the idea of Wimbledon Common towards its upkeep saw me secure the location “Oh, you took that picture!” Sadly, the single andin south-west London and that was refused. I tried which finally met with approval. album were not the success Jarvis and Pulp hadHampstead Heath in north-west London and that The afternoon of the shoot was dry with muted hoped for and they broke up shortly afterwards.was also refused and then I had an idea. Just a light just as I like it and Jarvis turned up on time Oh, and the Greek girl? Well I asked thefew houses along from where I lived at the time wearing glasses, fringe and an oversized, question and gave my suggestion but I didn’t getin Barnsbury, Islington, north London, was a over-loose knitted jumper in what can only be an answer, only a rueful look. PPprivate and always locked garden/wood. A few described as an autumnal tone. In short he lookedcalls later and the promise of a cash donation great and perfect for my Scott Walker homage. GRANT SCOTT GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK26
  25. 25. The spotlightevery photographer should have Hi-tech professional spotlights, perfect for digital photo.Ultra light made of carbon fibre Portraiture Spot to Flood adjustments can be made using the focus knob Special Fresnel lens for photographic use Daylight 5400ºK Fashion No heating Still lifeLupolux SpotDaylight 800Light output compared toincandescent sources: 800 WWattage consumption: 150WDischarge bulb withelectronic power supply Lupolux Spot Daylight 1200 Light output compared to incandescent sources: 1200 W Wattage consumption: 250W HMI discharge bulb with electronic power supply Dimming modelLUPOLUX srl - Photo & TV Lighting Productionvia V. Sassi, 28 - 10097 Collegno (TO) Italytel. +39 011 4037775 - fax +39 011 - Lupolux
  26. 26. podcastON YOURWAVELENGTHEvery month we record a free-to-download podcast in which we discuss, debate and talkaround a subject featured in the magazine. We post them on our website and you can subscribefor free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online.THIS MONTH’S PODCAST April 2011 Issue professional advice could reap rewards and askJune 2011 Issue GETTING YOUR WORK EXHIBITED if current photography students are aware ofTHE BEST OF BRITISH PHOTOGRAPHY The regular PP podcast team discuss the the importance of business skills when choosingPP Editor Grant Scott and deputy editor world of exhibitions. As curator and exhibitor a career as a professional photographer.Eleanor O’Kane are joined by regular columnist respectively, Grant and Peter share theirand photojournalist Peter Dench to discuss experiences and the team discuss the right January 2011 issueour Best of British list which starts on page 54. way to make an exhibition of yourself. ICONS OF PHOTOGRAPHYThe team look at some of the great names of Grant, Eleanor and Peter discuss the importanceBritish photography through the decades, discuss March Issue 2011 of learning from the masters, and debatetheir own personal favourites and ask why THE PERSONAL PROJECT SPECIAL the point at which they believe a photographersome periods have seen a proliferation of great The team grapple with the importance of becomes an icon. They talk about theirBritish photographers. creating personal projects for sustaining and personal favourites and explain why their developing a photographer’s career. Should a choices deserve iconic status.AND THOSE YOU MAY HAVE MISSED… photographer approach the project in theMay 2011 Issue same way as a commission or adopt a different December 2010 IssueCONVERGENCE AND THE FUTURE tack? They look at photographers who PHOTOGRAPHIC COMPETITIONSOF PHOTOGRAPHY have got it right and discuss whether there The regular podcast team discuss the world ofThe team discuss the impact of HD DSLR are too many introspective projects. competitions, the contentious Taylor Wessingfilm making on the world of professional Photographic Portrait Prize and whether there isphotography. With many photographers now February 2011 Issue such a thing as a formula for winning.being asked to shoot video, the team focus THE BUSINESS SPECIALon areas that pose problems for some stills The regular podcast team talk tax, finance and You can subscribe for free and download thephotographers, such as narrative, sound and the marketing. They ponder whether possessing podcasts from iTunes by typing professionalediting process. We also look at how stills business and photography skills go hand in photographer into the search tab or listen viaphotographers are reacting to this new world. hand, discuss potential areas where seeking PP28
  27. 27. dispatches Clive Booth tales from the frontline of professional photography “And now for something completely location manager, two unit drivers, two runners, different!” Not Monty Python but something myself and my assistant Roger Richards. equally British and eccentric, my agent Having never shot bunnies before (at least not Mark George. He was on the phone with a camera) I’d deliberately kept the equipment attempting to explain a project for the as manageable as possible: one Canon EOS-1D global fashion brand H&M. “You have two MkIII and an EOS-1D MkIV complete with 14mm days to photograph more than 100 black f/2.8, 24mm f/1.4, 35mm f/1.4, 50mm f/1.2, 85mm satin bunnies with fluffy white tails in a total f/1.2, 135mm f/2L USM and, unusually for me, a of 18 famous landmarks in and around 70-200mm f/2.8 L series telephoto zoom. central London.” I was all ears. One of the joys Thursday 21 October: the light was great; hazy of our profession is not knowing what’s next; sun, not too bright and quite diffused. I couldn’tThis month: the unpredictability, unexpected, the absence of routine, the ever-present feeling of not knowing what’s just around the next corner – and neither of have wished for better. With all this collective experience I chose to jump in and just react to the locations and make very quick choices as to whereA commission to shoot us could have predicted what was around this one. the light would be most interesting while still giving Hennes & Mauritz (H&M) is a Swedish the environmental and architectural clues requiredscores of black satin retail clothing company, known for its to help identify the locations. Trusting this job tobunnies in 18 different fast-fashion clothing for men, women, teenagers and children. Established in 1947, H&M has instinct I was drawing on my years as a graphic designer/art director first and photographer second.London locations grown into a multi-billion dollar global fashion brand with more than 2,000 stores in 38 markets It took exactly 20 minutes to shoot the first two bunnies at the London Eye, hand in hand as therequires teamwork on four continents, and in excess of 80,000 employees. The bunnies’ role was to create early morning sun warmed Europe’s tallest Ferris wheel and symbol of modern Britain.and collective experience, awareness of the launch of H&M’s new London Home store in Oxford Street. The brief was With the first bunnies in the bag (so to speak) we moved onto the Royal Festival Hall. Not myas Clive discovers. simple: photograph them at various London favourite location but there wasn’t time to spend landmarks using unusual angles, depth of field contemplating the finer points of this 1951 and abstraction to give hints as to their location. Grade I listed modernist structure, juxtaposed These pictures were to be published in the fashion with black satin post-modernist bunnies with fluffy press and posted on the H&M Facebook page for white tails. Waterloo Bridge opened up the shoot to members of the public to try and figure out their slightly quirkier and, in some ways, more sinister whereabouts, then rush to find a bunny, complete bunnies; a row all in shadow seen from the with silk bow and £20 H&M Home voucher. ascending stairway under the gaze of a security Our initial reaction was concern as to the camera. Then tragedy struck as first one bunny, sheer number of locations and tightness of time then another, jumped from the bridge. Whether they involved in which to deliver quality pictures. actually jumped or simply hopped off is still open to These concerns were very quickly dispelled by speculation, but I like to think that there’s now a Anna Whiting of Gainsbury & Whiting. Anna and thriving community of black satin bunnies out there Sam Gainsbury represent Ruth Hogben, Nick somewhere in the London boroughs – or should Knight, Steven Klein and Sam Taylor-Wood, that be the London ‘burrows’? whose creative production portfolio includes, The South Bank and the Tate Modern offered among others, Alexander McQueen, Louis opportunities for impromptu bunnies relaxing in Vuitton, Kate Moss for Top Shop, Emporio pairs on the Millennium Bridge and soaking up Armani and Lancôme. The call sheet reads like a the sun, then lining up for group shots in front of Who’s Who of British fashion, film and drama, St Paul’s Cathedral. Two sat outside the Tate including Sam Gainsbury, Emmy award-winning and queued to see the Gauguin: Maker of Myth and Bafta nominated production designer Joseph exhibition. It’s possible that they may have Bennett and location manager Richard Blackburn mistaken this display of work for that of CLIVE BOOTH (Death at a Funeral and The Comic Strip Gauguin’s friend Vincent van Gogh, and were Presents among others). Our team numbered 13 eager to see his notable work Field with TwoAbove: A lone bunny quietly contemplates life. in total – four production, two art department, one Rabbits – presumably members of the30
  28. 28. “One of the joys of our profession is not knowing what’s next;the unpredictability, unexpected, the absence of routine, the ever-present feeling of not knowing what’s just around the next corner.” Clive Booth Above: Two bunnies sit hand in hand, watching the sun rise over the London Eye. Left: A group of two-foot tourists form a line-up at Marble Arch. “It took exactly 20 minutes to shoot the first two bunnies at the London Eye, hand in hand as the early morning sun warmed Europe’s tallest Ferris wheel and symbol of modern Britain.” Clive Booth 31
  29. 29. dispatchesTop: Shadowy figures enjoy a high-rise view of St Paul’sdome. Above: The bunnies stop at the South Bank totake in the sights at Battersea Power Station.contemporary art, thought and discussioncommunity ArtRabbit (dot com). They must havebeen Tate Modern regulars as no one batted aneyelid at their presence in the queue. Still on foot we headed to HMS Belfast, butas guns and bunnies don’t mix we didn’t linger,but kept going until we reached the southembankment walk leading to Tower Bridge.Here we met our first major obstacle in the formof a dark suit, horn-rimmed glasses and a securitypass. I have met many such obstacles whileshooting in London but thanks to Gainsbury andWhiting, this time we had an antidote in theform of location manager Richard Blackburn.Richard’s encyclopaedic brain contains knowledgeof all the places where a photographer or filmmaker can and can’t shoot in and around the Our path now clear we moved onto capture Cards full, we headed to the production andcapital – and quite possibly the rest of the world. probably one of the most spectacular moments of art department vehicle. This long wheelbase For every question he had an answer. He was like the two days as more than 50 bunnies took to the air Mercedes, complete with wardrobe room, privacythe location finder’s equivalent of a TomTom, fully – not towards the Thames this time but skyward, glass, lots of comfortable seats, a table and aloaded with HD Traffic, local Google search and with the aid of the entire crew and the 10 frames per mystical Wi-Fi connection, was like some kind ofspeed camera alerts. The minutiae of Richard’s second motor drive of the Canon EOS-1D MkIV . Harry Potter-style office that was always aroundknowledge was astounding – “You can shoot on that Shooting bursts of nearly 30 frames at a time I the next corner, or wherever you were wheneverblade of grass over there but not this paving slab recorded the black, white and sky blue display as you needed it. With the laptop ever on and CLIVE BOOTHhere.” A fairy godmother in a fleece with only a the bunnies reached incredible heights; all the time Aperture ready to gobble up the cards, I couldMoleskine to defend himself, he was our David to making sure that recognisable landmarks were still edit and perform simple post-production with thethe Goliath of this suited institutional impediment. in frame. help of the Wacom Intuos4 tablet and pen and32
  30. 30. “As I shot with an 85mm lens at f/1.2 with an angle finder at foot level, the commuters and bunnies seem to merge into each other with the barely recognisable form of Big Ben in the distance.” Clive Booth Above: Only the abstracted neon signs offer a clue as to the whereabouts of these three weary bunnies. Left: The long-eared sightseers get in amongst it outside the National Gallery. Square while commuters walked among them. As I shot with an 85mm lens at f/1.2 with an angle finder at foot level, the commuters and bunnies seemed to merge into each other with the barely recognisable form of Big Ben in the distance. If day one had seen the bunnies adopt certain human characteristics, day two witnessed their complete transformation, as Joseph Bennet – a modern-day Geppetto – and his assistant Sam Wise breathed not only life but personality into the long-eared, satin-clad, furry-tailed home gifts. They had become bookworms at the British Museum, canoodled in Covent Garden, taken taxis to Notting Hill, perused the Portobello Road and chatted on the Chelsea Embankment.upload my images, via the Apple MobileMe Doctor Who episode, The Order of the Back on the magic bus I uploaded the finalGallery, straight back to Gainsbury and Whiting Lagomorpha maybe? gallery and we pored over the laptop smiling at– and in turn to H&M. Day one finished at Piccadilly Circus, where the results from our fun-filled bunny bonanza. PP Back on the street, and after hordes of our three weary bunnies were photographed sitting onlong-eared visitors had been photographed the steps of the Shaftesbury memorial fountain – To see more bunnies visitmaking a silent vigil outside the Love and Vogue in close-up, with only the abstracted bright offices – and following a pleasant colours of the neon signs in the background tointerlude with a bemused drunk in Soho Square give the necessary clue as to their location.– we headed to Hyde Park Corner. Twenty-five After 12 coffees and 50 carrot juices, day two GO ONLINE FOR MORE DISPATCHEStwo-foot tourists lined up to watch the sun set on started outside the National Gallery where tens of FROM CLIVE BOOTHMarble Arch, looking like a still from some future bunnies sat and patiently watched over Trafalgar 33