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Professional photographer uk 2011-07


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Professional photographer uk 2011-07

  2. 2. welcome july Ask any pro photographer what they hope to achieve with their careers and, apart from the obvious fast cars, fast girls (or boys, of course) and vast wealth, the two achievements that say to your peers you have really made it are having a monograph of your work published and having your images exhibited. This month we take a long, hard look at the world of publishing, both online and in traditional format. What’s the Jackanory? is the hugely popular blog that has made photographer Andrew Hetherington a web star. You can find out how on Page 57 in So You Wanna Be a Rock & Blog Star. Despite the rapid growth of online platforms there are still people out there perfecting the traditional crafts to create items of beauty and quality. One company following this path are 21st Editions; you can find out more about them and the books they produce on Page 66 in Old School Rules. Bookbinders of the world, we salute you! There is nothing a photographer likes more than owning photography books but have you ever considered them to be an investment? Peter Silverton was shocked at some of the prices being asked for certain tomes and wanted to find out why. Check out his findings on Page 60 in How Much is Your Bookshelf Worth? Robert Wyatt is yet to have a book of his work published but his latest project based on the naked form of real women is bound to get noticed.THIS IMAGE: KIMBERLEY LANGSTONE You can see his work and hear about his inspirations on Page 48 in KeepingEDITOR’S IMAGE: MATT HALSTEAD it Real. Which just leaves me enough space to recommend you read about two of our regular columnists, Dench and Booth, going head to head to cover the Royal Wedding on Page 80 in Pete and Clive Live. Two different ways of approaching the same subject; that’s what we like here at PP, an open church where everyone gets a say. Until next month. Grant Scott, Editor
  3. 3. NEW PHOTOGRAPHY contents july 8 Portfolio The best of your work posted on to our online portfolio. 47 Exposure An image that caught our eye by one of this summer’s crop of photography graduates. NEED TO KNOW 24 Being There PP Editor Grant Scott recalls a career-defining shoot in Turin at the secret home of the enigmatic and eccentric Carlo Mollino. 28 Dispatches This month Clive Booth does a shoot with butcher to the stars and food hero Jack O’Shea. 32 The Dench Diary In his regular column, our award-winning and sometime pro Peter Dench shares his experiences of beauty contests and the LA porn industry. 38 The World of Convergence Film maker John Campbell’s regular news-packed take on the world of convergence. 40 Frontline We ask Choi Liu, art buyer at M&C Saatchi, about her approach to commissioning photography and how she keeps abreast of new work. 45 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all. 60 How Much is your Bookshelf Above: This image of French film siren Brigitte Bardot by Cornel Lucas is on display this summer at a show honouring the British film photographer. See the Click section, starting on page 14, for more details. Worth? Peter Silverton examines the market for collecting photography books and discovers what makes for a good investment. INTERVIEWS WITH... 23 Diary Our pick of this month’s most exciting photographic 66 Old School Rules 48 Keeping it Real exhibitions around the UK and beyond. 21st Editions is a fine art book publisher that firmly We talk to Robert Wyatt, one of Britain’s leading values traditional craftsmanship and quality. fashion photographers, about his work and the 95 Stop Press... Julia Molony talks to its founders about why they creative collaboration with his wife. The latest essential news, gossip and kit from the produce such unique photography books. pro world. 57 So You Wanna Be a Rock 70 The Man Who Knew How & Blog Star In a Being There special, PP Editor Grant Scott pays tribute to photographer John Hedgecoe, who New York based photographer Andrew Hetherington tells us how his blog has become essential reading. KEEP IN TOUCH guided generations with his bestselling books. 26 Podcast 74 Bringing it All Back Home Check out our free photographic discussion for the 80 Pete & Clive Live Alison Baskerville explains what it’s like to work in masses. Every edition we record a podcast debating When it came to the wedding of the year, PP the Ministry of Defence Combat Camera Team. the issues affecting professional photographers. regulars Peter Dench and Clive Booth sprang into action on behalf of editorial clients. Here they share 36 Subscribe their experiences of shooting the Royal Wedding. NEWS & REVIEWS Check out our latest subscription offers so that you never miss an issue.CORNEL LUCAS 106 Legend 14 Click Peter Silverton dips into the career of American This month’s line-up of the best news, dreams, 43 Feedback photographer Larry Sultan. themes and photographic schemes. Your thoughts, your opinions, your page. 5
  4. 4. friends julyRobert Wyatt Andrew Hetherington Alison Baskerville Jake ChessumPhotographer Photographer Photographer PhotographerAs one of Britain’s leading fashion Editorial photographer Andrew Alison joined the RAF Police at the Croydon-born Jake Chessum startedphotographers, Robert is used to Hetherington was born in Ireland age of 21 and served in Northern his photographic career working forshooting women who conform to but now lives in New York where Ireland and Iraq, where she bought magazines such as The Face andsociety’s view of perfection for he shoots for magazines such as her first camera. Twelve years and ELLE. Now based in New York heclients such as British Vogue and the Details, GQ, Esquire and Marie six medals later she left the forces travels extensively shooting forfashion brand Prada. For his most Claire. His passion for photography, and got an MA in photojournalism. clients such as New York magazine.recent project, however, he chose to as well as his wit, are evident in his She is now serving with the British In his image-based blog, The Dailyphotograph a series of real women, blog, What’s the Jackanory?, which Army’s Combat Camera Team in Chessum, he shows us how he viewswhich he discusses in the interview is read widely by the international Afghanistan, from where she spoke the world – through a unique andwith Julia Molony, starting on page photographic community. to us. On page 74 Alison explains graphically skilled eye. We asked48. He also tells us about the In our interview on page 57 he the realities of shooting in a war him to create a portfolio with thesuccessful collaboration with his explains how he has created this zone and what it’s like to be the first Olympus XZ-1 and you can see thestylist wife Lucy. well-loved website. and only woman in her team. results on page 86. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Eleanor Godwin SUBSCRIPTIONS/BACK ISSUES, 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. 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  6. 6. Each month we share the best ofthe latest postings from ouronline portfolio with our magazinereaders, so for your chance toappear in Professional Photographer,go online and start uploadingyour best images you want to see more ofany photographer’s work, go totheir online profile to access their REKHA GARTON,website details. UKNESTA YEUNG,HONG KONG 9
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  11. 11. click Girls on film Vintage glamour seems to be all the rage this month, as Chris Beetles Fine Photographs shows pictures by British film photographer Cornel Lucas. Born in 1920, he worked at the RAF School of Photography during the Second World War the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane In full swing We featured Brian Duffy in our Best of British list last month. As part of the so-called Black Trinity with Terence Donovan and David Bailey, Duffy led a life as exciting as his celebrity subjects and famously destroyed many of his negatives in 1979. The first full retrospective of his work is being held this summer, encompassing his portraits and fashion and also assisted Cecil Beaton. photography as well as iconic commercial A sitting with Marlene Dietrich commissions such as the Pirelli calendars and proved to be a baptism of fire the album sleeve for Bowie’s Aladdin Sane. and led to a successful career as Duffy, 8 July-28 August, Idea Generation the photographer of choice for Gallery, 11 Chance Street, London, E2 7JB. the British film industry. In 1998 he became the first stills photographer to be awarded a Bafta, for his services to the film The programme for Visa pour l’Image, industry. The exhibition runs the prestigious photojournalism until 27 August. festival, has been announced. It will Cornel Lucas, Chris Beetles take place in Perpignan in south-west Fine Photographs, France from 27 August-11 September 3-5 Swallow Street, London W1B 4DE. and exhibitors include our very own © CORNEL LUCAS www.chrisbeetlesfine columnist and sometime working pro Peter Dench. Diana Dors, 1954. Ray of light Coco Chanel, 1930. A man of many talents, Man Ray was both a Surrealist artist and photographic pioneer who shot hundreds of© 2011 MAN RAY, VG BILD-KUNST, BONN / COURTESY SCHIRMER/MOSEL © 2011 MAN RAY, VG BILD-KUNST, BONN / COURTESY SCHIRMER/MOSEL portraits at his studio in Paris, including those of artist friends and members of his creative circle. His archive of more than 12,000 negatives is housed at the Centre Pompidou in Paris. A new book, Man Ray Portraits, from German publisher Schirmer/Mosel features 500 of his most significant portraits. The work is testimony to 20th-century French cultural society as well as Man Ray’s position within it. Man Ray Portraits Paris, Hollywood, Paris 1921-1976, published by Schirmer/Mosel, £55, ISBN: 978-3-8296-0503-8. Lee Miller, 1929. 14
  12. 12. DUFFY Pirelli Calendar, 1973.
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  14. 14. Hooray for Hollywood labelling them ‘copyright free’ in order to ensure maximum exposure. As aVintage American glamour comes to the result, many leading photographers’National Portrait Gallery in a new names were forgotten. John Kobal beganexhibition, Glamour of the Gods: collecting film photography in theHollywood Portraits. Icons of the silver 1950s, seeking to give recognition toscreen such as Louise Brooks, Clark the photographers behind the lens.Gable and James Dean will be featured This collection of almost 70 images notalongside stills from films such as Rebel only puts the stars in the spotlight but © JOHN KOBAL FOUNDATION, 2011Without a Cause and Swing Time. Most of also highlights some important filmthe images are from the John Kobal studio photographers, such as DavisFoundation. At the time the pictures in Boulton and Ruth Harriet Louise.this exhibition were being taken, the Glamour of the Gods: HollywoodHollywood studios would distribute Portraits, 7 July-23 October, Nationalpublicity images as widely as possible, Portrait Gallery. Steve Strange. Louise Brooks, 1929 by Eugene Robert Richee. Never gonna give you up Don your leather blouson and knock back a Bacardi and Coke because the 1980s are back! North-west London gallery artisan is showing Don’t you (forget about me!), subtitled ‘A snapshot of the 80’s by Chris Duffy’, a retrospective of images that sum up the decade of power dressing and New Romantics. Chris is the son of Brian Duffy and started his career as third assistant to the legendary BritishCHRIS DUFFY © DUFFY ARCHIVE photographer. His images of the pop stars of the era remind us that, despite its lack of taste, the decade was one of groundbreaking fashion and music. Don’t you (forget about me!), 8 July-6 August, artisan, 80 Harlesden Road, London, NW10 2BE. 17
  15. 15. Bearing witness Think of Hungary and photography might not automatically spring to mind but the central European country is the homeland of legends such as Robert Capa, Brassaï and André Kertész. A new exhibition at the Royal Academy in London celebrates the wealth of photography that Hungary has given birth to with works by Brassaï, Capa, Kertész, László Moholy-Nagy and Martin Munkácsi. These photographers forged new careers abroad and in doing so influenced the path of modern photography, from Capa’s fearless war photojournalism to Munkácsi’s dynamic fashion images for Harper’s Bazaar. With more than 200 photographs ranging from 1914 © HUNGARIAN MUSEUM OF PHOTOGRAPHY to 1989, the exhibition will also feature works by lesser-known names who remained in their homeland, contributing to the country’s rich photographic heritage. We have 5 Eyewitness: Hungarian Photography in the 20th pairs of tickets Century – Brassaï, Capa, Kertész, Moholy-Nagy, to the exhibition Munkácsi, 30 June-2 October, The Royal (worth £18 a pair) Academy. to give away. To enter our competition visit www.professional eyewitness Self-portrait, October 18 1953, New York. Bank Manager at the Baths, Budapest, 1938, by Károly Escher. QUOTE OF THE MONTH I used to call myself a war photographer. Now I consider myself as an antiwar photographer. James Nachtwey MAGNOLIA PICTURES. Secrets and livesIf you’ve ever had ambitions to work at the New York A display of the work of secret street photographer Vivian Maier is one ofTimes, a new US documentary might make you glad the highlights of London Street Photography Festival 2011, which takesyou didn’t. Page One: Inside the New York Times place throughout July. The Chicago nanny’s staggering collection of work © VIVIAN MAIER / MALOOFis a compelling film that takes a candid look at the was discovered only after her death, a legacy of more than 100,000pressures of working on one of the world’s greatest negatives which are the only clue to the extraordinary life she led.newspapers at a time when new media and Wikileaks Vivian Maier: A Life Uncovered, 1-24 July, German Gymnasium, Pancrasthreaten to undermine traditional journalism. Road, NW1 2TB.
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  17. 17. SIMON NORFOLK FROM BURKE + NORFOLK PHOTOGRAPHS FROMTHE WAR IN AFGHANISTAN / DEWI LEWIS PUBLISHING Yards supplying construction Images from Seacoal, by Chris Killip. materials in the Nawabadi Guzargah district of Kabul. Distant shores Chris Killip is a British photographer and professor of visual and Landholders and labourers. environmental studies at Harvard University, where he has taught since 1991. In 1982 he began photographing the seacoalers of Lynemouth beach in Northumberland, who made a living from the waste coal that washed ashore and who stayed in a camp nearby.JOHN BURKE FROM BURKE + NORFOLK PHOTOGRAPHS FROM In 1983-84 Killip documented the community and lived among them. Steidl has published 124 of his images in a book that takes aTHE WAR IN AFGHANISTAN / DEWI LEWIS PUBLISHING compassionate look at a community facing a hard way of life. Seacoal, by Chris Killip, published by Steidl, £32, ISBN: 978-3-86930-256-0. Retracing paths SEACOAL, BY CHRIS KILLIP, PUBLISHED BY STEIDL Last month we featured Simon Norfolk in our Best of British list for his unceasing exploration of war and how it affects our lives and landscapes. For one of his latest projects he journeyed to Afghanistan in the footsteps of 19th-century Irish war photographer John Burke, who chronicled the Second Anglo-Afghan War from 1878 to 1880. The book, BURKE + NORFOLK Photographs from the War in Afghanistan, features Burke’s original images as well as Norfolk’s modern-day pictures of Kabul and Helmand. The result is a striking work and artistic collaboration across the centuries. BURKE + NORFOLK Photographs from the War in Afghanistan, by John Burke and Simon Norfolk, published by Dewi Lewis Publishing, £40, ISBN: 978-1-907893-11-7. Websites we’re watching This month we’ve been checking out The Photography Post, which brings together the latest happenings in all areas of photography from fashion to reportage. There’s even a jobs section if you feel like jacking it all in and heading to the States. 21
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  19. 19. We have done the hard work for you this month and chosen our essential three photographic exhibitions on show now or coming up soon. For a full list of exhibitions and events visit Mick Jagger: Young in the ’60s Mick Jagger, National Portrait Gallery, St Martin’s Place, London, WC2H 0HE 1967. 020 7806 0055; Until 27 November; free admission Defining images from the early years of Mick Jagger and the Rolling Stones will be on display in the Bookshop Gallery throughout this summer and autumn. The National Portrait Gallery has built up a vast collection of images of the rock ’n’ roll band over the past 40 years, starting with a gift from Cecil Beaton in 1972 of his portrait of Jagger taken in Morocco in 1967. The display includes images from this collection, as well as new acquisitions, including portraits of the singer by Gered Mankowitz, who became the band’s official photographer, aged 18. The exhibition coincides with the release of Mick Jagger: The Photobook by Thames & Hudson, a collection of more than 70 COLIN JONES images spanning 50 years of Jagger’s career. Mick Jagger: Young in the ’60s is a must-see for any fan of the singer or the Rolling Stones. The Face of the Artist: Photographs by John Hedgecoe Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, NR4 7TJ 016 0359 3199; 21 June to 4 December; Admission £4, concessions £2 Sainsbury Centre for Visual Arts will be displaying a major collection of portraits by John Hedgecoe this year. The acclaimed British photographer, teacher and writer of books on photography is perhaps best known for his portraits of artists, leading figures and for his profile shot of the Queen taken in June 1967, which still appears on British postage stamps today. The display coincidesJOHN HEDGECOE with Manchester Art Gallery’s touring exhibition, Artist Francis A World Observed: Dorothy Bohm’s Images. Turn to Bacon, 1969. page 70 for a Being There Special about Hedgecoe. Kate Moss by the Greatest Photographers La Galerie de l’Instant, 46 Rue de Poitou, 75003 Paris (Fr) 1 44 54 94 09; Until 14 September 2011; free admission Since the early 1990s Kate Moss has captured and fascinated the minds of the public. She has become one of the world’s most photographed models and the muse of many artists, photographers and fashion designers. First photographed by Corinne Day and Mario Sorrenti, the early ‘waif ’ images depicted a young, innocent Moss. However, her popularisation of the ‘heroin chic’ look caused worldwide controversy. In the mid-1990s, photographers such as Paolo Roversi, Peter Lindbergh and Ellen von Unwerth revealed a more womanly side to the model. This exhibition showcases images taken over Moss’s 20-year career which reveal her versatility in front of MARY McCARTNEY the camera. The display at this Parisian gallery features images of Moss by 15 photographers, from Bert Stern and Bettina Rheims to Patrick Demarchelier and Albert Watson. Kate Moss in red dress, 2004. FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE
  20. 20. A restless spiritA commission to shoot his first interiors story led PP Editor Grant Scott into the worldof a deceased Italian genius and eccentric, as well as on a journey into the unknown. Until I was commissioned mystical traditions. Few knew of its existence and I travelled out to Turin on a Ryanair flight from by the art director of Elle when Fulvio managed to gain access after years Stansted on a Friday evening with a journalist Decoration magazine to of trying he found a series of rooms that had been from the magazine, armed with a bag of cameras, travel to Turin to shoot left to stagnate ever since Mollino’s death. In the film and the smallest Gitzo tripod I had. I was an interiors story I had main bedroom, in a highly decorated box covered travelling light. When we arrived in Turin the never heard of Carlo in pictures of butterflies, lay thousands of weather was cold and drizzly, and our hotel was Mollino and, for that Polaroid images created by him through the 1960s functional but depressingly faded. It was not a matter, I had never shot and up until his death. They were all of women good start. The following morning the sun hardlyan interiors story. The discovery of Mollino in various states of dress or undress carefully rose as we set off across town to Mollino’sand my first shoot for Elle Decoration, styled by Mollino. In his fantasy they were the apartment to start our two-day shoot. I washowever, were to help shape my career over women who would keep him company in the relying on available light, hoping for crisp, cold,the coming years. after-life; in reality they were local women of north Italian light but what I had was no light. The art director at Elle Decoration was aware the night brought to him by his chauffeur to his My tripod and slow exposures on fast film wouldof my own previous existence as an art director, villa to be photographed. have to be my love of design, Italy and obsession with Today Fulvio still keeps the Mollino torch Fulvio was waiting, full of good cheer, outsidebuying obscure 20th-century furniture, and this burning, having turned the apartment into an the villa containing the apartment. A slight,combination, added to the fact that I could shoot appointment-only museum and by archiving eccentric man with an Italian academic air, hisportraits, had evidently made me first choice to Mollino’s images and publishing them in a series passion for the world of Mollino was immediateshoot an eight-page story around the mysterious of books. Fulvio had spent years restoring the as he ushered us into the library-quiet interior.Mollino and his even more mysterious home. apartment to its former glories and I was to be the It was impossible to ignore the atmosphere – the Carlo Mollino was born in 1905 in Turin, the first photographer to be allowed to enter and air crackled with something I could not put myson of an engineer. As he grew up, he became photograph it. This job had now gone from being finger on. It felt welcoming, yet imposing, daringexpert at a wide range of disciplines, including a commission to being an honour. you to enter. Little did I know what lay, skiing (he wrote landmark manualson how to do both), furniture design, interiordesign, product design, fashion, architecture, “I was to be the first photographer to be allowed to enter [the apartment]motor racing (he designed, built and raced his and photograph it. This job had now gone from being a commission toown car), women and the occult. He was a masterof the outrageous and the anarchic, believing that being an honour.” Grant Scottnew ways were the only ones worth following,and his family wealth allowed him to pursue this After a quick tour we were ready to startunique path. He once said: “Everything is shooting. What little light there was created apermissible as long as it is fantastic.” His life was wonderfully atmospheric air to the rooms and Ifilled with success and innovation, and he worked couldn’t wait to get started. Fulvio and theright up to his death in 1973. journalist went off to a local café were it would be Okay, I hear you say, that’s interesting but warm (the apartment had no heating) to discusswhere is all this going? Well, in the early 1980s Mollino in depth and I started to look around thea fellow Italian named Fulvio Ferrari (great name main living area looking for angles and areas toand a great man) discovered that Carlo Mollino start shooting. In one corner of the lounge stoodhad lived a secret life in a secret home with a Mollino’s original radiogram and a few of hissecret love of a particular type of photography records, all of which were in Italian. I turned itand woman. Perched on the edge of the river Po in on, picked a record from the dusty covers andthe centre of Turin sits a rented 19th-century dropped it on to the platter; I lowered the armapartment in which Mollino had created and the room was filled immediately with the richa mausoleum for himself based on the beliefs of sound of some Italian baritone singing aboutthe ancient Egyptian Pharaohs and various I do not know what, but it sounded fantastic and24
  21. 21. “Why did the tripod break and the Polaroid not work? Your guess is as good as mine but on the way back the journalist asked if I believed in spiritual things like ghosts.” Grant Scott I was transported in this strange space to the time Fulvio Ferrari in which both had been created. and his daughter. I started to take some light readings and settled on a position from which to shoot my first image. I loaded a couple of film backs, settled on a lens and fitted my Hasselblad body to the tripod head. Immediately the central column tightening screw collapsed, sending the head platform down to the column ring. I threw my fingers under the body and saved it from jarring, but crushed my fingers in the process. I instantly thought that it had been my fault and that the central column had not been tightened correctly. Carefully I took everything apart, only to find the central column tightener had just fallen apart (I have since discussed this with the guys from Gitzo and they couldn’t understand how it had happened either and it has never happened to me since with any manufacturer’s tripod, including Gitzo). The tripod was wrecked, I only had one with me and the lack of light meant that without it there was no shoot. I couldn’t leave the villa as I didn’t have a key to get back in. I needed a tripod repair plan and quickly. Having rifled through the kitchen drawers I found a roll of heavy duty plaster tape which would have to save the day. I fixed the central column, guessing a multi-use height, and wrapped metres of tape around it to keep it in place. It was not a great fix but it was okay and with some care and imagination I started shooting and compiling the narrative of my interiors shoot, covering details, rooms and connecting spaces. The images came together quickly and apart from having to stop to change the records on the radiogram I was ‘in the zone’ working almost without thought, as each image seemed to suggest the next one with little input from me. It was a shoot with a rhythm. delightfully eccentric as her father, with wild Why did the tripod break and the Polaroid not I even experimented with a torn piece of black sticky-out hair) settled themselves by the marble work? Your guess is as good as mine but on the card placed over the lens in a filter holder to fireplace where I had asked them to stand for way back the journalist asked if I believed in further emphasise the other-worldliness of this their portrait. I took a light reading, set the spiritual things like ghosts. I said I was not sure strange place. It was a great place to take pictures; camera and shot and pulled a Polaroid. I waited but that I was open to things I didn’t understand. the atmosphere was strange but right. By the early and then peeled off the backing. Nothing. “That’s good,” she said, “because I think there was afternoon I had finished what had meant to be a I rechecked my light reading and shot another something very strange about that place we just two-day shoot and when Fulvio and the journalist Polaroid. Nothing. I repeated this procedure three photographed, I never felt comfortable there.” returned I was ready to shoot the portrait of more times with no resulting Polaroid. This had The magazine was delighted with the images. Fulvio, pack up and go, leaving me the Sunday never happened to me before (and never has The feature ran across eight pages and they had free to explore Turin. Fulvio had other ideas; he again) and I could only imagine that the pack was such a positive response that a new career opened wanted his portrait taken with his daughter the corrupted. I had one more pack left so I opened it for me as an interiors photographer with next day, after we had had lunch with his family up and reloaded the Polaroid back, rechecked the Elle Decoration and their competitors. It was in Mollino’s villa. His enthusiasm and kindness readings once more and shot another Polaroid. a signature shoot for me, and was exhibited and were too much to refuse, so we agreed to return. Nothing, just another blank Polaroid. Again I appeared in books on Mollino for years after The Sunday was a little brighter, but not by repeated the procedure, once more with no result. that cold weekend in Turin where everything wentGRANT SCOTT much. My taped-together tripod was going to There was nothing for it; I was going to have to wrong, but somehow turned out okay. PP have to perform one more time. After a delightful trust the light meter, load some film and go for it, lunch Fulvio and his daughter (who was as which is exactly what I did. 25
  22. 22. podcastON YOURWAVELENGTHEvery month we record a free-to-download podcast in which we discuss, debate and talkaround a subject featured in the magazine. We post them on our website and you can subscribefor free and download them via iTunes. So if you haven’t listened in yet it’s time to join us online.THIS MONTH’S PODCAST May 2011 Issue photographer approach the project in theJuly 2011 Issue CONVERGENCE AND THE FUTURE same way as a commission or adopt a differentHOW MUCH IS YOUR BOOKSHELF WORTH? OF PHOTOGRAPHY tack? They look at photographers whoPP Editor Grant Scott and deputy editor The team discuss the impact of HD DSLR have got it right in the past and discuss whetherEleanor O’Kane are joined by regular columnist film making on the world of professional there are too many introspective projects beingand photojournalist Peter Dench to talk about photography. With many photographers now produced by photography students.collecting photography books. They examine being asked to shoot video, the team focuswhy some books have not only held their price on areas that pose problems for some stills February 2011 Issuebut dramatically increased in value while others photographers, such as narrative, sound and the THE BUSINESS SPECIALhave been relegated to the dusty shelf of editing process. They also look at how stills The regular podcast team get down to businessobscurity. Long-time photo book collector Grant photographers are reacting to this new world. as they discuss the world of tax, finance andScott explains his passion and the team discuss marketing. They ponder whether possessinghow to spot a good investment as well as looking April 2011 Issue business and creative skills go hand in hand,at what makes a classic photo book. GETTING YOUR WORK EXHIBITED discuss potential areas where seeking The regular PP podcast team discuss the professional advice could reap rewards andAND THOSE YOU MAY HAVE MISSED… world of exhibitions. As curator and exhibitor debate whether or not current photographyJune 2011 Issue respectively, Grant and Peter share their students are aware of the importance ofTHE BEST OF BRITISH PHOTOGRAPHY experiences and look at the wider benefits of business skills when choosing a career asThe regular podcast team gather round to discuss making an exhibition of yourself. a professional photographer.the Best of British list that we published in theJune issue. The team look at some of the great March 2011 Issuenames of British photography through the THE PERSONAL PROJECT SPECIAL You can subscribe for free and download thedecades, stand up for their own personal The team grapple with the importance of podcasts from iTunes by typing professionalfavourites and ask why some periods have seen creating personal projects for sustaining and photographer into the search tab or listen viaa proliferation of great British photographers. developing a photographer’s career. Should a PP26
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  24. 24. dispatches Clive Booth tales from the frontline of professional photography Superstar butcher? Admittedly the two words in the same sentence seem like a contradiction in terms; that is until you meet Jack O’Shea: 38 years old, 6ft, slim, long, reddish-blond hair, pale skin, blue eyes with a soft Tipperary accent, charm and wit combined with humour and mischief. Add to this a Paul Smith jacket and shirt, ripped Diesels and scuffed, brown Oliver Sweeneys and he’s got a certain kind of cool. Never more so than when he talks about hisThis month: profession and passion for meat. He speaks with confidence and conviction, and is not shy to disagree and speak his mind (especially when itAnimal carcasses and comes to vegetarians!). An eighth-generation butcher from Tipperary,glinting knives get Clive’s Ireland, his roots in the meat industry can be traced back as far as 1790. He left his father’screative juices flowing business to open a store, first in Brussels, then Knightsbridge before moving to the 40ft meatwhen he works on a shoot counter in the food hall at Selfridges. He waswith a food hero. named Butcher of the Year in The Independent Food and Drink Awards in 2009 and his client list is a who’s who of British and European culinary excellence, including Heston Blumenthal, Mark Hix, Richard Corrigan and Antonio Carluccio. He has a generous helping of A-list custom from, among others, the Beckhams and rock luminary CLIVE BOOTH Superstar butcher Jack O’Shea takes a seat centre stage. Left: A freshly butchered Porterhouse steak.28
  25. 25. “The most exciting aspect of this collaboration was that Jack had given me total freedom to dowhatever I liked; to put his trust in my judgment to both style and shoot him in a way that I felt would best represent him and project this image to a wider market.” Clive Booth 29
  26. 26. dispatchesRobert Plant, and has even got Simon Cowell’svote. I first met Jack after shooting food and “...early March allowed only for aportraits for Heston Blumenthal last year. He is a limited amount of daylight so wefriend of Heston and his development chef, JamesPetrie, who is also a friend of mine. He saw the opted for continuous lightpictures and something in the spontaneity,looseness and freedom appealed to him, so we instead, one 2.5k, two 1.2k andstarted a conversation well over 12 months before one 650w HMIs, along withwe shot a single frame together. The most exciting aspect of this collaboration frames, silks, flags, stands,was that Jack had given me total freedom to dowhatever I liked; to put his trust in my judgment plinths and clamps.” Clive Boothto both style and shoot him in a way that I feltwould best represent him and project this image most comfortable in? Black shirt? Then you’ll 1m plinth with the two butcher’s blocks, and threeto a wider market. We had a loose excuse to do need a couple of brand new ones before the shoot lights with lots of frost and silks. Michael sets upa test shoot based on photographing cuts of meat and better make sure they’re pressed. “I’m having the 27in iMac and Capture One Pro tethered to abut my real interest was in Jack and seeing how a hair cut... not too short?” No! “Which jacket?” Canon EOS-1Ds MkIII while I build the Zacutofar we could push the conventions, and make Have you got something dark with a funky lining? Cross Fire and Z-Finder around the Canonwhat I saw in my head translate into pictures and “Any jewellery or accessories and which belt?”... EOS-1D MkIV This wasn’t just going to be a test .in turn talk to an audience. This sometimes went on late into the evening for Jack as I had decided to shoot both stills and Jack agreed to cover the costs and I agreed to along with a healthy banter and much laughter. video, and make the most of our time together.shoot for no fee on condition I had my favourite Wardrobe sorted, so what props? “I have two very By 11am we are set and I want an establishingstudio, IRIS, and team, Billy Waters assisting and worn, solid-oak butcher’s blocks, saw, machete, shot. The plinth and blocks are moved and weMichael Williams second assistant, digital tech sword and dagger!” (A cleaver, 20in butcher’s plonk Jack on an antique chair stolen from theand post-production. Initially I wanted to shoot in knife and what looks, at least to me, like it could studio reception. Jack, a man comfortable in hisnatural light as the studio has six large windows actually be a dagger) “plus two lamb carcasses own skin, saunters over and takes a seat; thealong with skylights, but early March allowed and several very large pieces of Angus cow.” backdrop of hung carcasses, along with a 20inonly for a limited amount of daylight so we opted It’s 8am on Sunday 6 March, shoot day: Billy blade in one hand and butcher’s steel (bladefor continuous light instead, one 2.5k, two 1.2k and I decide to create a simple set against the cove sharpener) in the other, hint at his professionand one 650w HMIs, along with frames, silks, of the studio using two double wind-up stands while the dark blue jacket, shirt and jeans say heflags, stands, plinths and clamps. and a scaffolding tube, on to which we would use is something other than the norm. We play with For several days prior to shooting, Jack and I meat hooks to hang the carcasses. Jack appears the light, 2.5k HMI key light with heavy frost,had been exchanging phone calls: “Should I bring with a BMW full of meat. As we start to load the 1.2k HMI rim light, and a 650w HMI to paint the CLIVE BOOTHmy aprons?” No! Let’s keep it simple, besides already sagging goalpost it’s clear we need more background, moving, frosting and flagging untilthat’s predictable, I’d like it to look as if you’ve and Jack dispatches a car to Selfridges while Billy finally I feel happy – and then, using the 85mmjust walked in off the street... what do you feel starts to build the rest of the set: a simple white f/1.2, I start to shoot a portrait. With Jack’s30
  27. 27. Above: Jack O’Shea or Harvey Keitel? Opposite page, even more attitude to the picture as it quivers and stopping and starting as I run through 24mm,clockwise from top left: Fillet on the bone; Jack glints under the HMIs. 35mm, 50mm, 85mm, 180mm. Michael feverishlyregularly tastes and smells the meat; shooting into thekey light; 20in blade and steel. He unfastens his jacket and casually slips it on downloads the stills in Capture One Pro which are a hanger alongside the carcasses. Chair gone, immediately profiled; the look is very slightly plinth and blocks in place, I move in to work desaturated with the meat remaining deep red.half-smile and blade glinting, I’m not sure around him, shooting into the key light with Billy At times the pictures are gruesome and yet overallwhether I’m photographing a butcher or a serial reflecting fill as Jack chooses a piece of meat. the feel is exactly as we had intended, loose andkiller; either way it looks cool and I continue to It’s single-sourced Angus beef from his home in casual, reportage food. As Jack methodicallyshoot. Happy with the stills I move to the 1D Ireland and he’s involved in every aspect of the extracts cut after cut of meat I extract cut after cutMkIV on the Zacuto and the Manfrotto video journey, from genetics, conception and feeding of HD DSLR footage. Shooting film and stillstripod, getting Jack to wander in and out of shot. regime through to the slaughter and hanging poses no real problem as I exchange 1Ds MkIIIHe takes no directing as he nonchalantly moves which can take from three to four weeks, with for 1D MkIV working mainly handheldfrom behind the camera to inspect the meat, then daily checks culminating in the butchery and throughout. While I really love shooting the stills,sits and pretends to play the drums with his blade cooking advice. As a consequence the meat is it’s the moving imagery that wins the day and forand steel. To emphasise the star quality I move different in appearance to anything I’ve ever seen, a client like Jack O’Shea a 60-second film ident,out wide and include the lighting stands, cables, with its hard, blackish crust and deep-yellow fat. cleverly cut to a cool soundtrack, will talk to hisMagliner trolley and monitor, making full use of As Jack rolls up his sleeves and uses the steel to market in a way that a still image never could. PPthe usually unseen studio paraphernalia to give sharpen the huge knife, we all take a step back.additional kudos to Jack seated centre stage. The butcher’s equivalent of Edward Scissorhands, To see the 60-second film go to I decide to shoot another portrait from a higher he takes apart the beef carcass explaining the and ask him to take a confrontational stance anatomical details as he saws, cuts and chops his and for more pictures seesurrounded by carcasses. He looks directly into way through muscle, fat and bone. He sniffs,, hair swept behind his ears, and I can’t tastes and at times caresses the meat with oily,decide if I’m shooting Jack or Harvey Keitel’s powdery, bone-crusted fingers and when he hasMr White in Reservoir Dogs (“You shoot me in finished, six gigantic deep-scarlet and fat-marbleda dream, you better wake up and apologise.”) Porterhouse steaks are glistening on the block. GO ONLINE FOR MORE DISPATCHES“Can you lose the blade, Jack?” He does so right For the next six hours we repeat this process FROM CLIVE BOOTHin the neck of a lamb carcass which in turn adds time after time shooting from different angles, 31