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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.
ONES TO WATCH
NICHOLAS HILL
DOCKLANDS LIGHT RAIL
Docklands Light Rail by Nicholas Hill is a
stunning time-lapse journey from Greenwich
to Docklands in London, going through
Canary Wharf. This film is of high quality,
due to the detail in the dynamic range, and is
among the best I have seen in time lapse for
quite some time. The HDR was done using the
SNS-HDR program, which we feature in the
Software section. It was produced using the
MX2 controller from Dynamic Perception (see
the Kit section for more information on this
slider). All in all, an inspirational sequence. VINCENT LAFORET
http://vimeo.com/23758772
Stefan Gilgen’s first project involving a DSLR California-based director and photographer;
setup. He used a Canon EOS 5D MkII, Nikon if not, you should look at some of his films.
lenses and an Igus slider. It is a simple advert, He and Philip Bloom have worked hard at
but oozes quality, with a clean and crisp look. promoting HD DSLR film making. Take a
STEFAN GILGEN
Sometimes keeping it simple is best. look at this trailer (pictured above) for a new
www.professionalphotographer.co.uk/0893 film, Inversion. Needless to say, it is great
work. He shot this with director Loni
REKA INVERSION Peristere, using the Canon EOS 5D MkII rig
In March, an advert for travel company Reka If you are interested in convergence, you have and a Zeiss CP.2 lens.
was released on Swiss TV. It was director probably already heard of Vincent Laforet, the www.laforetvisuals.com
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![frontline
get the stories into the media too, because that’s
important to them.
Is it essential to become a member of an
agency to get commissioned by these types
of organisations?
They do commission directly but belonging
to an agency works well for photographers.
For example, we seek out work for our
photographers and we sell their images. The other
thing that we do as a collaborative process is
work directly with photographers to help them
develop their projects or get to a certain point
in their career. This type of work is important for
us, otherwise it becomes about shifting units.
Are you seeing more women becoming
IVAN KASHINSKY / PANOS
photojournalists?
I’m desperate for more women to enter the
profession. I believe there are more women now
than in the past. Of course, there have always
been women in the profession but just as an
Salt mounds near the village of Colchani on Salar de illustration: I was at the World Press Photo
Uyuni, Bolivia, the biggest salt lake in the world, from Awards, in Amsterdam, early in May and they
Karla Gachet & Ivan Kashinsky’s project, Tunupa’s Tears. “The way in which people called all the winners on to the stage and I looked
that these days being a photographer is about so
are telling stories now has and thought, “My God”. There were two women
out of around 50 people. That shocked me.
much more than taking photographs; that’s a new changed a lot, which is It’s important to have more women because it
development in the digital era. Now you’re
expected to shoot video, collect audio, design
making photojournalism used to be a bit of a boys’ club.
your own website, maybe even lay out your own more interesting.” Adrian Evans Has the profession become more dangerous?
book if you’re going to do one; you’ve got to be I wouldn’t say it’s more dangerous than it has ever
multi-talented. In the old days you got a job, did been. Obviously we had the recent terrible event
it, gave the films to the lab and that was it. in Misrata with [the deaths of] Tim Hetherington,
also do post-production you’re putting yourself in who worked with us, and Chris Hondros, who was
So are students being taught all those a much better position. Then you’ll be able a Getty photographer. We’ve just taken on Guy
ancillary skills demanded of them? to deliver a product that someone can work with. Martin [who was injured in the same mortar
Yes, I think so. The only problem with multimedia It’s just another of the skills you need. attack in Libya] and we’re hoping he’ll be able
is that we’re all talking about it but no one’s to work again quite soon. Photojournalists have
worked out the economic model that we should How has commissioning changed? always been targets. The wars that are more
apply to it. A lot of people want to use We still work with the newspapers because it’s dangerous are those in places such as Libya.
multimedia, particularly on the web, but no one a good way to get a photographer’s work out to You’ve got what I call the ‘American wars’ in
really wants to pay for it. That is a problem. a wide audience, but they don’t support Afghanistan and Iraq where most of the time one
photojournalism in the way they did 20 years ago. is embedded, which does have its drawbacks but
Increasing numbers of photographers are If a newspaper says they’ll fund you to do three or guarantees you some level of security, whereas in
beginning to shoot movie clips; is that trend four days’ work somewhere, that isn’t long Libya it’s a civil war with no one observing.
going to flourish? enough to produce a major project, so although By the nature of the game, people put themselves
The technology drives that and it will happen they are still important as disseminators of into dangerous situations to get their stories.
more and more. I do think it is difficult to shoot information, newspapers and magazines aren’t
both [stills and video], you can only really do going to be the financial supporter of what you Are you seeing a shift in the type of imagery
one at a time and just choose your moment. do. At Panos we do a lot of what people call being shot by photojournalists?
National newspaper photographers are now traditional photojournalism – issue-based stories, We’re more about the story behind the news at
trained to do both. If you’re entering the concerned photography – so we look to work with Panos but I do think conflict photography has
profession it would be assumed that you could people such as advocacy organisations, charities changed quite a lot. Now, it’s about post-conflict
shoot some footage and I think it’s a good idea and NGOs, who have got a message they want to and not necessarily the frontline stuff.
to learn the rudiments at least. Of course, leading make people aware of. These groups are more Documentary photography has changed, it’s been
on from that, if you want to do post-production likely than a newspaper or magazine to fund influenced by what goes on in the art photography
you have to learn programs such as Apple’s Final you to produce bigger bodies of work. They are world. Photographers are starting to get work
Cut Pro or Adobe After Effects, but if you can more likely to work with you if you’re able to exhibited in galleries and looking to obtain
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![frontline
A Hasidic man waits as his wife and child go on a
seaside ride in Aberystwyth, on the west coast of Wales,
from Chloe Dewe Mathews’s Hasidic Holiday project.
print sales. The way in which people are telling
stories now has changed a lot, which is making
photojournalism more interesting. At the extreme
end, we have one photographer, Mishka Henner,
who is producing work using Google Street
View, so he’s not even taking the pictures. It’s like
art in that it is conceptual but he has produced
a project that is also very real.
How can you build a portfolio without
travelling to conflict zones?
CHLOE DEWE MATHEWS / PANOS
A lot of people assume they need to go to exotic
or dangerous places. Sometimes when I go
to student shows and see the people have travelled
halfway around the world I think, “You should
have saved your money; you could have worked at
home.” There’s so much on our own doorstep and
people ignore that fact. They look for the exotic
but actually the exotic in life – the most surreal of all the different avenues there are for revenue.
and unusual things – is often right under your They’re young and know what’s going on, so I
nose. I’m really not bothered about where the “If you look at newspapers, think they do understand the changing landscape.
photographer has gone to produce their body of
work; what I am interested in is their vision and
it’s the advertising that pays They may have false expectations of what they’re
going to earn. When you tell people how much
ability to identify a story and tell it. for content, not the cover they might get for a feature in one of the
Do you think conflict photojournalism is seen
price, so in one sense [weekend] supplements they are horrified, they
think you’re joking. It always amazes me how
as glamorous? photographers have to find a many people are trying to get into the industry.
Yes, it is perceived that way. That’s the problem
with photojournalism, people think it’s all about
way of cross-subsidising How has the industry changed since the
the dark side of life, about conflict, drug what they do.” Adrian Evans launch of Panos Pictures 25 years ago?
addiction, prostitution and poverty. And yes, The whole way in which people create imagery
while those issues are important and our role is to now is much more complex than it was
inform people about what’s going on in the world, confuse change with decline. Those people who 25 years ago. We had a simpler approach to the
that’s only one side of life. For example, you don’t are able to navigate their way through the change world then; now we live in complicated times.
see many stories about the middle classes, even and understand how best to use photography now The imagery we see now reflects that, it’s
though they make up a huge percentage of the are the ones who are going to be the most multi-layered. If you had told someone 25 years
world’s population. I’m always on the lookout for successful. I heard recently someone saying that, ago how it was going to be now they wouldn’t
those kind of subjects and when you see them you pound for pound, the photojournalist is the most have believed you; the digital age is massive.
think, “That’s amazing, someone’s gone out to efficient news-gathering machine there is. If you That’s good because in our field, for example, it
find images of a subject people don’t normally think about it they don’t go out with a large team makes it much easier to distribute work, get it
think about.” One of our photographers, Jan of people, they’re on their own, so it’s a very around the globe and receive it. On the down side,
Banning, did a project on bureaucrats around the cost-effective way of gathering information. the web is almost predicated upon content being
world. By its very nature it’s quite a dull subject, free; people don’t expect to have to pay to see
but it’s also universal because we all know a civil Is this popularity due to the number of ways things on the web, therefore those people who
servant, so it appeals to everyone, which makes it people can now see work, for example, on control content don’t want to have to pay for it
a brilliant project. That’s the kind of thing where YouTube? either, and that’s a bit of a problem. It’s something
you think, “actually, that’s a great idea.” It helps, it gives you many ways of marketing we have to navigate. If you look at newspapers,
I’m looking for ideas; ideas are the currency. yourself and creating your own brand, it’s the advertising that pays for content, not the
but then there are so many ways of marketing cover price, so in one sense photographers have to
Photojournalism seems to have come into the yourself now, you have to rise above that. find a method of cross-subsidising what they do.
public eye again recently, would you agree? That’s where an agency helps, actually. It might not be the end user who pays for them to
I think you’re right. It’s interesting because within do what they want, it could be someone or
the industry photojournalism is seen as being Do students have a realistic expectation of something else in that chain. I wish I had the
in decline but I’m not sure I agree with that view. where their work will be seen? answer but I don’t. I do think that’s the way
It’s changing – massively – but we shouldn’t They are fairly realistic but they should be aware forward, though. PP
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![HIT THE STREETS
interviewing creative people. Georgiou is a raconteur,
and his interview is a soliloquy – a story of his work,
which I am more than happy to sit back and listen to.
It strikes me that this is rather how his work process
unfolds. It takes a long time, but if you allow yourself the
time to process it, you can learn a lot.
Georgiou doesn’t take on many commissions, because
he dislikes binding himself to “other people’s stories and
agendas”, preferring to stick to his own particular
methods. Time is irrelevant to his work and most of what
he does is not tied to a specific event but spread over a
longer period. It seems the old adage “good things come
to those who wait” works strongly in Georgiou’s favour.
His story starts in London, where, supported by his
Greek-Cypriot parents, he attended a number of
photography courses before eventually completing a
three-year course at what is now the University of
Westminster. He spent five years doing what he describes
as “drifting”: travelling abroad, documenting what he saw
GEORGE GEORGIOU
“I went to Belgrade... to a factory
where there were 6,000 refugees...
That was the story I decided to
follow.” George Georgiou
in places such as India and Russia. It wasn’t until he went
to Kosovo in 1999 during the conflict in the former
Yugoslavia that he began to develop the idiosyncratic
techniques that define his work today. “I went to
[neighbouring] Albania by car,” he explains, “and I
realised how different your perspective is when you enter
a country that way. It’s a slow process, you get time to
think, and you get a chance to take in the periphery of a instead of running around shooting the action I went to Above: Children rehearse for
place, which is where your ideas evolve.” Belgrade [capital of Serbia] to a factory where there were Youth Day, Mardin, south-east
Turkey, 2007.
But in Kosovo, the ideas that began to form were failing 6,000 refugees, and I found on one floor a whole village Left: New housing project,
to be resolved because the events unfolding before of people who’d had to leave their homes. That was the Elazig, central Turkey, 2007.
Georgiou’s lens were too complex to contain in a short story I decided to follow.”
photojournalistic essay. So he stayed. For three years. Georgiou lived in the village after the conflict ended,
“I wasn’t sure what I was seeing in Kosovo. There were witnessing the inhabitants returning to their homes,
too many stories and you didn’t know what to believe, so finding the dead, burying the bodies, trying to rebuild
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![ARTICLE 8 (The European Convention on Human Rights)
Take it
1. Everyone has the right to respect for his private and family life, his
home and his correspondence.
2. There shall be no interference by a public authority with the
exercise of this right except such as is in accordance with the law and
is necessary in a democratic society in the interests of national
security, public safety or the economic well-being of the country, for
the prevention of disorder or crime, for the protection of health or
morals, or for the protection of the rights and freedoms of others.
outside
So what are the problems? We can see from the example highlighted by
WalesOnline.
“A family on a sightseeing trip were stopped by police and questioned
under anti-terrorism laws for taking pictures.
“Neil Kitchen, 46, of Swansea, and his 24-year-old nephew were on
a day trip to see Gloucester Cathedral when they say they were stopped
by a police officer who demanded to see their camera.
“The pair had been taking pictures of a former cinema in the city’s
shopping district that had been converted into a pub. After being
A lot of myths surround the issue of where you questioned by the officer they were handed stop-and-search notices
can and can’t take pictures in public. on which Mr Kitchen’s nephew, who has learning difficulties, was
described as ‘acting suspiciously’.”
We asked photojournalist Pete Jenkins to outline
the rules of the street for photographers. If the men were stopped because the nephew with learning difficulties was
acting suspiciously, why was it that the camera needed to be examined?
Having seen the images, why was that not the end of the incident? A police
On 25 June 2011 the WalesOnline website (www.walesonline.co.uk) spokesman’s defence of the officer’s actions was also strange. [He said the
published a worrying story headlined “Anti-terror laws used to stop officer saw them taking photos of the building, thought it slightly unusual
Swansea family taking tourist photos”. and asked to see the photos to confirm what they were saying]. None of this
It was less than six months since the Home Secretary, Theresa May, had activity appears to be remotely connected with terrorism, and it is difficult
announced her intention to replace the old section 44 stop-and-search to understand from the information given by the police how the officer could
powers, which many critics believed had been abused by the police. have mistaken for terrorists a family including an adult with learning
Section 44 of the Terrorism Act 2000 had, to all intents and purposes, difficulties near the tourist attraction of Gloucester Cathedral.
remained unused since Theresa May announced to the Commons that these If we look at the Review of Counter-Terrorism and Security Powers
powers were to be withdrawn from the police. These had been used findings and recommendations presented to Parliament by the Home
systematically to stop professional photographers from working and to Secretary in January 2011, the introduction to the section on photography
hassle innocent amateurs from taking photographs in public places. quite clearly states:
Everyone is entitled to take photographs in public places. 1. A wide range of counter-terrorism powers may be used by the
The police had been seen to be using the act as an excuse to stop and police to stop people from taking photographs. There is a legitimate
search all manner of people, not simply those involved in demonstrations – need for the police to be able to stop people taking photographs
where section 44 had been enforced widely (and incorrectly in many cases). if it is suspected that the activity is part of terrorism reconnaissance
It has also affected the press and ordinary members of the public going or targeting activity. But the public otherwise have a right to take
about what most would perceive as acceptable and routine activities. photographs without fear of being stopped, questioned or searched
There have been no well-publicised cases in the UK where terrorists or by the police.
terrorist-related activity have been linked to ‘professional-looking’ cameras. 2. The following terrorism powers may be used to stop people taking
(It seems those with mobile phone cameras or compacts don’t get stopped.) photographs:
As an analysis by human rights organisation Justice shows quite well, the (a) Under section 43 of the Terrorism Act 2000 a police officer may
new powers, while a huge improvement on the old section 44, still don’t fully stop and search a person they reasonably suspect to be a terrorist,
meet the requirements of article 8 of the European Convention on Human to discover whether that person has in their possession anything
Rights – the reason the old powers were suspended. which may constitute evidence that they are a terrorist. Section 43
“As people take snapshots all the time with mobile phone cameras and digital compacts, and are not
stopped, it would appear that to a police-person, professional-looking equipment is what triggers
some sort of knee-jerk reaction.” Pete Jenkins
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Professional photographer uk 2011-08
- 1. PROFESSIONAL PHOTOGRAPHER AUGUST2011 ● NEIL KIRK ● HIT THE STREETS ● WHAT IS THE FUTURE OF PHOTOGRAPHY? ● PLATON’S POWER PORTRAITS WWW.PROFESSIONALPHOTOGRAPHER.CO.UK PROFESSIONAL SINCE 1982 INSPIRING • INFORMATIVE • HONEST • ESSENTIAL AUGUST 2011 £4.20 Washington protesters by Neil Kirk. IN THIS ISSUE: PLUS: PLATON’S THE POLITICS POWER OF STREET PORTRAITS, PHOTOGRAPHY HIT THE TIM PAGE UPDATED, PROFILED & & THE MASTER WHERE IS OF STREET PHOTOGRAPHY FASHION GOING? SPEAKS OUT STREETS IT’S THE DAWN OF A NEW AGE IN REPORTAGE & PHOTOJOURNALISM “The only way to support a revolution is to make your own.” Abbie Hoffman AND WE ARE ON THE FRONTLINE
- 3. welcome august I first became aware of professional photography as a small child through the pages of The Sunday Times Magazine and the record covers piled high in our family living room. They showed me another world, one that was dangerous, exotic and challenging. I immediately knew that this was a world in which I wanted to be involved and be a part of. I didn’t know what a professional photographer was, but I knew that I had to find out. By 1985 I was part of it, working for an international fashion magazine with the great photographers of the time. My knowledge of the industry was gained first-hand from the photographers themselves. In those days there were few books that you could buy to discover the truth of what professional photography was all about. Therefore, you had no option other than to go straight to the source if you wanted to learn. Slowly but surely I found out what pro photography was all about – how to light a shoot, work with models, find a good lab, obtain (and keep) clients and understand the politics of the business. My teachers were Jeanloup Sieff, William Klein, Richard Avedon, Herb Ritts, Matthew Rolston, David Bailey and Steve Pyke, among many others. Who could fail to learn from such masters? So when I came to edit this magazine I decided to apply the same logic to the way in which we brought you information – get the best photographers you can and let them speak directly without pulling any punches. Now it is time for me to move on to another project because, as we all know, no client is forever. Before I go, however, I hope you agree that we have put together a particularly thought-provoking issue for you to consider. We are in a time of economic hardship and creative challenges are coming at professional photographers from every direction. To me it is an exciting new landscape filled with possibilities. To some it is a confusing landscape filled with obstacles. All I know is that creativity is creativity, and that is key in all that we do. Formats, cameras, platforms – everything has changed during the 27 years in which I have been involved with photography. Everything except the fact that the image is king! And that has to be worth remembering.Thanks for supporting the magazine under my editorship, you have been a wonderful audience. Grant Scott, Editor EDITOR’S IMAGE: MATT HALSTEAD THIS IMAGE: NEIL KIRK
- 4. CONNECT YOUR IMAGINATION MANFROTTO 290 SERIES Along lasting solution with a solid performance. The ideal tripod to develop your skill and passion for photography and video further. Essential performance! Increase the accuracy of your pictures with the innovative 3-faced design column. A rock solid and reliable support with professional grade, adjustable aluminum leg locks. manfrotto.co.uk
- 5. NEW PHOTOGRAPHY 8 Portfolio The best of your work posted on to our online portfolio. contents august 55 Exposure We look at the latest book to pay homage to Blow-Up, the 1966 film that launched a thousand photographic careers. NEED TO KNOW 25 Being There In his final Being There, Grant Scott looks back on his two years as Editor of PP. 30 Dispatches This month Clive Booth shares his experience of being commissioned to shoot HD DSLR video and reflects on how convergence is affecting the photographic industry. 35 The Dench Diary This month our award-winning and sometime working pro Peter Dench receives a tempting offer to direct a gallery and sees how the other half lives, on assignment at Ascot Park Polo Club. 44 The World of Convergence Film maker John Campbell’s news-packed take on the world of convergence includes the latest films made on HD DSLR cameras and the ones to watch. 47 Frontline We talk to Adrian Evans, director of campaigning agency Panos Pictures, about the future of photojournalism as his organisation celebrates Siegfried Hansen’s images appear in our street photography special in which we interview five of the world’s most its 25th anniversary. inspiring exponents of the art. Hear what he has to say about his work in the feature starting on page 68. 53 Guess the Lighting Ever seen a great image and wanted to know how it was lit? Ted Sabarese explains all and this month turns his attention to an Alex Prager shoot. INTERVIEWS WITH... 23 Diary Our pick of this month’s most exciting photographic 66 Where is Photography Going? 56 Neil Kirk is on the Phone exhibitions around the UK includes portraits of the PP Editor Grant Scott looks at the direction in which Grant Scott speaks to the fashion photographer who, Beatles by Michael Peto and an exhibition of new the industry is heading for pro photographers and despite defining street fashion photography for three acquisitions at Tate Modern in London. offers his own ideas about what the future holds. decades, is embracing the changing landscape of editorial photography. 94 Stop Press... 84 Take It Outside The latest essential news, gossip and kit from the Photojournalist Pete Jenkins outlines your rights 68 Hit the Streets pro world. when shooting on the street and smashes Street photography is making a comeback, so we’ve a few myths about what you can and can’t do. brought together five of the world’s most exciting street photographers to discuss their work. KEEP IN TOUCH 88 Absolute Power From London-based Sicilian Mimi Mollica to For his new book, the renowned portrait Magnum master Richard Kalvar we discover what 28 Podcast photographer Platon photographed over 100 of drives them to go in search of life’s small dramas. Every issue we record a podcast debating the issues the world’s leaders. The result is a mesmerising affecting professional photographers. Check out our study of the face of power. free photographic discussion for the masses. NEWS & REVIEWS SIEGFRIED HANSEN 106 Legend 42 Subscribe Peter Silverton turns his attention to fearless 14 Click Take a look at our latest subscription deals to war photographer Tim Page, who helped to inspire This month’s line-up of the best news, dreams, ensure you never miss an issue. You can save 35% a character in Apocalypse Now. themes and photographic schemes. when you take advantage of our latest offer. 5
- 7. friends august © NORMAN JEAN ROY Peter Dench Alannah Sparks Pete Jenkins Platon Photographer Writer Photographer Photographer Photojournalist Peter Dench is busy With her energetic writing style, Pete Jenkins is the man we call on Voted best up-and-coming making preparations for his Alannah was just the right person to when we want someone to lay down photographer by Vogue in 1992 exhibition at the prestigious Visa author our street photography the law. A photojournalist with more while still a student, London-born pour l’Image photo festival in special feature in this issue. than 30 years’ experience on Fleet Platon studied at St Martin’s School Perpignan. He did manage to spare Freelancing for publications ranging Street, Pete was formerly a sports of Art and the Royal College of Art. some time, however, to pen his final from Grazia to the Irish Times, and specialist. Now based in He moved to New York in 1992 and diary entry for PP Over the past few . DailyCandy to fashion news source Nottingham, he writes regularly is a staff photographer at the New months the honest and often comic WWD, Alannah wasn’t daunted by about photography and the law. Yorker. His latest monograph, accounts of his exploits as a pro the task we set her: to track down This month he has written the POWER, is a series of portraits of photographer have won him armies and interview five of the world’s feature starting on page 84 outlining over 100 world leaders, shot within of fans, and his last entry, starting best street photographers. You can photographers’ rights when shooting a 12-month period in New York. on page 35, is as as entertaining and read the fruits of her labours in Hit on the street, and dispelling myths Turn to page 88 to see his pictures candid as ever. the Streets starting on page 68. about what you can and can’t do. of the people who run our world. GROUP BRAND EDITOR Grant Scott ADVERTISING DIRECTOR Nick Sumner SUBSCRIPTIONS/BACK ISSUES grant.scott@archant.co.uk nick.sumner@archant.co.uk, 01242 216085 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. 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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. If you are sending your (Jan-Dec 2010): 9,386. 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. Now you can buy single issues of Professional Photographer online – go to www.buyamag.co.uk/PP 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. MIHAI CRISAN, ROMANIA TOMASZ SKOCZEN, POLAND DAVID-JAMES COXSELL, UK ADAM FLISZKIEWICZ, CRAIG FLEMING, UK UK 8
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- 10. PORTFOLI PIOTR STRYJEWSKI, ALICE LUKER, UK UK JURI VASSILJEV, ESTONIA SIMON WESTGATE, UK KATERINA PROKOPOVA, UK 10
- 11. SIMON HADLER, DANIELA BERTOLONE, UK UK KENJI LIU, HONG KONG SAMUEL LAU, HONG KONG
- 12. PORTFOLI MARKO MESTROVIC, AUSTRIA LEE MATTHEWS, UK PAUL CONROY, SARAH FALUGO, UK UK BRANDON LIM, MALAYSIA DAVE FLETCHER, UK MARIA DRAGAN, UK 12
- 13. CALUMET Cambo CS HDSLR Camera Support System The CS System is a modular ‘rig’ designed to support Digital SLR and DV camera systems when shooting High Definition video. The CS is fully adjustable to the operator making the shoot as comfortable as possible. There is a wide range of add-on accessories, such as Matte Box kits, Follow Focus Controller, shoulder support and optical loupes. Alternatively there are options to purchase complete ‘off the shelf’ systems. 386-030K £2499.00 Hasselblad Nikon H4D-31 D7000 DSLR NEW LOW A new entry point for medium The D7000 includes a range of new PRICE format photography. Using an features to ensure superior image extra large sensor to provide quality including 16.2 effective ultra-high resolution demanded megapixels with the newly by today’s professionals. developed Nikon DXformat CMOS image sensor. H4D-31 with 80mm HC lens 339-995C D7000 Body Only 355-875A £889.00 £9499.00 D7000 w 18-105mm Lens 355-875B £1065.00 Epson Stylus Pro 4900 Canon Pixma Pro 9500 Mark II A compact, 17-inch production printer, the Epson Stylus Pro 4900 boasts Printer The A3+ Canon PIXMA Pro9500 outstanding colour consistency and accurate colour matching, and can reproduce 98 percent of all PANTONE colours. This printer is a highly productive workhorse £100 Mark II produces gallery-quality, CASHBACK long-lasting prints on a wide for any proofing, office or studio range of media to enable NEW environment. professional photographers to LOW • 2880x1440dpi print resolution increase profits and keep high- PRICE • Printer size - 863x766x406mm quality printing in-house. • 11-colour UltraChrome HDR inks £409.00 * £2395.00 321-550H 666-792C * Price includes cashback Eizo Calumet LED ColorEdge Studio Panel Light CG241W A lightweight 12x12" unit with 324 With 16-bit hardware calibration and LEDs. For flexible light-angle control it a 6ms response time the CG241W is features a swivel bracket with a 3/8" ideal for digital photography, video female mount for most light stands. editing and post production. 999-505A £1049.00 CF9030 £399.00 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
- 14. click the latest photographic news, dreams, themes and schemes. edited by Eleanor O’Kane Screen test © HEDI SLIMANE, ANTHOLOGY OF A DECADE 2000–2010, PUBLISHED BY JRP|RINGIER, ZURICH COURTESY ALMINE RECH GALLERY PARIS/BRUSSELS The much-imitated German-born photographer Helmut Newton began his rise to fame in the mid-1950s working for Australian Vogue but it wasn’t until after he had suffered a heart attack in 1971 that his signature images came to the fore. Abandoning his old style, he chose to address themes such as fetishism and voyeurism face on. He died in 2004 when the car he was driving crashed into the wall of the Chateau Marmont hotel in Hollywood. Newton saved the Polaroids from his shoots, which have been collated by his widow June and published in a new book by Taschen. This collection of test shots creates a secondary body of work, adding another layer to some of his Image from the Berlin chapter of the most famous works, including SUMO Germany/Russia and A Gun for Hire. volume in the Hedi Helmut Newton, Polaroids, Slimane anthology. published by Taschen, £34.99, The latest collection ISBN: 978-3-8365-2886-3. www.taschen.com In the July issue of PP we talked about collectable photography books and in our July podcast discussed what makes one a valuable investment. With that in mind, we started digging for our wallets when we saw this beautifully presented anthology of duotone images by fashion designer and photographer Hedi Slimane. Coming from Zurich-based art publisher JRP|Ringier, the limited boxed set contains four volumes, divided according to countries, that trace the designer’s journey through the previous decade, when he was credited with infusing the fashion world with a rock ’n’ roll spirit. Capturing images well before he turned to fashion, Slimane says he takes pictures “like some people take notes or write down their thoughts.” Hedi Slimane, Anthology of a Decade 2000–2010, published by JRP|Ringier, £190, ISBN: 978-3-03764-115-6. www.jrp-ringier.com QUOTE OF THE MONTH I never made a person look bad. They do that themselves. HELMUT NEWTON The portrait is your mirror. It’s you. August Sander 14
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- 17. PP - CLICK- AUG 12/07/2011 12:09 Page 17 To the five boroughs We’re donning our knee-high sports socks and Nike Cortez trainers in honour of the re-release of Back in the Days, which documents the work of Jamel Shabazz, who shot New York’s hip-hop scene in the 1980s. Published by New York independent publisher powerHouse, this seminal book of street style, which includes new text and images, portrays the original era of Kangol caps, Adidas shell toe trainers and gold name-belts, when street battles were about JAMEL SHABAZZ / POWERHOUSE bringing your bit of lino for a dance-off. Back in the Days: Remix by Jamel Shabazz, published by powerHouse Books, $35 (£22), ISBN: 978-1-57687-567-4. www.powerhousebooks.com Get your rocks on Just like buses, you wait for a rock retrospective and then suddenly several pull up at once. Proud Galleries seem to be leading the way in this genre: we mention the latest Beatles exhibition at Proud Camden in this £30,000 could be yours if you win a new month’s Diary on page 23 and this summer there’s also Sky Arts bursary to fund your work a chance to see images of rock legends in The Summer for a year. The Sky Arts Ignition: Show 2011: 20th Century Icons at Proud Chelsea. Futures Fund is open to artists Running until 11 September, the exhibition features aged 18-30 living in the UK and portraits from the worlds in which Proud specialises – Ireland. The fund is designed to music, film, sports and documentary photography. bridge the gap between formal Images of the Beatles, Blondie and Jimi Hendrix are education and becoming a working included in the show, alongside work by film director artist; eligible disciplines include Ken Russell. film and visual art. The Summer Show 2011: 20th Century Icons, For full guidelines, visit 14 July-22 September, Proud Chelsea, 161 King’s www.sky.com/skyartsignition Road, London, SW1 5XP. www.proud.co.uk The Terry O’Neill/Tag Award 2011 has a first NOW OPEN LEIGH WIENER Singer-songwriter prize of £3,000. Visit www.oneillaward.com for Johnny Cash. details of this contemporary photography prize. 17
- 18. By Royal appointment We believe The Royal Photographic Society has announced Pictures by Mario Sorrenti and the winners of this year’s 154th International Mert & Marcus feature in the 60th Print Exhibition, the longest-running show of issue of Visionaire, the art and its kind in the world, which encompasses fashion super-tome published established, emerging and amateur photography. twice a year. Each issue is The gold award and prize of £2,000 went to dedicated to a subject and this self-taught semi-professional Justyna Neryng time the theme is religion. It is for the portrait Nell, taken of her daughter in what priced at $425 (£266) but back is intended to be an ongoing series. An exhibition issues can go for hundreds, if not of the 120 framed, short-listed prints is being thousands, of dollars. If you’re held at the Allen & Overy premises in Bishops not feeling that flush, check out Square, London, E1 6AD until 26 August. Visionaire’s website for more modestly priced bookzines, which JUSTYNA NERYNG After the London showing, the exhibition will tour various locations in the UK. feature work by the likes of www.rps.org Bruce Weber and Hedi Slimane. Nell. www.visionaireworld.com © V&A IMAGES Websites of wonder In the office we’ve been looking back at the 60s for inspiration, the 1860s, that is. Two photoblogs that Diamond geezer Above: A Cecil Beaton contact sheet of caught our eye feature pinups from yesteryear. The V&A has announced that next spring it will be holding the Royal Family, Buckingham Palace, As its name suggests, the blog at a retrospective of images of the Queen by Cecil Beaton to October 1942 (featuring http://mydaguerreotypeboyfriend.tumblr.com coincide with her diamond jubilee. The exhibition will feature King George VI, Queen posts classic portraits of handsome young men nearly 100 portraits by Beaton, who was featured in our Best of Elizabeth and Princesses Elizabeth while on www.howtobearetronaut.com we found British list in the June issue. and Margaret). a set of erotic images on women with, erm, Queen Elizabeth II by Cecil Beaton: A Diamond Jubilee typewriters. Portrait photographers take note. Celebration, 8 February-22 April 2012, Victoria & Albert Museum, www.vam.ac.uk. 18
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- 21. Modern love Tate Modern is the place to be this summer for photographic exhibitions. From the new Diane Arbus room that we’ve talked about recently in Click to an exhibition by American photographer Taryn Simon and the New Documentary Forms exhibition mentioned in this month’s Diary on page 23. Less than two years ago the gallery appointed Simon Baker as its first curator of photography and international art; at the same time the Tate’s Photographic Acquisitions Committee was formed. GUY MARTIN / PANOS PICTURES www.tate.org.uk A rebel fighter stands at a window as he fights Gaddafi forces in Out of this world central Misrata. German fashion photographer Peter Lindbergh has shot some of the world’s most beautiful women, from Kate New kids on the block Moss to Naomi Campbell, creating images that are Panos Pictures, the agency for concerned photojournalism, has added six imprinted in our memories. In his new project, new photojournalists to its stable. Following its first open call for new The Unknown, he moves his brand of fashion photography members, the agency signed up the photographers after sifting through a step forward, creating a series of surreal fashion almost 400 submissions from more than 30 countries. The new arrivals shoots set against fictitious landings from outer space. include British photographers Chloe Dewe Mathews and Guy Martin, who The result is a novel-like book with a filmic edge that was wounded in the attack in Misrata, Libya, in April that killed Tim blurs the boundaries between fashion and storytelling. Hetherington and Chris Hondros. For more on Panos Pictures read this Peter Lindbergh: The Unknown, published by month’s Frontline starting on page 47. www.panos.co.uk Schirmer/Mosel, €49.80 (£45), ISBN: 978-3-8296-0544-1. www.schirmer-mosel.com Coming around again It doesn’t seem that long since the Sony World Photography Awards exhibition took place in London earlier this year, but entries for the 2012 competition are already open. It is one of the world’s most comprehensive photography awards, with a professional and an open competition, carrying top prizes of $25,000 © TONG MENG COURTESY SONY WORLD PHOTOGRAPHY AWARDS 2011 (£15,600) and $5,000 (£3,120) respectively. This year the professional category has one new section – nature and wildlife – while the open category has three: enhanced, split-second and low-light. For fledgling photographers a youth competition for the under-20s has been launched alongside the existing student focus competition. You’ve still got plenty of time because entries will be accepted until early January 2012. The winning images will go on display at the Sony From the Wella World Photography Award-Winners’ Showcase at Professionals series by Somerset House, in London, in April and May 2012. Tong Meng, a finalist in the 2011 Sony World To see all the categories and details on how to enter, Photography Awards. visit the website www.worldphoto.org Read all about it You can buy a current issue of Professional Photographer and pre-order future editions from our new website www.buyamag.co.uk. Postage in the UK is free and if you pre-order a future issue you’ll get your copy before it goes on sale in the shops. 21
- 23. PP - DIARY- AUG 12/07/2011 13:51 Page 23 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 www.professionalphotographer.co.uk The Beatles: Revolutionary 1965 by Michael Peto Proud Camden, The Horse Hospital, Stables Market, Chalk Farm Road, London, NW1 8AH 020 7482 3867; www.proud.co.uk 25 August to 16 October; free admission Proud Camden presents an intimate photographic portrait of the Beatles during one of the most important years of their career. Michael Peto built up a close working relationship with the group and this collection exhibits some of the rare and private moments he captured during 1965. This was a pivotal year for the band as they cut back on touring and moved towards a more personal and experimental style, paving the way D-Lite-it Kits for their groundbreaking album Rubber Soul. Hungarian-born Peto, who from £469 inc vat MICHAEL PETO was best-known for photographing the London cultural scene of the 1950s and 1960s, died in 1970. His family donated his archive of more than 130,000 prints and negatives to the University of Dundee. Paul McCartney. BXRi Stefanie Schneider: California Dreaming ROLLO Contemporary Art, 51 Cleveland Street, London, W1T 4JH 020 7580 0020; www.rolloart.com Until 2 September; free admission German photographer Stefanie Schneider creates sun-drenched pictures using expired Polaroid film which is then enlarged, bringing a cinematic quality to her images. Women are set amid the vast landscapes of California and dressed in brightly coloured outfits and even brighter wigs. The images may feel playful but the vacant looks in the women’s eyes tell a different story. Schneider has commented on the relationship between her BXRi Kit from STEFANIE SCHNEIDER bleached-out California images and the faded glamour of Hollywood, “which is the quintessential £779 inc vat dream factory; everyone goes there in search of their RANGER RX Radha Mind Screen. dreams, and many dreams are shattered there.” Q UADRA Photography: New Documentary Forms Tate Modern, Bankside, London, SE1 9TG 020 7887 8888; www.tate.org.uk Until 31 March 2012; free admission Photography is becoming increasingly important to the Tate’s displays and collections. Showing on Level 5 of Tate Modern, this latest exhibition, which consists entirely of new acquisitions, explores the use and power of MITCH EPSTEIN photography as a documentary medium. It includes work by Luc Delahaye, Guy Tillim, Akram Zaatari and Mitch Amos coal power plant, Epstein, winner of the 2011 Prix Pictet. The display also Raymond, West Virginia, 2004. features two important early works from Boris Mikhailov, including Red 1968-1975. New Documentary Forms covers in south Lebanon and power production in diverse and important subjects, such as the conflicts in Iraq the United States. Each of the five rooms in and Afghanistan, elections in the Congo, studio photography the Kate Moss in red dress,documentary project. display features one 2004. Quadra Kits FOR DAILY UPDATES ON EXHIBITIONS ACROSS THE UK VISIT THE PROFESSIONAL PHOTOGRAPHER WEBSITE www.professionalphotographer.co.uk from £1079 inc vat E&EO
- 24. Voted ‘Best Voted ‘Best Expert Photo Monitor’ by the Technical Image Press Association (TIPA), the SpectraView® Reference 271 is a hardware-calibratable, wide-gamut Expert Photo LCD display featuring a 10-bit P-IPS panel with 97 per cent usable AdobeRGB Monitor’ by TIPA colour space. With 24, 27 and 30” models, NEC SpectraView® is the ‘reference’ for demanding photographic image reproduction and video editing. SPECTRAVIEW® REFERENCE +44 (0) 870 120 1160 www.nec-displays.co.uk Copyright 2011 NEC Display Solution Europe GmbH. All rights are reserved in favour of their respective owners. This document is provided “as is” without warranty of any kind whatsoever, either express or implied.
- 25. BEINGHERE As this ishis last issue as Tim’s life was ended prematurely. Sticking with this sombre but realistic mood we have raised the Baskerville sent me an email about her work in Afghanistan to help promote the work of the Editor of Professional dark spectre of mental illness brought on by the combat medics she was photographing. daily stresses and tensions of being a professional That was not the story I saw in her email. I saw Photographer and therefore photographer and tried to reflect the true state of a different angle but if she had not got in touch the last Being There column, our industry and how photographers are responding to the changing landscape. In short we would never have been able to turn her email into a six-page article. So once again, in response Grant Scott looks back we have tried to tell it as it is. These are just some to this question, I will give the answer I always of the articles which I personally feel most proud do. You will stand a chance of getting your work at the past two years of the of having been able to include in the magazine. featured in a magazine if you can give a reason magazine with him at the But this is starting to sound like a hymn of praise to yourselves, I hear you say; enough why it should be – other than because you think your pictures deserve to be. I hope that helps. helm and gives an insight already, we know the reality of our profession, Another way in which you can feature in what’s the reality of yours? Well, I’ll tell you. the magazine is by responding to specific articles into the life of a photography It’s like this. or themes which have appeared in a particular magazine editor. Every Being There column I have written (and thanks to all of you who have emailed me issue. Three of the articles which have seemed to have got you most wound up and reaching for about them) seems to have involved a series of your keyboards over the past two years have been: There is no doubt that misadventures, unexpected outcomes and When we asked you to comment on one of the the position of Editor of bizarre events. But thankfully all have had 2010 finalists in the Taylor Wessing Photographic Professional a reasonably happy ending. And that’s exactly Portrait Prize (and boy did you let us know what Photographer magazine what it is like putting the magazine together each you thought); when I dared to reveal that the is a prestigious title to month. Concepts for features have to be devised, emperor was not actually fully dressed, by asking hold and when I was photographers for inclusion decided upon, and if the Düsseldorf School had killed photography; asked to take on the opinions and issues for debate finalised. The idea and when I addressed the solitude of sitting in role I had little is to bring together the world of photography hesitation in accepting. as a clearly defined proposition: entertaining, After more than 25 years of working with informative and never repetitive. That’s the idea “The idea is to bring together professional photographers – 10 years of anyway. You’re the judge as to whether or not we those as a professional photographer – I thought have been successful. the world of photography as I knew what the magazine needed to be, should be and would be. I hope that two years later we One of the questions I am asked most often by photographers is: “How do I get my work a clearly defined proposition: have come some way to achieving that initial aim. featured in the magazine?” Every day I receive entertaining, informative and Over the past 26 issues we have covered some ground. We spoke to Brian Duffy in what was emails with attached images suggesting that I look at websites with a view to publishing never repetitive.” Grant Scott to become his final interview before his sad death an article on the photographer who has sent the and we asked photographer and film maker email. Often these are sent with no knowledge Danfung Dennis to tell us about his work which of or regard for the magazine. These always get then went on to win the Sundance Film Festival a polite thank you but no thank you. The ones World Cinema Grand Jury award for documentary which have been successful (and there have been film making. On a sadder note we were able to many) have all had a reason, a journalistic angle bring together old friends Jon Levy and Tim to be included. They have come from Hetherington to discuss the meaning of photographers who have something to say and friendships and relationships, and the importance are of relevance to the wider community, our of Tim’s work shortly before his documentary readers, you! One of these features appeared in film Restrepo was nominated for an Oscar and the last issue. Combat photographer Alison 25
- 26. “We recommend whatwe think needs to be recommended because it is relevant to you.” Grant Scott front of a computer screen day after day. This last article, entitled The loneliness of the long distance pro, encouraged one particular reader to send us his recent blog posting in which he had outlined how close he had come to actually ending his life. I decided that it was a piece of writing that others needed to read and we ran the blog exactly as it was sent to us as part of a larger feature covering the sad recurrence of suicide throughout the history of photography. Not your usual photography magazine content, I know, but I hope you understand why we feel these stories are important to tell. That’s the photography side of what we do, but it’s pretty difficult to be a photographer without a camera and working with the various manufacturers is a major part of an editor’s job. Yes, we do sometimes get taken to exotic locations to be given the news of the latest camera launch but you are just going to have to believe me when I say that the location and entertainment have nothing to do with what we at the magazine feel about a product. launched into stream of humorous tales about and download our iPad and iPhone apps, but it is We recommend what we think needs to be what he had been up to over the preceding years. only when I have had a chance to meet you in recommended because it is relevant to you. Diary began with a D and so did Dench so person at the Focus, Photo Vision, SWPP and From a humble compact to a high end, medium that’s what I decided to offer him to write each Canon Pro shows that I have really been able to format system, I have always believed that the month. The rest, as they say, was over to him put a face to the emails and the comments best of everything in-between deserves a place and as any regular reader will know, he never you send and leave, as well as to hear your praise in a pro’s kitbag. If it does a job we tell you about holds back. and complaints. That’s when what we do each it. It really is that simple. Our editorial has never When it comes to writing the articles which month really starts to make sense and when I been for sale and I hope that in all areas of the deal with more generic issues, these come can see and hear what you look like and what magazine we have been able to keep our moral from conversations with other members of the you really think. It’s these discussions which barometers well-balanced. team, with readers, people who are help to inform how and where the magazine goes These camera launches have definitely commissioning and, of course, photographers. each month. provided some comical moments, such as when Most often they come from a simple phrase or These are also what decides where we all go in I found myself on an America’s Cup yacht off the statement which seems to encapsulate a thought our careers. In my opinion listening to informed coast of Spain near Valencia manning the winches ready to explore. Then we call Peter Silverton and opinion is the key to a successful career as a against a particularly competitive younger rival let him loose. His writing on these issues, as well professional photographer and that’s what I’ve editor, or when I mistakenly ended up in a ‘pay as on the legends of photography every month, tried to bring you every month. Abraham Lincoln one fee, eat as much as you like’ buffet called always leaves me wanting to know more and to said: “You can fool all the people some of the ‘Party Gay’ in Rome with the male deputy editor question so much I have previously ignored time, and some of the people all the time, but you of Photography Monthly. or taken for granted. Again, I hope you agree. cannot fool all the people all the time.” That’s as On a similar theme of unfortunate adventures, That’s what happens in the office but now we true for photography as it is for publishing. perhaps one of the most popular elements of the exist on so many digital platforms the chances to While I’ve been here I‘ve never tried to fool any magazine you hold in your hands is the infamous be able to communicate and engage with readers of the people. I’m sure the magazine will Dench Diary. I’ve know Peter for more than have become many and varied. We have the continue to go from strength to strength under 15 years but had not spoken to him for nearly 10 figures as to how many of you listen to the its new leadership; for me it’s time for a case of when our paths crossed again. Immediately he podcasts, follow us on Facebook and Twitter, Being Elsewhere. PP GO ONLINE FOR MORE EXCLUSIVE TALES FROM THE WORLD OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 26
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- 28. PP - Podcast- AUG 12/07/2011 14:48 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 June 2011 Issue April 2011 Issue August 2011 Issue THE BEST OF BRITISH PHOTOGRAPHY GETTING YOUR WORK EXHIBITED HIT THE STREETS The regular podcast team gather round to discuss The regular PP podcast team discuss the PP Editor Grant Scott and deputy editor the Best of British list that we published in the world of exhibitions. As curator and exhibitor Eleanor O’Kane are joined by regular June issue. The team look at some of the great respectively, Grant and Peter share their columnist and photojournalist Peter Dench to names of British photography through the experiences and look at the wider benefits of discuss the renaissance of street photography. decades, stand up for their own personal making an exhibition of yourself. Peter explains his passion for this type of work favourites and ask why some periods have seen and talks about photographers who have a proliferation of great British photographers. March 2011 Issue influenced and inspired him. The regular team If you’ve listened to the podcast and feel the THE PERSONAL PROJECT SPECIAL are joined by editorial photographer and team has left out a photographer who deserved The team grapple with the importance of PP podcast fan Chris Floyd, who shares his to be included drop us an email at feedback@ creating personal projects for sustaining and thoughts on the subject. professionalphotographer.co.uk developing a photographer’s career. Should a photographer approach the project in the AND THOSE YOU MAY HAVE MISSED… May 2011 Issue same way as a commission or adopt a different July 2011 Issue CONVERGENCE AND THE FUTURE tack? They look at photographers who HOW MUCH IS YOUR BOOKSHELF WORTH? OF PHOTOGRAPHY have got it right in the past and discuss whether The PP team meet to talk about collecting The team discuss the impact of HD DSLR there are too many introspective projects being photography books. They examine why some film making on the world of professional produced by photography students. books have not only held their price but photography. With many photographers now dramatically increased in value while others have being asked to shoot video, the team focus been relegated to the dusty shelf of obscurity. on areas that pose problems for some stills You can subscribe for free and download the Long-time photo book collector Grant Scott photographers, such as narrative, sound and the podcasts from iTunes by typing professional explains his passion and the team discuss how to editing process. They also look at how stills photographer into the search tab or listen via spot a good investment. photographers are reacting to this new world. www.professionalphotographer.co.uk. PP 28
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- 30. dispatches Clive Booth tales from the frontline of professional photography the most part it is predictable and just takes up space online. However, with the right client, a ‘making of ’ is also a tremendous opportunity to do something special and get noticed. I had been shooting with the art director and client on another project for just two days when they asked if I would go to Barcelona the following week. Fortunately, I was available and jumped at the chance, particularly as they had given me complete freedom to do whatever I liked. The project, and my brief, was to cover This month: a major TV and cinema commercial. To make these films the usual 50-60 crew was present, while mine numbered two – including me. As we Clive looks at where the worked alongside the ARRI crew, it was immediately obvious that while the Canon cannot image-making industry as compete with the ARRI Alexa digital camera on codec or pixels, it can work with it. A few of the a whole might be heading scenes were shot on EOS 5D MkIIs, mostly in now that shooting moving places where the huge ARRI simply couldn’t fit. I shot my own film, all on a Canon EOS-1D images alongside stills is MkIV with the usual Zacuto follow-focus rig, , along with 10 Canon primes. On several on the increase. occasions both the DoP (director of photography) and director would wander over and ask questions about this or that lens and then ask if they could It’s just over two years since I first picked up see my rushes (an old film term for unedited film, a Canon EOS 5D MkII and I find it hard to also known as dailies) and so I would drop files believe that a little black camera that fits in off on a drive to the group of editors for the the palm of your hand has had such director to see. A week later, back in London, a huge effect on the TV and film industry, and I was speaking with the director, only to discover on my own career. In 2008 I had shot a couple that several of my shots had been used in the final of small projects, including one of the first commercial and that many more had been tests in the UK on the original pre-production used for the trailer. Not what I had anticipated, Canon. At that time I was shooting 100 per cent but nevertheless very exciting. stills and had not, even for an instant, considered So where is all this going? Well for my part, shooting moving imagery. Now HD DSLRs make the initial brief of making eight film shorts about up well over 50 per cent of my annual workload, Don McCullin shooting an advertising campaign and it’s growing. As we all know, it’s not had evolved into shooting the Barcelona the equipment or even the technical knowledge ‘making of ’ and then, most exciting of all, having of how to use it that makes a good photographer the potential to make several international or film maker, and yet I can honestly say that web-based short ads along with the possibility if the 5D MkII had not been put in my hand of a TV project. I continue to work with my usual by Canon, I would not be shooting films today. assistants, who are all keen to learn the new It fired my imagination to the possibilities skills associated with film making, as well as my of bringing what, until its invention, had been editor and an increasing number of film industry possible only as a still image. contacts, from directors and DoPs to musicians Two weeks ago I was shooting a ‘making of ’. and technicians. Being in control is the key CLIVE BOOTH This is a term I hate, because it seems that a big and I definitely want to direct and co-direct, percentage of HD DSLR is focused on this and increasingly my recent work has enabled aspect of the moving picture industry and for me to do just that. Last Tuesday I had lunch 30
- 31. “Sometimes I wonderwhether too much emphasis is placed on the quality of the highly polished result, meaning the raw and dynamic spontaneity of just seeing something and shooting it is lost.” Clive Booth Above, clockwise, scenes from the Amouage Honour perfume commercial: 85mm f/1.2L, shot on a dolly and track with a slow reveal, shot in available light with a 12ft frame and silk for fill; 50mm f/1.2L, handheld scissors detail; 180mm f/3.5L macro, eye detail; 180mm f/3.5L macro, typewriter keyboard. 31
- 32. dispatches with someone whois a well-respected and humble little HD DSLR will develop into being Best of all, we took the biggest risk and shot the established director, DoP and author. 4k, then 6k, then 8k, with uncompressed codecs, entire commercial in available light, forsaking the We discussed our comparative approaches – his 200fps, matching what was once only possible on many HMIs in exchange for frames, silks and after 30 years and mine after three. He explained far bigger cameras. flags. As a pro it’s sometimes terrifying not that just a few years ago a TV commercial could Just the other day I was chatting with the senior knowing what’s coming next. In this instance it is take weeks to shoot but that now, due to budget representative of a major London equipment no different from shooting stills and we should restrictions, it had to be shot in days. It meant that rental company who explained to me that an always be shooting moving images, whether we the opportunity to be creative had inevitably to be increasing number of TV and film DoPs were are commissioned or not! Doing both gives us crushed unless you were prepared to fight your asking for EOS 7Ds, 5D MkIIs and 1D MkIVs, twice the opportunity and for the most part corner and make enemies of the very people who along with the various follow-focus rigs and the strengthens what we can offer prospective clients. were employing you. additional, bewildering array of equipment that Photographers need to embrace this change, My solution to shooting an ad is simple but the HD DSLR third-party suppliers now offer. this addition to continuing to shoot stills, possibly a little naive: it is to try to work with As production companies are seeing the obvious this necessary adaptation to shooting the moving like-minded art directors, creative directors cost-saving benefits while maintaining a high image; otherwise they will be left behind. So I am and, most of all, clients who are all prepared to do degree of quality, the associated industries have going to end my final Dispatches column for PP something different and take a risk. When you to follow suit. For we photographers to be a part with a single thought: I believe we are moving think it through, however, it seems like less of of this future we have to educate ourselves as film towards a future where we will see advertising on a risk than shooting conventionally. Just imagine makers. We have many strengths and bring moving billboards, point-of-sale on plasma the cost of a crew of 50, along with the complex much to the medium with our understanding of screens, and read our news, watch TV and be and often cumbersome equipment, compared with light and composition, and HD DSLRs give us entertained on iPhones, iPads, laptops, desktops a crew of five to 10 at most – art director, director the necessary time to do the same with the and TVs. The vision, as illustrated in the Harry (who can also double as cameraman), producer, moving image. Potter stories, of seeing advertisements in the sound-man, assistant (lighting) and second assistant – plus an offline editor working on a laptop in Final Cut Pro, to create edits while on “My most recent film project... for the luxury perfume brand location for uploading back to the client and to House of Amouage, proved beyond doubt to me exactly what this have a daily picture of the work in progress. Instead of trying to achieve an ambitious creative new technology can produce.” Clive Booth project in just a few days, the smaller crew could spend longer and experiment with all types of lighting and lenses, with multiple cameras in all kinds of locations that were once thought impossible, waiting for the right light, sky and look. There are other benefits to a smaller crew and camera; for example, a Canon and three crew would be far less intimidating than an ARRI or RED camera when filming actors and non-actors alike. Sometimes I wonder whether too much emphasis is placed on the quality of the highly polished result, meaning the raw and dynamic spontaneity of just seeing something and shooting it is lost. Given the extra time, the smaller and therefore more cost-effective crew could craft every shot and/or wait for a particular moment, with the result being far more beautiful. 24mm f/1.4L MkI, I believe HD DSLRs are far from being the fad shot on a whim and off the storyboard into that some have been calling them, but is more of light through haze. what will become the norm. It opens up untold possibilities for creativity when in the right hands, and if the film industry is taking it seriously then My most recent film project and my second medium of the moving image on the pages of our it simply doesn’t matter what anyone else thinks. collaboration with Charlotte Lurot of Bacchus newspapers and magazines will become a reality. You either get on board and have a go or you Studio for the luxury perfume brand House of So why and in what circumstances would don’t. Critics of convergence say it is only 1,920 x Amouage, proved beyond doubt to me exactly a company advertise solely through the medium 1,080 pixel resolution and therefore not suitable what this new technology can produce. of a still image? PP for cinema; yet right now, it is being used in many Every scene was carefully crafted, as if it were CLIVE BOOTH commercials, TV series and even movies. For the a stills ad campaign. We moved away from the most part the critics are missing the point. We are storyboard many times, just plucking the camera To see the Amouage Honour perfume in the midst of a revolution and very soon the from the tripod and shooting handheld on a whim. commercial visit www.clivebooth.co.uk 32
- 33. 85mm f/1.2L, infrosted window light. Below: 35mm f/1.4L, window light with a little reflected fill on the skin. GO ONLINE FOR MORE DISPATCHES FROM CLIVE BOOTH www.professionalphotographer.co.uk 33
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- 35. the dench diary In his final diary entry for Professional Photographer, our sometime working pro, Peter Dench, considers entering the gallery business, counts the cost of failing to win any of this summer’s competitions, and photographs the posh at play at Royal Ascot. 2nd Henry slides the building plans across the table and potentially the greatest opportunity of my career. I check asks: “What walls do you think we should knock down?” who is exhibiting. There are three Magnum snappers, two I suggest we keep the walls but close off some of the doors. Getty and Agence VU, a VII Network (for now), a NOOR, We are discussing the development of a dedicated Panos and Contrasto. I’m one of two unaffiliated. photography gallery in Leeds. I am to be the director. Last summer I couldn’t afford to visit a festival in northern Later, sipping a spritzer at the city’s railway station with my Spain where I had work. The £400 exhibitor fee that could wife and daughter, I imagine the opening night and the suit have got me there was not be paid until after the festival had I shall wear. My wife lends me her debit card to get some finished. I’m conscious of the funds I’ll need for the week lunch. I buy a bottle of Cabernet Sauvignon to drink on the in Perpignan. A French magazine is publishing a six-page journey back to London. Boarding the train, I shake the spread of my exhibition – the fee, 1,500 euros. I’m told it imaginary hand of each of the luminaries agog at Gallery will be paid in October. A mild panic begins to gather. Dench. When the wine is drained, my wife gives me £2.90 to get a can of Strongbow from the buffet. The reality 10th Holding a warm morning mug I look out past the 2ft of having to find my share of the funding for Gallery Dench crack in my rented lounge window at the house opposite. disappears with each swallow of that appley tang. The man of the house escorts his daughter across the Above, top: A man in a top hat and road, opting for the Audi TT over the Volvo CX90 for sunglasses holds his pint as he 3rd Receive an email from the Street Photography Awards; today’s school run. She is wearing the all-brown uniform joins in the patriotic singing and they regret to inform me my work has not been selected. of an independent day school for girls aged four to 18, flag waving at Ascot Racecourse. This has come as no surprise. I didn’t enter (+£30). founded in 1885. The annual fee is £14,040. I turn to Above: Peter Dench at Ascot Park Polo Club on a practice horse used observe my six-year-old daughter Grace, who is sitting on to perfect your polo swing. 7th I’ve reached that moment in life when my wife looks a hand-me-down sofa, eating jam and toast, watching at me in the morning and suggests I go for a jog. I take Tracy Beaker on television. Back on the street, pupils are her advice and this afternoon I run over to the pub. walking to the average Ofsted comprehensive for which Grace is destined. One boy throws a recycling bin 8th Receive an email from the Foto8 Summer Show; they at his mate, another gobs on his blazer. The girls scuff regret to inform me my work has not been selected (-£20). past in knee-highs and skirt-highs. I plop down next to PETER DENCH Grace and nick a sticky crust. I have five years to make 9th It’s 12 weeks until my exhibition at the Visa pour some serious money. Or move. Or stay and hope that the l’Image International Festival of Photojournalism, school improves. 35
- 37. the dench diary Left: A woman clutches her designer bag, mobile phone and drink in one hand as she chats with a friend at Royal Ascot. Below: A woman in a spotty dress attempts to stay dry under a spotty umbrella at Royal Ascot. 11th Last month I went for a prostate cancer check after my and signing. After a welcome whizz-bang hour of Great Mum flagged up hereditary concerns in our family. British backslapping, I booze my way east towards HOST In today’s post there is a cutting from the Dorset Echo with Gallery and the University College Falmouth degree show, the headline: ‘You can’t die of heartburn, Mike told his Retrospect. I’m not expecting much. After kneeling at the wife. Tragically, he was wrong.’ My Mum is worried; ice bucket of hop god Carlsberg, I scan the room to assess drinking antacid liquid Gaviscon through a straw has left the hopes and dreams of another graduate swathe. an impression. When she retired last year, I’d hoped her I’m distracted. It’s a star-studded affair. I was pleased the time might be spent walking the Jurassic Coast or playing landlord of my local pub turned up at my graduation. cribbage with friends. What next? Beware worn stair From the gallery’s vibrant interior I can see The Times carpets, homes’ hidden killer? Magazine director of photography Graham Wood; I’ve never seen The Times Magazine director of photography 15th I’m trying to phase out my afternoon naps. Graham Wood. He’s talking to the prestigious and Resisting droopy lids, I arrange to meet Jocelyn Bain Hogg. award-winning picture editor Colin Jacobson. Picture editor There’s a pecking order in photography and on this occasion at Comic Relief Susan Glen clip-clops past, revealing I think the pendulum swings towards his neighbourhood. double World Press Photo winner George Georgiou in I arrive half an hour early and chug a glass of large white at a tête-à-tête with show curator Harry Hardie. Focusing on the First Floor bar on Portobello Road before finding an the displays, the work is good and democratic, 24 students outside seat at the unlicensed Gail’s Artisan Bakery. each with five framed prints. Many have supplemented I splutter an order for an Americano; I’ll try anything once. these with boxed prints, and DVDs, and hardback books. Big Bain Hogg is 15 minutes late. He is also flying the I wonder what they all aspire to achieve next. Chris Nobbs flag for England at this year’s Visa pour l’Image Festival. has photographed real motorcyclists. Emily Whelan loves JBH is exhibiting The Family, a follow-up to his acclaimed “How photography gives you the opportunity to go on many The Firm. I’ve a retrospective, England Uncensored – adventures.” Gordon Stabbins’ work pricks the eye but I pin A Decade of Photographing the English. Well, I’m calling it my ring-pull rosette to my one-to-watch, Eleanor Edwards, a retrospective, for others it’s a plundering of my archive. and her quite brilliant fashion shots of ice cream lovelies in We discuss strategy. I tell him about my order for 100 violaceous latex creations. PETER DENCH amusing fliers at £14.99 from Vistaprint to distribute around the festival bars. He tells me The Family is published 18th-19th A 7.30am departure on a two-day assignment by Foto8 and 300+ copies are being driven down for sale for German news magazine Stern, a travel feature 37
- 38. the dench diary Right: A womanstands between two boys from Abingdon School wearing blazers in their rowing club colours in the boat tent area at Henley Royal Regatta, one of the premier events of the English summer season. Below: Two boys wearing blazers in the colours of their rowing club watch the racing on the river Thames at Henley Royal Regatta. many country house estates as possible. I wrote to the “After graduation, I gobbled up every opportunity to visit 11th Duke of Devonshire explaining I was writing my upper-class institutions and events to snap the posh at play: dissertation on historical representations of the aristocracy and their influence on contemporary photography Eton and Wellington colleges, the gentlemen’s clubs of Pall (I wasn’t), and it would be of great benefit if I could attend Mall, Henley Royal Regatta, country game fairs, Lord’s the tercentenary party of the Devonshire dukedom (I did). After graduation, I gobbled up every opportunity Cricket Ground, beach polo and Ascot.” Peter Dench to visit upper-class institutions and events to snap the posh at play: Eton and Wellington College, the gentlemen’s documenting Royal Ascot races and Ascot Park Polo Club. clubs of Pall Mall, Henley Royal Regatta, country game I first became class-conscious at the age of 18 when I met fairs, Lord’s Cricket Ground, beach polo and Ascot. Alex Steele-Perkins (now, was he nephew of Chris?) and Today at Royal Ascot the English class system is again his friend Piers. They patrolled the world with a confidence performing admirably. An acknowledged invisible line and indifference I’d never experienced before. I didn’t divides the crowd. At one end, I snap a rookery of understand them or where they had come from and I top-hatted toffs who scoff, flap and waddle around the wanted to understand them. Trying to discover what birth Royal Enclosure. At the other, The Only Way is Essex had denied me, I’ve been self-flagellating ever since. wannabes tug at hems, slip, slop and peer through Pimm’s. My first project at university was to get invited to as Later at Ascot Park Polo Club, I train my zoom lens on Tarquin Southwell as he charges towards goal wielding his long-handled mallet with the same ferocity one might imagine Lord Cardigan, sword aloft, bearing down on the Russian guns during the Charge of the Light Brigade. I’ve now used a zoom more on my last three assignments than in the previous 12 years, it’s the ageing snappers’ walking stick. 20th Received an email from Jacob Jenkins at World Wide Art Books: “I visited your online portfolio, and I liked your work.” I like Jacob. ‘You are therefore pre-selected to submit work for inclusion in International Masters of Photography, a juried annual art photography publication presenting noteworthy photographers from all over the world.” I am noteworthy. “Please note that this is not a free inclusion.”Ah. I reply to Jacob: “Thank you for inviting me to spend money to be included, I’m usually paid to be featured in publications. Please note you have not been charged for this reply.” Jacob says the request is: “Not for pretentious artists who think they are too good to PETER DENCH pay.” I’ve gone off Jacob. 21st Today is going to be a long day. 38
- 40. the dench diary Right: An EtonCollege pupil between classes at arguably the world's most famous public school. Below: Bianca Morris, aged 16, during lacrosse practice at Wellington College. “Street photography; it’s what paid photographers do on contender belches out some Elvis: “I’m caught in a trap, I can’t walk out, because I love you too much baby.” their day off, isn’t it? Perhaps it’s no coincidence that in Except that at 8.30pm we do walk out, the bar closes and the curfew crowd disperses. the current economic climate, street photography has swept to prominence which, ironically, has delivered 27th Receive an email from the AOP Open Awards; they regret to inform me my work has not been selected (-£15). a welcome payday for many.” Peter Dench 29th Register one print for the Taylor Wessing 23rd Arriving in Coventry, the subways funnel a cold Photographic Portrait Prize (-£23). stream direct into my face, whichever way I turn. I’m trying to find the University Technology Park where 30th Street photography; it’s what paid photographers do I am to give a seminar as part of development agency on their day off, isn’t it? Perhaps it’s no coincidence that in Rhubarb Rhubarb’s series, The Crossing. I make it in time the current economic climate, street photography has swept to hear David Birkitt from DMB Media speak. to prominence which, ironically, has delivered a welcome Thirty seconds into his talk he mentions Martin Parr; payday for many. You can’t walk in off the street without seems I’m not the only one afflicted. I promised myself to walking into a street photography workshop. Today I walk rise above the ‘affordable MP’ tag but David explains into the inaugural London Street Photography Festival at Parr’s editorial day rate is a non-negotiable £1,000. the German Gymnasium for the Vivian Maier exhibition David’s presentation is informative, inspiring and and awards announcement. depressing. Inspiring, as he explains there is still time to make money (American photographer Larry Fink came It is with sadness in my wine-stained heart that I type the late to the dollar, it appears). Depressing, as it may take last PP Dench Diary entry. I pop a cork, fill my glass, turn another 15 years (there’ll be a Wetherspoon in my name). 360° and raise a toast. Crank up the volume on the Love As I conclude my spiel, I crack open a can of vodka & Inc 1998 dance classic You’re a Superstar and sing to each tonic; not just any V&T, a Marks & Spencer V&T. and every one of you: “Everything you are today is what “Are there any questions?” A hand is raised. “Are you an you want to be, so don’t be someone else when you can alcoholic?” I miss the days of “What film do you use?” be the best so easily, if you try, and believe, my baby I’ve booked my return train for three hours hence to allow you’ll succeed, and your eyes will make you see, you’re me to schmooze with colleagues and fans. Fifty minutes a superstar.” CHEERS! PP later I’m alone and tweet my distress. It’s @DeanoBeano1 to the rescue and I’m frogmarched round to Impulse Bar & Club, ‘Coventry’s number one hot spot venue to visit, an www.peterdench.com eagerly awaited breath of fresh air to Coventry night-life.’ Peter Dench with customers at the When I arrive, Satan is hosting a Phil Mitchell v Miranda To read previous entries from the Dench Diary go to Impulse Bar & Club in Coventry. Hart lookalike karaoke competition. One balding WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 40
- 41. “Light Blue ismy second brain! It means I don’t have to remember to do things – all of my tasks are calculated automatically and I get reminded of them every time I open the program.” Jon Rouston, Light Blue user Thousands of photographers have discovered how Light Blue can help them run a busy and successful photography business. Managing a diary, contacts, communications and the financial side of things is easy, and it’s simple to set up and customize your branding and templates. Download a free, fully functioning 30-day trial from our website, and discover Light Blue for yourself. www.lightbluesoftware.com
- 42. SUBSCRIBE FOR JUST £2.75 AN ISSUE! Enjoy great savings when you subscribe to Professional Photographer SCRIBE SUB AVE AND S 35% Subscribe by UP TO Direct Debit for just £8.25 every 3 months, saving 35% - that’s just £2.75 an issue Alternatively subscribe by credit/debit card for £37.80, saving 25% EASY WAYS TO ORDER www.subscriptionsave.co.uk/pp
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- 44. [ ] / 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. ONES TO WATCH NICHOLAS HILL DOCKLANDS LIGHT RAIL Docklands Light Rail by Nicholas Hill is a stunning time-lapse journey from Greenwich to Docklands in London, going through Canary Wharf. This film is of high quality, due to the detail in the dynamic range, and is among the best I have seen in time lapse for quite some time. The HDR was done using the SNS-HDR program, which we feature in the Software section. It was produced using the MX2 controller from Dynamic Perception (see the Kit section for more information on this slider). All in all, an inspirational sequence. VINCENT LAFORET http://vimeo.com/23758772 Stefan Gilgen’s first project involving a DSLR California-based director and photographer; setup. He used a Canon EOS 5D MkII, Nikon if not, you should look at some of his films. lenses and an Igus slider. It is a simple advert, He and Philip Bloom have worked hard at but oozes quality, with a clean and crisp look. promoting HD DSLR film making. Take a STEFAN GILGEN Sometimes keeping it simple is best. look at this trailer (pictured above) for a new www.professionalphotographer.co.uk/0893 film, Inversion. Needless to say, it is great work. He shot this with director Loni REKA INVERSION Peristere, using the Canon EOS 5D MkII rig In March, an advert for travel company Reka If you are interested in convergence, you have and a Zeiss CP.2 lens. was released on Swiss TV. It was director probably already heard of Vincent Laforet, the www.laforetvisuals.com 44
- 45. KIT /////////ON THE GRAPEVINE ATLAS 10 CAMERA SLIDER for most sequences and easy to transport, allowing for easy one-person operation. A small amount of assembly is involved, as the dolly and It has been noted that several Cinevate is one of the leaders in creating rails ship in different boxes. The most exciting Nikon offices have prevented accessories for DSLR film making. The Atlas thing about this kit is the MX2 controller itself. 10 camera slider is one of its most popular The push-button programming controls are some of their staff from booking pieces. You may have to wait a short time for simple to use, so you can set up and get shooting holidays at the end of August, this to be shipped due to high pretty much straight out of the box. It fits in demand, but it is well the hand and is light, again great for transporting. prompting speculation that there worth the This could well be my next purchase. will be a huge announcement. price. The Atlas www.tlpro.co.uk Most of the speculation comes 10 is a bearing linear tracking system which TERADECK CUBE from web-based sources, but you can use on virtually any terrain. Some forms of guerilla film making rely heavily something seems imminent, with This design has seven different tripod on the ability to have quick setup times and to suggestions that the manufacturer mounting-plate locations. The beauty of this move quickly from location to location, which system is that you can also use it vertically, can become difficult with complicated VT will be announcing the new D4 and allowing you to make almost jib-like operation on set. The Teradeck CUBE is D400, which will replace the D3s movements. The Atlas 10 carries a maximum a camera-top wireless HD video encoder and and D300s. Several sources have weight of about 40lb (18kg). At only $629.98 allows the streaming of up to 1,080p over Wi-Fi (£395) this would be a great addition to your or wired ethernet. Its ability to transmit to an reported that the specs bode well portable kit. iPad allows for monitoring without the high for the film makers among you, www.professionalphotographer.co.uk/0824 cost of the VT rigs. Being untethered from the with a suspected full frame 18MP camera allows for the manoeuvring of high jib MX2 CONTROLLER shots and complicated tracking moves without sensor and full 2k HD video at The MX2 controller from Dynamic Perception is the need for a cable basher. Using only 2.5w of 30fps. I have yet to see any signs one of the simplest remote sliders that I have DC power and weighing just 7oz, it is easily of 25fps - this will undoubtedly be seen. At only £199, it is also one of the cheapest attached to rigs without adding to weight I have come across. Being able to create distribution too much. It uses H.264 available at some point. motion-tracked time lapse is something all film video compression, simplifying wireless There seems to be a flexible makers love to achieve, but until now this has transmission from your DSLR. monitor which will help those of us been an expensive, time-consuming discipline. Its latency is only 1/8-1/2sec, so With this piece of kit, all film makers, from new you won’t be far off who find the current DSLR ones to pro, will be able to create beautiful and monitoring live, though restricting; but as far as audio creative sequences. In the complete package, measurements by which costs £649, you get the Stage Zero dolly independent third-party testers goes, we will have to wait and see with a 1.7m rail, the MX2 controller, power on iPad’s native video decoder adds about 10 what the improvements are, if any. supply and camera cable (which you must seconds of latency to that figure. An RTP (Real specify on purchase). The rail is a great length Time Transport Protocol) solution for iPad will be available shortly to eliminate the latency issue. All told, this is a great bit of kit WHAT’S NEW and could be a tremendous help for anyone NIKON SHOOTS ITS OWN AD needing to move around freely. The price is Following the lead of Canon (which shot an £1,794 (including VAT). advertising campaign in Australia using its www.professionalphotographer.co.uk/0873 own DSLRs’ film capabilities), Nikon has shot Ashton Kutcher an advert entirely on its D5100. Having at in Nikon’s hand the experience of award-winning cinematographer Matthew Libatique and latest advert. SOFTWARE Hollywood A-lister Ashton Kutcher would CANON UPDATE FOR THE EOS-1D SNS-HDR PROGRAM obviously make things a little easier, but it’s Canon has released another small firmware The SNS-HDR, used in the making of the great to see the top manufacturers taking update for the EOS-1D, which will improve Docklands Light Rail film featured in the Ones convergence seriously. Before, they would writing and reading speeds when using UDMA to Watch section, is a great program which have opted for the adverts to be shot on more cards. It also fixes a problem where shooting processes images in the HDR. Taking the same orthodox cameras, such as the RED, which movies may not be possible, for example when shot but with varied exposures, this software is ridiculous, because it showed little using 32GB or greater CF cards which have will align images automatically (compensation confidence in their own equipment. only a small amount of space left, and the offset, scale, rotation and perspective in RAW or But thankfully, finally, they get it. It’s such operator tries to take video; or when the other image formats) and save in the available a great selling point and hopefully we will battery is removed and re-inserted on to the formats. You can get a simple version for free or see more of this ‘proof is in the pudding’ camera and the user tries to shoot right away. buy the pro version for 85 euros (£76). From the shooting. Check out the commercial at www.canon.co.jp/imaging/eos1dm3/ results I have seen you can’t go far wrong. www.professionalphotographer.co.uk/0851 firmware.html www.sns-hdr.com 45
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- 47. 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 talk to Adrian Evans, director of Panos Pictures, the agency for global social issues, to hear his thoughts on what it takes to make it in the industry and how multimedia is shaping the new landscape of photojournalism. JAN BANNING / PANOS Adrian Evans Director: Panos Pictures How do you discover new photojournalists? Above left: Mario Calizaya Condor, deputy mayor of There are so many photographers out there; Betanzos in the department of Potosi, Bolivia. Above: Arun Kumar, who handles the travel requests of sometimes we get a dozen people enquiring in other civil servants, in Patna, Bihar province, India. a day. It’s overwhelming, so this year we Both images from Jan Banning’s Bureaucratics project. instigated a new process where we actively made a public call for photographers to submit an journalistic skills – those are the two most application to join the agency. We’ve just taken on important things. A lot of photographers are Career history: six new photographers and that’s the first time we’ve ever done that. It was carried out in a very technically gifted but they lack the eye for a story, the journalistic approach; that’s often missing in Bicycle courier ad hoc way before that, we were constantly photojournalism now. It’s also important that Freelance graphic designer writing to people saying, “Actually, we don’t take people consider their practice. Many of them Picture researcher: Hutchison Library anyone on.” We’re always interested in what’s believe that because they are photographing an Picture editor: Panos Pictures happening, though, what’s out there, but it’s easier important story, the pictures will automatically be Director: Panos Pictures for the photographers to know that once a year or good enough, but you’ve got to think about more every other year there will be this application than that. You must bear in mind who your process. It makes our system more transparent. audience is, why you are trying to tell a story, I’m not sure we’ll do it every year but we might what you are trying to achieve and so on. do it every other year. Outside of that we do There are a few people who are good at that and identify photographers who we think we’d be quite a lot of people who aren’t very good. “The only problem with interested in working with. Do you think photography students and multimedia is that we’re all So how do you find individual photographers prospective photojournalists are aware of the talking about it but no one’s outside of the open call for new members? need to think that way? worked out the economic Well, if anyone writes to us it’s always great to be pointed in the direction of a portfolio website I think students are aware of it but also that not everyone has that skill. Students definitely get model that we should so we can get a feel for the type of work the taught it in college but they might not be made apply to it.” Adrian Evans photographer does. What my colleagues and I are looking for is someone who knows how to sufficiently aware of the fact that editorial photography is not the revenue burner that it was construct a visual narrative and who has good 20 years ago. When I talk to students I tell them 47
- 48. frontline get the stories into the media too, because that’s important to them. Is it essential to become a member of an agency to get commissioned by these types of organisations? They do commission directly but belonging to an agency works well for photographers. For example, we seek out work for our photographers and we sell their images. The other thing that we do as a collaborative process is work directly with photographers to help them develop their projects or get to a certain point in their career. This type of work is important for us, otherwise it becomes about shifting units. Are you seeing more women becoming IVAN KASHINSKY / PANOS photojournalists? I’m desperate for more women to enter the profession. I believe there are more women now than in the past. Of course, there have always been women in the profession but just as an Salt mounds near the village of Colchani on Salar de illustration: I was at the World Press Photo Uyuni, Bolivia, the biggest salt lake in the world, from Awards, in Amsterdam, early in May and they Karla Gachet & Ivan Kashinsky’s project, Tunupa’s Tears. “The way in which people called all the winners on to the stage and I looked that these days being a photographer is about so are telling stories now has and thought, “My God”. There were two women out of around 50 people. That shocked me. much more than taking photographs; that’s a new changed a lot, which is It’s important to have more women because it development in the digital era. Now you’re expected to shoot video, collect audio, design making photojournalism used to be a bit of a boys’ club. your own website, maybe even lay out your own more interesting.” Adrian Evans Has the profession become more dangerous? book if you’re going to do one; you’ve got to be I wouldn’t say it’s more dangerous than it has ever multi-talented. In the old days you got a job, did been. Obviously we had the recent terrible event it, gave the films to the lab and that was it. in Misrata with [the deaths of] Tim Hetherington, also do post-production you’re putting yourself in who worked with us, and Chris Hondros, who was So are students being taught all those a much better position. Then you’ll be able a Getty photographer. We’ve just taken on Guy ancillary skills demanded of them? to deliver a product that someone can work with. Martin [who was injured in the same mortar Yes, I think so. The only problem with multimedia It’s just another of the skills you need. attack in Libya] and we’re hoping he’ll be able is that we’re all talking about it but no one’s to work again quite soon. Photojournalists have worked out the economic model that we should How has commissioning changed? always been targets. The wars that are more apply to it. A lot of people want to use We still work with the newspapers because it’s dangerous are those in places such as Libya. multimedia, particularly on the web, but no one a good way to get a photographer’s work out to You’ve got what I call the ‘American wars’ in really wants to pay for it. That is a problem. a wide audience, but they don’t support Afghanistan and Iraq where most of the time one photojournalism in the way they did 20 years ago. is embedded, which does have its drawbacks but Increasing numbers of photographers are If a newspaper says they’ll fund you to do three or guarantees you some level of security, whereas in beginning to shoot movie clips; is that trend four days’ work somewhere, that isn’t long Libya it’s a civil war with no one observing. going to flourish? enough to produce a major project, so although By the nature of the game, people put themselves The technology drives that and it will happen they are still important as disseminators of into dangerous situations to get their stories. more and more. I do think it is difficult to shoot information, newspapers and magazines aren’t both [stills and video], you can only really do going to be the financial supporter of what you Are you seeing a shift in the type of imagery one at a time and just choose your moment. do. At Panos we do a lot of what people call being shot by photojournalists? National newspaper photographers are now traditional photojournalism – issue-based stories, We’re more about the story behind the news at trained to do both. If you’re entering the concerned photography – so we look to work with Panos but I do think conflict photography has profession it would be assumed that you could people such as advocacy organisations, charities changed quite a lot. Now, it’s about post-conflict shoot some footage and I think it’s a good idea and NGOs, who have got a message they want to and not necessarily the frontline stuff. to learn the rudiments at least. Of course, leading make people aware of. These groups are more Documentary photography has changed, it’s been on from that, if you want to do post-production likely than a newspaper or magazine to fund influenced by what goes on in the art photography you have to learn programs such as Apple’s Final you to produce bigger bodies of work. They are world. Photographers are starting to get work Cut Pro or Adobe After Effects, but if you can more likely to work with you if you’re able to exhibited in galleries and looking to obtain 48
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- 51. frontline A Hasidic manwaits as his wife and child go on a seaside ride in Aberystwyth, on the west coast of Wales, from Chloe Dewe Mathews’s Hasidic Holiday project. print sales. The way in which people are telling stories now has changed a lot, which is making photojournalism more interesting. At the extreme end, we have one photographer, Mishka Henner, who is producing work using Google Street View, so he’s not even taking the pictures. It’s like art in that it is conceptual but he has produced a project that is also very real. How can you build a portfolio without travelling to conflict zones? CHLOE DEWE MATHEWS / PANOS A lot of people assume they need to go to exotic or dangerous places. Sometimes when I go to student shows and see the people have travelled halfway around the world I think, “You should have saved your money; you could have worked at home.” There’s so much on our own doorstep and people ignore that fact. They look for the exotic but actually the exotic in life – the most surreal of all the different avenues there are for revenue. and unusual things – is often right under your They’re young and know what’s going on, so I nose. I’m really not bothered about where the “If you look at newspapers, think they do understand the changing landscape. photographer has gone to produce their body of work; what I am interested in is their vision and it’s the advertising that pays They may have false expectations of what they’re going to earn. When you tell people how much ability to identify a story and tell it. for content, not the cover they might get for a feature in one of the Do you think conflict photojournalism is seen price, so in one sense [weekend] supplements they are horrified, they think you’re joking. It always amazes me how as glamorous? photographers have to find a many people are trying to get into the industry. Yes, it is perceived that way. That’s the problem with photojournalism, people think it’s all about way of cross-subsidising How has the industry changed since the the dark side of life, about conflict, drug what they do.” Adrian Evans launch of Panos Pictures 25 years ago? addiction, prostitution and poverty. And yes, The whole way in which people create imagery while those issues are important and our role is to now is much more complex than it was inform people about what’s going on in the world, confuse change with decline. Those people who 25 years ago. We had a simpler approach to the that’s only one side of life. For example, you don’t are able to navigate their way through the change world then; now we live in complicated times. see many stories about the middle classes, even and understand how best to use photography now The imagery we see now reflects that, it’s though they make up a huge percentage of the are the ones who are going to be the most multi-layered. If you had told someone 25 years world’s population. I’m always on the lookout for successful. I heard recently someone saying that, ago how it was going to be now they wouldn’t those kind of subjects and when you see them you pound for pound, the photojournalist is the most have believed you; the digital age is massive. think, “That’s amazing, someone’s gone out to efficient news-gathering machine there is. If you That’s good because in our field, for example, it find images of a subject people don’t normally think about it they don’t go out with a large team makes it much easier to distribute work, get it think about.” One of our photographers, Jan of people, they’re on their own, so it’s a very around the globe and receive it. On the down side, Banning, did a project on bureaucrats around the cost-effective way of gathering information. the web is almost predicated upon content being world. By its very nature it’s quite a dull subject, free; people don’t expect to have to pay to see but it’s also universal because we all know a civil Is this popularity due to the number of ways things on the web, therefore those people who servant, so it appeals to everyone, which makes it people can now see work, for example, on control content don’t want to have to pay for it a brilliant project. That’s the kind of thing where YouTube? either, and that’s a bit of a problem. It’s something you think, “actually, that’s a great idea.” It helps, it gives you many ways of marketing we have to navigate. If you look at newspapers, I’m looking for ideas; ideas are the currency. yourself and creating your own brand, it’s the advertising that pays for content, not the but then there are so many ways of marketing cover price, so in one sense photographers have to Photojournalism seems to have come into the yourself now, you have to rise above that. find a method of cross-subsidising what they do. public eye again recently, would you agree? That’s where an agency helps, actually. It might not be the end user who pays for them to I think you’re right. It’s interesting because within do what they want, it could be someone or the industry photojournalism is seen as being Do students have a realistic expectation of something else in that chain. I wish I had the in decline but I’m not sure I agree with that view. where their work will be seen? answer but I don’t. I do think that’s the way It’s changing – massively – but we shouldn’t They are fairly realistic but they should be aware forward, though. PP 51
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- 53. GUESSLIGHTING In his blog,professional photographer Ted Sabarese tries to work out how other photographers have lit their images and offers his own unconventional theories on how the shoots went. This month he brings his lighting experience and limited drawing ability to Amercian THE photographer Alex Prager’s Spring/Summer 2011 campaign for handbag designer Bottega Veneta. ALEX PRAGER/BOTTEGA VENETA SPRING/SUMMER 2011 CAMPAIGN Alex Prager is hot stuff right now. If you haven’t heard of her yet (shame on you) you surely will. Her fine-art work is brilliantly cinematic. She’s a kind of modern-day Cindy Sherman who has been exhibited at little-known venues such as the Museum of Modern Art (MoMA) and the Whitney ALEX PRAGER / BOTTEGA VENETA Museum of American Art in New York City. When the people at Bottega Veneta asked her to shoot their latest advertising campaign they were rewarded with truly provocative imagery that looks a million miles away from all the other current fashion ads. This particular execution (with a not-so-subtle nod to Hitchcock) was created with two HMI lights. CAMERA: Contax 645 with 80mm lens and Kodak Professional Portra 160NC film, handheld from a distance of 12ft. Shot at 1/60sec, f/8, ISO 100. LIGHTING: To mimic and blend with the midday sunlight, Alex has set three times within an hour, Alex told him it was good luck. He had his an ARRI 12000W Fresnel HMI, 15ft to camera right, up high and slightly reservations until he won the local Pick 3 Lotto the following day. PP behind the model. A one-stop silk in front helps soften the light just a touch and creates the attractive highlight on his face. An ARRI 6000W Fresnel www.guessthelighting.com HMI with barn doors sits 12ft to camera left, positioned in front of the Remember, this is called ‘Guess’ the Lighting. Therefore, all lighting, camera, model and lower to help fill the shadows. To achieve this dynamic, upward lens, grip, f-stop, shutter speed etc information may not hold up in a court of law. angle, Alex must have built a stage for the model to stand on. Any guesses as to what the featured photographers were wearing, drinking or TED’S THEORY ON HOW THE SHOOT WENT: Shoot with live birds (did pondering while creating the shots are not necessarily subject to any reality other than my own. Suggestions of marital problems, hangovers, jet lag, you spot the pigeons on the telegraph pole?) and you risk the odd pooping. disease or any other contributing factors should, likewise, be taken with the These possessed an almost supernatural aim. When the poor model was hit proverbial grain of salt. There is a lot of guesswork in guessing – Ted Sabarese 53
- 55. David Hemmings and the model Veruschka in the iconic image from Blow-Up and (below) Hemmings in another scene from Antonioni’s 1966 film. exposure ARTHUR EVANS © TURNER ENTERTAINMENT COMPANY – A WARNER BROS ENTERTAINMENT COMPANY. ALL RIGHTS RESERVED Images that have us thinking, talking and debating... Blow-Up. The film that launched a thousand or more photographic careers, the film that laid down the ground rules for how photographers should act and dress. Was it based on Bailey or Donovan or both? Don McCullin supplied the images that David Hemmings was meant to have shot, that’s for sure, and photographer John Cowan allowed his studio to be used as the main set. It’s a PP favourite, as is the latest book about it. “I thought you were in Paris!” PP Antonioni’s Blow-Up, by Philippe Garner and David Alan Mellor, published by Steidl, £32, ISBN: 978-3-86930-023-8 www.steidlville.com 55
- 56. NEIL KIRK IS ONTHE PHONE Neil Kirk’s work has defined street fashion photography for more than three decades. PP Editor Grant Scott had worked with Neil in the 1990s and decided to give him a ring to talk about the new commercial photographic landscape. Grant: How are things? to style than Vogue. There is currently a plethora N: I started out art-directing within advertising Neil: Oh, okay, tired. of new, clever, groovy magazines which are and a lot of my pictures are pretty well G: Isn’t that what defines being a photographer? not tied to their advertisers as a lot of the more art-directed so I had no problem with his input. N: I guess it is, you know I’m still flailing away, traditional publishers are. Being tied to the Nowadays I do all sorts of stuff and I’m even the doing interesting things, getting into trouble. advertisers then dictates what they put in creative director on a magazine myself. G: Why are you still getting into trouble? the editorial and the editorial becomes part of The camera has always been an extension of me; N: Well, you know sometimes you’re forced to the advertising package. I’ve never been a technical photographer, cameras say no these days. It’s a very different atmosphere G: I don’t mean this as a derogatory comment but have always been the least important part of the and world to what it was and sometimes you the archetypal Neil Kirk image when you were cycle for me. The physicality and communication just have to say no to these PRs who deal with shooting for Vogue all of the time was of a girl between me and who I was photographing have actors and you have to say no to clients; to running down a street hailing a taxi. It was a always been the most important part of it to me. make sure you are not doing what you don’t powerful commercial image. G: There seems to be a lot more opportunity want to do or don’t enjoy doing. N: It was a lifestyle thing, a high-end lifestyle today for photographers to bring a multitude of G: Do you mean saying no prior to a shoot or thing but then grunge occurred and there was talents to a client. during one? a kind of low-life lifestyle thing, a more real N: Yeah, a typical job for me would be like the N: Both and saying no after the shoot. One of the version of the lifestyle I had been documenting, one I completed last week in Paris. I was there main problems these days is middle management; which was kind of interesting. I think that all week shooting a poster, an ad campaign, how every decision is essentially based on people reality is far more prevalent in photography now. in-store images and a small movie, all for a keeping their jobs. Risk is limited, although I It’s no longer just about photographing beautiful Swiss department store. But I am not looking for think that you can take a lot more chances if the objects. I remember once going through a set perfection in these – that is boredom to me. images are going to be seen online rather than on of pictures with Robin Derrick, the creative Getting exactly what I want is not very satisfying. the printed page. A lot of magazines now look director at Vogue, and he said: “Shouldn’t you be What I want is a derivation of what I want, very tired and old. looking at using the frame before the one you had a kind of accident. I like my work to be more G: It’s interesting you say that because your chosen?” which was the frame that wasn’t perfect free-form now. work defined the image of Vogue magazine for and I’ve now gone beyond that and often choose G: Does experience give you the confidence to many years. the frame that was before the one before the one take that approach? N: Yeah, that’s true. My images were always ‘up’ that was perfect. N: No, when I look back at what I’ve done, NEIL KIRK and about a chic universe. But things have G: Do you think Robin was right in getting you to always the picture that I have really liked has been changed and now I realise that there is a lot more begin thinking that way? the one that has got something ‘not quite right’ 56
- 57. “The physicality and communication betweenme and who I was photographing have always been the most important part of it to me.” Neil Kirk Los Angeles, 2010. 57
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- 59. { WORKING PRO} about it. So, as I’ve said, I am not into perfection and I’m not into cameras. So I’m in an interesting profession for me (much laughter). G: Photography is and should all be about photography. N: Yes, for me it’s almost about creating the perfect accident in a way. So I line everything up and get ready to knock it down. G: I always say that you need to know the rules to break them. N: That’s true. I work with a lot of very good assistants and I kind of feed from them in many respects. Do I know Photoshop? Of course I do. G: When you started out there was a very direct, immediate energy in your work. Have you had to fight with clients to keep it? “Getting exactly N: Not really; focus has never been a critical factor in my work. I just press the button and what I want is not think ‘that’s nice’. Essentially I have always been a cheerleader, that’s the style of photography very satisfying. I do. I make people do things which they wouldn’t What I want is a normally do, or wouldn’t want to do, and then I report on what happens. G: How does the approach cross over into your derivation of what film making? I want, a kind of N: The films that I’m doing are jerky and a little odd and a little busted. We are all bound by accident. I like my previous visual encounters and I get my inspiration not just from photography but from work to be more everything. I get caught up in a garden, I’m caught up in fine art and I’m caught up in east free-form now.” London art, everything. G: Do you think the fact that you live in both Neil Kirk London and Los Angeles means there is a bi-cultural influence in your work? Your kind of ‘up’ work has always had a place in American culture. N: The problem is that it is too prevalent in American culture. Everything has to have a certain smile or a winning look. It’s all about a quality moment. So it’s a blessing in that it allows me to make money, but it is also a curse in that everything looks the same. G: That comes back to your earlier comments about everything today being ‘supersafe’, having to be ‘on trend’ or ‘on brand’. N: Yeah, that’s completely true but I am beginning to see the boutique nature of advertising and publishing occurring again, primarily because you don’t need three receptionists with short skirts anymore to make you a good agency; it can be two guys sitting in a room. G: Anyone who came out of punk will remember the spirit of ‘let’s do it’ which informed the creative industries in the 1980s and I see a lot of that spirit returning today thanks to technology. A rooftop in N: That’s it, that’s the key and it does come down Los Angeles, NEIL KIRK to persuading the client that you can do the job 2008. and at the right budget. 59
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- 61. { WORKING PRO} Left: Los G: That’s a really good point because budgets are Angeles, 2010. the one thing that you must have seen change Above: Cape Town, 2009. dramatically over your career. N: Oh yeah, fees today are probably 1/10th of what they once were. You used to be able to earn ludicrous fees for really rather simple jobs and “Everything has to have a that no longer occurs. I never used to mark up film, as some photographers did – I never played certain smile or a winning those sort of odd games – and it’s the same now with digital retouching, which some people see as look. It’s all about a quality a licence to print money. I had an assistant who became a digital retoucher. He opened a studio in moment. So it’s a blessing New York and in one year he personally made something like $2.5 million, but last year he had in that it allows me to to rent out his apartment. Suddenly every kid coming out of college could retouch and the make money, but it is also market had gone. The only retouchers left are those who can do massive composites, which is a curse in that everything a structural thing. G: Over time we’ve both seen these ebbs and looks the same.” Neil Kirk flows within the industry, but for me, having been NEIL KIRK through them, it reinforces the importance of maintaining a consistency in your work. 61
- 62. “I work hard,I care about what I’m doing, I’m cheerful, but I’m also very bossy about N: I work hard, I care about what I’m doing, I’m cheerful, but I’m also very bossy about certain aspects. I’m also very loose because my pictures demand that of me. G: There’s a dichotomy here, isn’t there? It’s between being strong and serious about your career and creating images that you like, that your clients are also going to like. It’s a delicate balancing act. N: Well it is, but people book me for what I do, not what I don’t do. G: But that is an important element in your work. I would know what to commission you for and used to do that because I knew what you were best at. It’s a mistake a lot of photographers make; they confuse their clients and possible clients, and think they have to do everything. N: Well I can’t do everything. There’s no point in doing that. I have a very blasé attitude towards photography. I’m serious about it, but I’m not that serious about it. G: Which part are you not serious about? N: It depends but I never talk about what I do; if I’m at a party and someone asks me what I do I always say that I sell shoes, not high-end shoes, just ordinary shoes, in a shoe store. Then the conversation goes dead. G: Which you’re quite happy with. N: Which I’m very happy with. I don’t want to be asked what camera to buy or about my pictures. If you want to buy a camera just go to a store and buy one (much laughing). G: Do you see the growth of the niche and boutique client as a positive aspect? N: I think that the traditional client is starting to die. NEIL KIRK Both pictures, Hawaii, 2010. 62
- 63. { WORKING PRO} certainaspects. I’m also very loose because my pictures demand that of me.” Neil Kirk 63
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- 65. { WORKING PRO} G: Well they have got used to working on a large scale, which is not relevant today. There is also “I’m casting the girls, creating a belief that work created for analogue media can then transfer to an online environment, but they the energy, the way it are two different mediums that require different concepts to work. should be done and how the N: Absolutely, it’s like the movies I’m making. I have someone shooting them for me, and I’m viral will occur. At that point directing/editing/shooting, saying: “This is how I want it to look, let’s do a jump cut, let’s shoot you become an addition to the stills,” etc etc. G: What you’re describing sounds to me like agency you are working with creative direction, which is where you came in. N: It’s where I came in at the very beginning, as opposed to someone they yeah. It’s much the same. have just bought in.” Neil Kirk G: I think today that photographers have to be far more sophisticated in their offering to clients and that the days of waiting for the phone to ring are long gone. N: Absolutely, my input into a campaign is crucial. I’m casting the girls, creating the energy, the way it should be done and how the viral will occur. At that point you become an addition to the agency you are working with as opposed to someone they have just bought in. G: What you are describing seems to me to be very exciting and positive, which is how I see the state of the industry at the moment. But if you keep clinging to the old ways you’re going to see this time as the death of everything. N: You are and it’s kind of funny I don’t have a website, primarily because everyone else had one and I always thought I would let my agents handle that side of things. But now I think this is the time for me to have a website which works the way I want it to. G: You’re taking control. N: Yes, but it’s also about being proactive about what’s possible. It used to be the case that you could shoot seven days a week; these days you can’t because of the amount of preparation and post-production you need to do. Also, some of the most interesting things I do for nothing and that’s a pleasure. You know, what goes around comes around. G: You’re right and it’s been fun to catch up. N: I’ll send you some pictures that I think will answer stuff. PP To see more of Neil’s work visit www.patriciamcmahon.com FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT NEIL KIRK WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 65
- 66. Photography is dead, long livethe image… Inhis final article for Professional Photographer, Filter Company. Chris continued to make films until Brian’s death in 2010, when he established an archive of his father’s work (which according to legend Grant Scott examines the future for photography no longer existed after being put on a bonfire created by Brian and watched over by David Bailey). and predicts a time when we will all see ourselves So, as I was saying, I was chatting to Chris and he was talking about his as image makers and the very term photography new-found love for photography: old-school photography involving film, tanks and darkrooms. He made the point that photography was about capturing an will no longer be relevant. image and that as digital capture created images through coding and dots, it could not be considered photography. It didn’t capture an image, it created an I was talking to Chris Duffy the other day. Chris is an interesting kind image. This got me thinking. If this were the case, we are not photographers, of a guy. Throughout his extensive career he has been able to we are image makers or maybe image creators. embrace change and ride the industry waves. He is also the younger This line of thought is something which I have been pondering for some son of Brian Duffy, the photographic legend who sadly died just over time. Any regular reader of the magazine will be well aware of my belief in the a year ago. world of convergence and the need for photographers to embrace the Chris assisted his father throughout the 1970s, working on some of Brian’s possibilities of film making. Ever since I got my hands on a Canon EOS 5D most iconic advertising campaigns and images before striking out on his own MkII more than three years ago, I have felt that a door has been opened for as a portrait photographer. Throughout the 1980s he shot the pop elite, from photographers, one which leads to a vast, new and exciting creative landscape, Steve Strange to David Bowie, from Adam Ant to Spandau Ballet. He did well, bringing infinite possibilities to tell stories and create images. In short, this is yet despite his success through the decade of excess he gave up photography the future of photography or, as I now see it, ‘image making’. in 1987 to become a film maker. He joined forces with his father and For a long time I was a lone voice preaching to those who did not want to be brother Carey to create films and pop videos from their Soho base until Brian converted or even listen to what was happening within their own industry. decided to become a fine art furniture restorer and Carey founded the London The photographic publishing industry saw the addition of video functionality 66
- 67. {THOUGHT PIECE} to DSLRsand CSCs as nothing more than a gimmick, while the manufacturers and got commissioned. If you did a good job you had a career and the continually improved and added to their video offerings. Those who denied or quality of your work defined the level of your client base and your fees. ignored this image-creating revolution were unaware of how many commercial The life of a professional photographer was relatively simple, achievable and clients were demanding the moving image as well as stills while too many not too competitive. Today the roots to market are multiple, the client base photographers were living in denial as film makers moved on to their patch. reduced and the competition at insane levels. International barriers are down, “We are photographers, not film makers,” I would hear in response to my websites global. Clients’ expectations are raised to often ludicrous levels and protestations that the world was changing and leaving them behind. fees have plummeted. Now they are starting to listen – not all but some – because they have to. And yet the new photographic community grows as it indulges its passion To ignore where the industry is going is no longer an option. The future of for high-quality image making shared with an international community of photography is now; the new landscape has been drawn and is being populated. like-minded individuals for free. Is this a professional community? Are they One of the most interesting aspects of this new landscape is how it embraces professional image makers? Well yes, many of them are, as their work thoughts, comments and influences from other areas of the creative arts. demonstrates but they are embracing a new way of being professional. The Alan Moore, the graphic comic artist whose images have inspired the world of new landscape allows them to cross from passionate creators to professionals blockbuster Hollywood film making over the past decade, said this: “If we only and back again through personal and commissioned projects. The new see comics in relation to movies then the best they will ever be is films that do landscape allows for maximum imagination and creativity. It also relies on not move”. If we think of comic books as storyboards and refined platforms for these elements to ensure recognition of their work. still-image-led storytelling, then we are not far away from the core essence of Watching the film The Social Network one statement uttered by Facebook what photography is: image and narrative. If we then take this metaphor one founder Mark Zuckerberg struck a particular chord with me. He said this when stage further, the storyboard can be seen as a series of still images which it was suggested that the time was right to make Facebook a money-making becomes a narrative for a movie. The step from still image to moving image operation: “No! We don’t know what it is yet, it must stay cool.” Yet another then becomes a very small and logical one. It is at this point that the term person from outside of the photographic world making a statement with direct photography and photographer become redundant and the terms ‘storyteller’ relevance to the state in which the professional photographic market finds itself and ‘image maker’ become relevant. today. To me that’s interesting and as good a reason as I can find to look outside As Chris Duffy said: “Photography is about capturing an image,” the our industry for answers to the issues it faces. photograph is an end goal and photography is a process, whereas image making Anyway, back to the conversation where this all started and Chris Duffy, is a way of thinking. Once you start thinking like this, image making starts to who summed up the world of professional photography and film making like “‘We are photographers, not film makers,’ I would hear in response to my protestations that the world was changing and leaving them behind.” Grant Scott become a very exciting proposition. This for me is why the future of this: “It’s all fucked.” Well Chris, you’re not the only person I’ve heard this photography is so exciting. We should forget about what we call it and start to from and I think the old world might be, but the new world definitely isn’t. embrace what it is now and can be – not what it used to be. The old world expected to be paid to shoot or it wouldn’t shoot. It was about There is a great quote by the avant-garde French film maker Jean-Luc being commissioned. It was about interested parties controlling the procedures Godard which I have been referencing increasingly over the past few months. within professional photography and film making to the benefit of the few. He said this: “Photography is truth. And cinema is truth twenty-four times a It worked but today is unsustainable. The established walls have been knocked second.” A simple statement but to me one that cuts through to the true essence down and the traditional procedures have been dismissed. The few are now the of what photography is and should be while at the same time giving an obvious many and the many want a piece of the action. The terms photography and link to the concept of the close relationship between the still and the moving photographer no longer cover what we need to be. We need to think bigger image. What is even more interesting to me is the fact that this statement came than this, we need to see ourselves as image makers, storytellers, communicators. from a film maker and not a photographer. Despite all this new thought there is one constant from the old world: the Earlier on in this article I spoke of a new landscape for photography and up power of the image. Who creates it, how and on what no longer matters. until now you probably thought that I was only going to speak about the growth The definition of photography is no longer relevant, the definition of a of convergence as being the main constituent of this landscape. But to do that professional photographer is up for debate, but the impact of the created image, would be to be inaccurate and blinded to a new photographic community which whether in still or moving form, cannot be dismissed. What is the future of has also grown up over the past few years, enabled by technology, digital photography? None of us knows for sure but I will never stop wanting to platforms and the availability of high-quality equipment at low-level prices. question, discuss, explore and debate an art form which is one of the most This new community is young, open-minded and quick to embrace the new persuasive and influential forms of communication we have at our disposal and the untried, and to push the boundaries of the possible. They have grown today. I started working as a photographer by reading The Daybooks of Edward up with digital capture, the internet and easy and free access to images. Weston and I’m going to end my last article for this magazine with his words, They are redrawing the rules of professional photography. which featured on the cover of our July issue. “I would say to any artist: ‘Don’t Any photographer who has worked in the industry for more than 10 years be repressed in your work, dare to experiment, consider any urge, if in a new will clearly remember the simplicity of getting commissioned then. You shot direction all the better’.” great images, put them in a portfolio, made some calls, met some people Nice one Edward, I’ll go with that. PP 67
- 68. HIT THE STREETS Despite tighteningprivacy laws, the art of street photography is enjoying a resurgence. Constantly on the move in search of life’s quiet dramas, street photographers brave the elements and run-ins with the law, working without lights or assistants and relying on sharpened skills of observation. Alannah Sparks speaks to five of the world’s best to see what motivates them to bring us the absurd, the interesting and the extraordinary in everyday life that we’d otherwise miss. Street photographers, we salute you! Opposite page, top: Piazza RICHARD KALVAR – “In Fellini’s movie 8½, there’s this guy who’s a movie della Rotonda, Rome, 1980. director, and he has his whole world built around him. THE CONCEPTUALIST His wife, his mistress, his producer. Suddenly he doesn’t Opposite page, below: Woman looking at herself in a know what to do anymore, nothing is coming together, store window, New York, 1969. “It wasn’t until I started really looking he feels the weight of this whole world, everyone expecting everything. It turns into a total nightmare, through my contact sheets and everyone’s waiting, and then he slips under the table, gets refining what I was interested in that a gun, and while he’s under there something happens. RICHARD KALVAR / MAGNUM And suddenly, for no reason, at that moment of pure I realised that black and white was disaster, everything falls into place.” the perfect language for what I was And that, says Richard Kalvar, is what it’s like when a street photograph finally comes together. “There’s all trying to do with photography.” this sneaking around not getting anything useful done. 68
- 70. HIT THE STREETS “Myinvolvement with theatre was “My involvement with theatre was just a sort of serendipitous stepping stone as it put me in touch with RICHARD KALVAR just a sort of serendipitous stepping the people who eventually got me into photography.” American-born Richard became a member of stone as it put me in touch with the Kalvar had already done a year assisting fashion photographer Jérôme Ducrot in New York, but the Magnum in 1977 and has people who eventually got me into worked as a street spontaneous act of photographing people on the street – photographer in Europe, photography.” Richard Kalvar without lighting or staging – really captured his creative imagination. He returned to live in Paris in 1970 and it based in Paris, for 40 years. Despite beginning wasn’t long before he got on to Magnum’s books, his career training with You’re moving around, trying to get another angle, taking becoming a full member in 1977. But this is where the a fashion photographer he has dedicated his career lousy shot after lousy shot and then suddenly a woman split in his photographic personality began. to capturing the spirit of walks into a frame, totally unexpectedly, and it all just “Earning money by being a photographer was the greatest the street. comes together.” thing ever,” he says, “and it still is. But that’s not my After 40 years of photographing street humanity in photography, it’s the stuff that I – that Magnum – sell. all its facets, having globetrotted across Europe, the The stuff in my books – that’s my choice.” United States and Japan to document the marvellous Kalvar’s books are filled with scenes from daily urban eccentricities of the people on this planet, it’s not life tinged with his characteristic taste for the bizarre. surprising that Kalvar uses a film as a metaphor for his He goes out with a film camera (“when I am being paid work. Indeed there’s a strong element of the director I use digital, as obviously I can’t afford not to come back in the way that he works, framing each moment to contain with the shots, but when it’s just for me I like to use film”) a hundred dramatic possibilities. and waits to see what he might find. It wasn’t always that way. In fact, when he first arrived It’s the little dramas that fascinate. Scenes with layers of in Paris in the mid-1960s, it was as an actor. tension, with strange interplays and unanswered Having studied English and American literature at questions. Kalvar shoots mainly in black and white, and Cornell University in New York he was immersed in the this only serves to enhance the somewhat surreal cross-fertilised creative scene that defined the era. experience when looking at his shots. This defining He came to Paris to perform in a play about America feature of his work came about quite by accident. and ended up staying in Europe for six months, during “I started off shooting in black and white because I felt which time he decided to become a photographer. that that was what you were supposed to do,” he explains. “There’s all this sneaking around not getting anything useful done. You’re moving around, trying to get another angle, taking lousy shot after lousy shot and then suddenly a woman walks into a frame, totally unexpectedly, and it all just comes together.” Richard Kalvar “When I started out in photography there were certain things being done then that I accepted in a naive way. People not cropping, shooting in black and white – and I bought into all of that. It wasn’t until I started really looking through my contact sheets and refining what I was interested in that I realised that black and white was the perfect language for what I was trying to do with photography.” Kalvar’s unique approach to his photography almost as a kind of surrealist cinema director starts to come into play here. Shooting in black and white brought him one step closer to the abstraction that he started to realise he was aiming for. “What I was trying to do from the start was create these little dramas, scenes that took place within the rectangle, where it looked to MIMI MOLLICA the viewer like things were happening that weren’t necessarily happening. Black and white is one more thing to take you away from reality – it’s dream like.” 70
- 71. It might bea shot of a group of huddling octogenarians lined up in the street, looking entirely normal until you MIMI MOLLICA – spot the twisted, maniacally grinning mask in the middle THE PROVOCATEUR of the crowd. Nobody’s looking, it could almost never have happened, and it most definitely leaves you wondering. This is why Kalvar prefers not to add captions “I try to take pictures to make a to his images, arguing that “they make it too real. Why point... I know that by taking pictures cloud over something surreal with the real? I want an effect that’s unconscious on people. People try to work you can influence somebody else’s out what’s going on but I’ve learnt to avoid telling them, because when I do, they stop looking, they turn the page. perspective and this is something The mystery has been cleared.” I take very seriously.” Kalvar likes hiding himself in the crowds of big cities to happen upon his mysteries. He’s become adept “We are soldiers darling. Street photographers are like at dealing with the litigious nature of personal warriors. But nobody ever said it was an easy job.” MIMI MOLLICA photographic rights in Europe, and rarely gets himself Mimi Mollica has been held at gunpoint in Brazil, Risking life and limb to into trouble for stealing a shot. Japan, he says, is the faced Mafia bosses, perched on the edge of a carpet tell his stories, Sicilian street photographer Mimi ultimate playground for a street photographer, as people bomb campaign and endured scuffles with the police. makes pictures that are there pretend not to see you. He can snap away to his To say he is a warrior – albeit with a lens as his weapon – politically charged and heart’s content, secretly setting the stage for his is no exaggeration. Mollica is a provocateur with a strong thought-provoking. own constructed realities, taking lousy picture after lousy point of view, and an unerring dedication to sharing it. Based in London, he sees picture, until suddenly it all falls into place. A native Sicilian, Mollica had childhood shaped by the street photographers as the world’s archivists. “The best thing is when you realise you’ve got it right,” images captured and collected by his father, a keen he says, “I still get the same feeling when I’m looking amateur photographer. Family snaps and sunsets Above: Young men from the favelas through the contact sheets and I come across a picture gradually got replaced by Magnum books (“I knew the of Rio de Janeiro practise the that works – when I get that I really feel great. Just as Magnum roster inside out”), until Mollica took the Brazilian art form of capoeira on Ipanema beach at sunset. MIMI MOLLICA great as I felt 40 years ago.” decision to leave Sicily for London at the age of 20 Opposite page: A woman hides See more of Richard’s work at and to pursue a career in photography. His first assisting from Mollica’s camera in www.magnumphotos.com position was with Hélène Binet – an architectural Threadneedle Street, London, 2010. 71
- 72. HIT THE STREETS photographer– where he mastered line and perspective, sidelong glance is a formula that makes Mollica’s but that Magnum ideal of using one’s lens to bear witness work appealing to the weekend supplements, magazines, drove him to use his photographic skills to tell a story and exhibitions which have featured his work. rather than to frame a scene. Most of his projects, however, are self-initiated and “I am always aiming to tell a story,” he says from his self-funded, as he goes in search of the answers to flat in Dalston, east London, as we speak over Skype after his largely politically charged questions. he returns from a swim in London Fields Lido. “I try to Mollica is less interested in the single shot than in the take pictures to make a point, to try to understand and to series he can put together to create a bigger picture, so he raise questions about our condition: where we’re going, is acutely aware that the message he sends is largely what we’re made of, how technology influences us, where depends on the editing process. In his Terra Nostra story, are the weakest layers of society? I know that by taking where he returned to Sicily to photograph the effects of pictures you can influence somebody else’s perspective the Mafia on ordinary people, he juxtaposed images of and this is something I take very seriously.” disgraced Italian former Prime Minister Giulio Andreotti Mollica’s subject matter has ranged from the plight of with The Godfather film posters and portraits of sun-worn African and Middle Eastern immigrants crossing the Strait Sicilian pedestrians. It presented a reality that unnerved of Sicily to get into Italy, to the building of an many people, who were more accustomed to the gory internationally-funded highway in Senegal, where he Hollywood take on the effects of Cosa Nostra than the Above: Woman at a temporary bus stop in Kingsland Road, east London. posted himself for three-and-a-half months to bear witness quiet menace and intimidation that Mollica captured. Below: A hotel porter helps a to the changing landscape and sometimes reluctant But editing a story to send a message is only the customer to retrieve his lost car key, response of the inhabitants. Mollica positions himself as final stage in what can be a long, arduous and – in West 42nd Street, Manhattan, New York. the clandestine observer, but he’s not afraid to get up close Mollica’s case – often dangerous process. He explains and personal with his subjects, and if confrontation arises, that observation, speed and discernment are the then so be it. Combining incisive portraits with the odd foundations of any storytelling work. “With street “If it wasn’t for us, the world wouldn’t have a visual memory. We are the preservers, the archivers. If we stop taking pictures, you tell me which kind of memory is going to be left of nowadays.” Mimi Mollica MIMI MOLLICA 72
- 73. photography there isno stage, no lighting, no time for analysis. The street photographer is only one individual in a world that is constantly moving, so unless you have a very sharpened sense of observation, you’re going to miss things. Observation is the key to everything; and you need to be fast because the world is moving. People are walking, an ice-cream is melting, a ray of light falls somewhere, but it’s only for an instant and it’s up to us to freeze that moment. That’s why it’s very important to realise what is essential. And be able to convey a message in a fraction of a second.” There are wider occupational hazards facing street photographers – the most immediate being the mushrooming power of the internet. Mollica recognises the threat this can pose to professionals whose work can often be eclipsed by the live streaming on mobile phones of passers-by who happen to be present at a momentous event – the 7/7 London bombings being a prime example. But with characteristic optimism, Mollica views the internet as an ally. “I never bought into this panic state that the internet has created in the world of traditional photography.” So Mollica has set up Photowrap, a series of online photography tutorials which has furthered his reputation and created another source of income. “There’s no point standing alone against something like the internet,” he says. “You have to be open to it, try to become smarter, take better pictures, adapt to the changes and, if you are clever, use them to your advantage.” Not everyone uses the internet to its full potential and Mollica admits his pet hate is the ubiquitous Facebook party photo: arm out, big smile, snap. “That is why you cannot treat a street photographer like shit when he takes your photo in the street. If it wasn’t for us, the world wouldn’t have a visual memory. We are the preservers, the archivers. If we stop taking pictures, you tell me which kind of memory is going to be left of nowadays.” To see more of Mimi’s work visit www.mimimollica.com Hamburg, 2007. SIEGFRIED HANSEN SIEGFRIED HANSEN – THE ENGINEER “Because I don’t have to make a living from my photos I can do what I want. I have the freedom to go outside and make pictures that I want to and I’m very grateful for that. For me the most important thing is to be able to practise my passion.” “Sometimes you get lucky, but luck only really happens when you are prepared for it.” Echoing the words of famous golfers, economists and London, 2006. gamblers the world over, the fact that Siegfried Hansen 73
- 74. HIT THE STREETS buildshis photography work on this premise is a pretty “Because I don’t have to make a living from my photos good place to start. In street photography it can be argued I can do what I want. I have the freedom to go outside and SIEGFRIED that more luck is needed than on the average staged shoot, make pictures that I want to and I’m very grateful for that. HANSEN but the Hamburg-based civil engineer has spent 10 years For me the most important thing is to be able to practise Working in his native working out exactly what preparations are needed to help my passion.” Germany, where privacy him on his way. For a start, he never leaves his house It is easy to see how working as a civil engineer has laws are extremely strict, Siegfried uses without his camera, admitting to leaving behind keys, influenced Hansen’s work: there’s a graphic exactitude in a combination of good phones and wallets before he’ll forget his lens, and even every shot that belies the accidental nature of his humour, his training as remembering to pocket a spare camera in case his main compositions. Lines converge to point at a random a civil engineer and an one packs up. What’s more, he has developed his own element; shadows collude in order to highlight an appreciation of the beauty failsafe optical game, which ensures he can always pick inadvertent human exchange. Hansen says: “The shapes of seemingly insignificant events to create his out the anomalies in his surroundings which will come and elements are all there, but I walk around and images. together for a perfect shot. around, taking them in from different angles until “It’s a very concentrated effort,” he tells me in slow and suddenly they resolve themselves into a perfect considered words, “I am focused the moment I go outside. composition. As long as you train your eyes, you can I call it scanning. I look at the foreground and background see things wherever you go.” simultaneously, flicking between the two. This game I do But it’s not just a set of hawk’s eyes that lands a street constantly.” Hansen calls this game “finding the second photographer like Hansen with the shot he needs: it also layer”. His eyes never stop darting up and down, helps to have a healthy dose of good humour. Hansen is “That special humour that I have, I’m just lucky, because I see things that others don’t.” Siegfried Hansen foreground to background, until he finds that elusive connecting element. “If I see a balloon, I always look behind and in front of it at the same time. I look in the mirror, I look in the window and into the shadows. Over the past 10 years I have practised it and now for me it’s normal not just to see the one thing in the foreground but also to see the shadows, the lines and all those strange little connecting elements.” One example of these elements might be a free-runner who suddenly leaps into the background of a close-up of two children, who look the other way and miss the extraordinary action. Or it might be two swans which draw the viewpoint of a lone man down towards a happy couple on the bankside ahead of him. It could just be a looming shadow that advances on a small bewildered child who can see the source of the shadow, where we, of course, cannot. Hansen is always working for that ‘top shot’. For him, this is what defines street photography, seeing it as an art lucky enough to possess that droll sense of humour that Above: Hamburg, 2009. form that is all about the little surprises in life. This makes allows him to spot the unexpected in otherwise familiar Opposite: Hamburg, 2004. it hard for him to get commissioned by magazines, which surroundings. It’s a trait that few possess: “You can’t learn are looking for a story, or galleries, which are looking for this – you either have it or you don’t,” he says. a continuous theme, but he is resolute about sticking to his “That special humour that I have, I’m just lucky, because own artistic aims, and he does this simply because he can. I see things that others don’t.” Hansen took up street photography as a hobby after Needless to say, having plenty of spirit also helps when being inspired by an exhibition in Tokyo on the work of having to deal with a population that is exceptionally the Hungarian-born photographer André Kertész. suspicious of a lone man wielding a camera. In Germany He became fascinated by the subtle play between the there are strict laws on citizens’ rights to their own image, picture planes in Kertész’s work, and it spurred him on to and a photographer can be sued if he publishes a picture invest in a good camera and to spend every weekend of somebody who hasn’t given their consent. To avoid wandering the streets of his native Hamburg to try to run-ins with the law, Hansen has become adept at taking master that interplay for himself. street shots where the people become mere accessories 74
- 75. SIEGFRIED HANSEN GEORGE GEORGIOU within the scene: the side of a face or a retreating back, all become nothing more than building blocks in his GEORGE GEORGIOU – extraordinary, fleeting worlds. THE RACONTEUR Drawn to portray life in regions of conflict and “For me it is interesting that when you look at the street, political turmoil, most people don’t see the beauty of the small things,” “I didn’t want to be just another guy George seeks out the says Hansen, articulating the effect he would like his less obvious standpoint photographs to have on viewers. “I would like for people recording, but I found it hard to be for his images. A member of Panos Pictures, he to open their eyes. I see so much that most people miss as totally impartial – and in order to has several international they are running to their next destination. I make the awards, including two pictures to share these wonderful things I see. It’s a really listen to the stories, you have World Press Photo prizes. childlike wonder that I am lucky to have and I love that I to be impartial.” am able to share it.” To see more of Siegfried’s work visit Interviewing George Georgiou is somewhat different to www.siegfried-hansen.de the Q&A style interaction that you come to expect when 75
- 76. HIT THE STREETS interviewingcreative people. Georgiou is a raconteur, and his interview is a soliloquy – a story of his work, which I am more than happy to sit back and listen to. It strikes me that this is rather how his work process unfolds. It takes a long time, but if you allow yourself the time to process it, you can learn a lot. Georgiou doesn’t take on many commissions, because he dislikes binding himself to “other people’s stories and agendas”, preferring to stick to his own particular methods. Time is irrelevant to his work and most of what he does is not tied to a specific event but spread over a longer period. It seems the old adage “good things come to those who wait” works strongly in Georgiou’s favour. His story starts in London, where, supported by his Greek-Cypriot parents, he attended a number of photography courses before eventually completing a three-year course at what is now the University of Westminster. He spent five years doing what he describes as “drifting”: travelling abroad, documenting what he saw GEORGE GEORGIOU “I went to Belgrade... to a factory where there were 6,000 refugees... That was the story I decided to follow.” George Georgiou in places such as India and Russia. It wasn’t until he went to Kosovo in 1999 during the conflict in the former Yugoslavia that he began to develop the idiosyncratic techniques that define his work today. “I went to [neighbouring] Albania by car,” he explains, “and I realised how different your perspective is when you enter a country that way. It’s a slow process, you get time to think, and you get a chance to take in the periphery of a instead of running around shooting the action I went to Above: Children rehearse for place, which is where your ideas evolve.” Belgrade [capital of Serbia] to a factory where there were Youth Day, Mardin, south-east Turkey, 2007. But in Kosovo, the ideas that began to form were failing 6,000 refugees, and I found on one floor a whole village Left: New housing project, to be resolved because the events unfolding before of people who’d had to leave their homes. That was the Elazig, central Turkey, 2007. Georgiou’s lens were too complex to contain in a short story I decided to follow.” photojournalistic essay. So he stayed. For three years. Georgiou lived in the village after the conflict ended, “I wasn’t sure what I was seeing in Kosovo. There were witnessing the inhabitants returning to their homes, too many stories and you didn’t know what to believe, so finding the dead, burying the bodies, trying to rebuild 76
- 77. their lives. Thestory took almost a year of patience and pain, but in the end Georgiou had a viewpoint that nobody amount of time or money to find the bigger picture in even the smallest stories. If he can’t find that, then even if “Better technology else had developed. “I did very well out of it, I sold it to he’s spent a long time working on a story, he will move on makes it easier a lot of international magazines. I could have sold it and leave it behind. When he went to document the earlier but I think working on it for longer spreads itself conflict between Israel and the Palestinians, he found it to do street out money-wise. There’s a lot more mileage in it.” Georgiou is interested less in the single shot than in the very difficult to add his own voice to the cacophony of opinions that already existed there. “Just to have my photography.” message gained from a series of images and will spare no own viewpoint, to find something that’s new, another George Georgiou 77
- 78. HIT THE STREETS GEORGE GEORGIOU voice in the debate – I didn’t think I could do it here. I didn’t want to be just another guy recording, but I found the process. He moved from black and white to colour, in keeping with the mood of what he was shooting, and “I am a total it hard to be totally impartial – and in order to really listen began to juxtapose his street shots with intimate portraits, optimist. It may to the stories, you have to be impartial.” close-up stills and snapshots. Covering conflict can be very black and white, and for a Even though he admits to being a “relentless voyeur” not look that way photographer like Georgiou, who is forever seeking out the shades of grey, that can be limiting. After Israel when it comes to his work on the street, Georgiou rarely comes up against any difficulty or protest when he sometimes, but Georgiou decided to seek the kind of ideology, politics is photographing his subjects. “The secret is in the camera only by seeing the and religion that exist everywhere, not just in conflict I use,” he admits, when I query him on how people react zones. So he got back in his car and and set out to to their photograph being taken. He uses a Sony bridge bad things can discover a place where he could see “how the great divide becomes a part of people’s lives every day.” camera with an articulated LCD screen that may be viewed from above. “So when I’m holding it down, people you really learn The drive into Turkey was once again the formative don’t know what way I’m looking, whether it’s a video or to appreciate point of a story that was to last for several years. The book not. It’s a different reaction if you have a camera to your that came out of the project, Fault Lines/Turkey from East face pointing at them. Better technology makes it easier to the good.” to West focuses on Georgiou’s favourite subject of communities split between cultures, and in Turkey he do street photography.” At the end of the Fault Lines book there is a series of George Georgiou found a divide between east and west, old and new. portraits of Turkish people set against a clear blue sky. Above: Hakkâri, The huge tower blocks that greeted him on the way into It’s an optimistic note on which to end. “I am a total south-east Turkey. the centre of Istanbul represented a side of Turkey that optimist,” confirms Georgiou. “It may not look that way most people – beguiled by the exotic interplay between sometimes, but only by seeing the bad things can you orient and occident – never get to see. For four-and-a-half really learn to appreciate the good.” years Georgiou lived in Istanbul, charting its progress, To see more of George’s work visit capturing its inhabitants and developing his own style in www.georgegeorgiou.net 78
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- 81. MELANIE EINZIG HIT THE STREETS It took a few years for Einzig herself to realise that the MELANIE EINZIG MELANIE EINZIG – kind of photography she was doing even had a name. Based in New York, THE ARTIST Having completed an MA in photography at New York Melanie is travelling University, her first job in the profession was shooting internationally as part of before-and-after pictures for plastic surgeons. From there the Street Photography “I’m constantly surprised by people she moved on to get a job freelancing for The Associated Now project. Avoiding set-up situations, she and by the world I live in. I don’t Press in New York, and it was the insight of one or two of the editors there that led her to pursue it seriously. shoots while going about her daily life. enjoy staging things, doing portraits, “The editors would set me a story, and I was never very setting things up. I prefer to snatch good at the specifics of situations, or sticking to the actual news. My most interesting photos were taken on the way Gay Pride parade, New York, 2009. moments – I don’t know how to do it to and from the assignment. I was lucky that some of the any other way. I’m not good at editors were able to see this.” Einzig had always possessed two solid traits that set her telling people what to do, I’m better up for work in the genre: artistic flair and a sense of adventure. For years she’d been documenting her travels to at watching them do it.” Israel, India and beyond with paintings, etchings and Ten years ago, when Melanie Einzig told people that she snaps taken on disposable cameras. With a book by did street photography, she would be met with blank stares Brassaï, the Hungarian photographer of Paris by night, and comments like, “So you photograph homeless acting as a catalyst, she documented her travels on film people?” The fact that she is now travelling the world as and realised that to be a good street photographer was part of the Street Photography Now exhibition and about being able to switch off and just observe. “You have belongs to a number of online street photography to be able to turn off your desire to control things,” collectives is testament to how far she – and the genre she says, “I’m constantly surprised by people and by itself – has come. the world I live in. I don’t enjoy staging things, doing 81
- 82. HIT THE STREETS portraits,setting things up. I prefer to snatch moments – I “What interests me about street work is that it is a don’t know how to do it any other way. I’m not good at historical document as well as an aesthetic one. So when it telling people what to do, I’m better at watching them do gets co-opted for fashion or advertisement it undermines it. There’s a real impulsivity to it.” what I think is cool and socially relevant about the genre.” Einzig is emphatic that street photography is all about Although much of Einzig’s work is about that one “top the people. She earns a living from photographing events shot”, capturing the little surprises in life, she is moving such as weddings or bar and bat mitzvahs, and she gleans more towards the series, and is not afraid to load them just as much satisfaction from this work as she does from with political significance. In her series on urban wandering the streets of New York and beyond. “I love it America, which she has been building upon for about because I get to meet a lot of people and be in different 15 years, she tackles the effects that corporate culture has environments each week. I go to parties I would never be on ordinary American lives, whether spiritually, invited to and observe aspects of the culture that are psychologically or spatially. There are ordinary moments, “I go to parties I would never be invited to and observe aspects of the culture that are hidden to many. It is like anthropological work, only I don’t have to write up a report.” Melanie Einzig MELANIE EINZIG Fatih Market, Istanbul, Turkey, 2009. hidden to many. It is like anthropological work, only I such as a group of teenage girls enjoying a gossip, and don’t have to write up a report.” The nerve-racked teenage there are extraordinary ones, such as a courier so intent on girls and drunken uncles are captured with the same delivering his parcel that he fails to notice the second of passion, humour and emotional awareness as the most the Twin Towers exploding behind him. unusual of her street shots and it’s clear that Einzig loves US street photographers have an advantage over their bearing witness because of an unending sense of curiosity. European counterparts, due to the freedom of expression It’s hard to believe that she just happens across certain laws. Nobody can take a photographer to court for situations, such as the long-haired toga-wearer cycling stealing an image of them, which makes the situation a lot through the nocturnal New York streets carrying a large more favourable to a photographer prowling the streets. wooden cross on his back, or the trio of beach bums When I ask Einzig whether there’s a difference between striding across the sand wearing Speedos printed with the male and the female perspective and experience in American flags. But she insists that, ludicrous as they are, street photography, she is emphatic that there is only one there’s nothing staged about these shots, saying: “Life is perspective that matters: her own. so much more bizarre and interesting than anything I “All I know is what it feels like to see as Melanie could ever set up. I couldn’t make up something like that.” Einzig striving to enter the zone of awareness. I don’t FOR MORE GREAT INTERVIEWS This is one of the reasons Einzig finds the idea of think awareness has a gender. To see as Melanie WITH PROFESSIONAL staged street photos a violation of the art. Street-style Einzig who happens to be a woman is mysterious and shoots being used in global campaigns capitalise on challenging enough.” PP PHOTOGRAPHERS VISIT that voyeuristic tendency that most human beings possess, To see more of Melanie’s images visit WWW.PROFESSIONAL but take away the inherent value of the genre. www.witnessx.com PHOTOGRAPHER.CO.UK 82
- 83. londoncameraexchange Lincoln Welcome to the East of England’s premier Canon Eos Professional Centre. We stock a massive range of cameras, lenses and accessories all at competitive prices. Let us take you through the whole imaging process, from capture to print, in our dedicated workflow area and onsite photo studio, the studio is also available for private hire. With Canon trained experts instore and access to the CPS network we offer high levels of product knowledge and after sales support. WE BUY AND PART EXCHANGE we always carry large stocks of used Canon gear – call or email us with your requirements. EVENT CALENDAR 2011 August 1st-6th Landscape Week May 9th-15th Macro Week Sept. 5th-10th EOS HD Week June 6th-11th Landscape Week Oct. 3rd-9th Portrait Week July 4th-10th Wildlife Week Nov. 14th-20th Macro Week Themed weeks covering different subjects with demos, advice and special offers. Events will take place instore, in the studio or on location so please call for specific information. 6 Silver Street, Lincoln 01522 514131 lincoln@lcegroup.co.uk www.lcegroup.co.uk/canonpro www.canon-pro.co.uk www.lincolnphotostudio.com www.imaging-software.co.uk KENT The Photographic Brands Hatch Circuit 18th October 2011 Trade Show LONDON Royal Horticultural Halls 15th November 2011 For All Professionals EDINBURGH Royal Highland Centre 27th March 2012 Register now for your free tickets - www.forwardevents.co.uk HERTFORDSHIRE Trade show 11am-6pm Camera Clinic Sopwell House FREE Entry Product Demonstrations 24th April 2012 FREE Seminars Digital Advice MANCHESTER NEXT EVENT Man Utd Football Stadium 15th May 2012 Dublin COVENTRY Croke Park Stadium Ricoh Arena 6th September 2011 29th May 2012 WINDSOR Royal Windsor Racecourse For more info about your local show and to register for your free 27th June 2012 tickets go to www.forwardevents.co.uk or call 01634 296 001 BRISTOL Ashton Gate Stadium SPONSORED BY: 17th July 2012 Follow us on Twitter www.twitter.com/photovisionnews
- 84. ARTICLE 8 (TheEuropean Convention on Human Rights) Take it 1. Everyone has the right to respect for his private and family life, his home and his correspondence. 2. There shall be no interference by a public authority with the exercise of this right except such as is in accordance with the law and is necessary in a democratic society in the interests of national security, public safety or the economic well-being of the country, for the prevention of disorder or crime, for the protection of health or morals, or for the protection of the rights and freedoms of others. outside So what are the problems? We can see from the example highlighted by WalesOnline. “A family on a sightseeing trip were stopped by police and questioned under anti-terrorism laws for taking pictures. “Neil Kitchen, 46, of Swansea, and his 24-year-old nephew were on a day trip to see Gloucester Cathedral when they say they were stopped by a police officer who demanded to see their camera. “The pair had been taking pictures of a former cinema in the city’s shopping district that had been converted into a pub. After being A lot of myths surround the issue of where you questioned by the officer they were handed stop-and-search notices can and can’t take pictures in public. on which Mr Kitchen’s nephew, who has learning difficulties, was described as ‘acting suspiciously’.” We asked photojournalist Pete Jenkins to outline the rules of the street for photographers. If the men were stopped because the nephew with learning difficulties was acting suspiciously, why was it that the camera needed to be examined? Having seen the images, why was that not the end of the incident? A police On 25 June 2011 the WalesOnline website (www.walesonline.co.uk) spokesman’s defence of the officer’s actions was also strange. [He said the published a worrying story headlined “Anti-terror laws used to stop officer saw them taking photos of the building, thought it slightly unusual Swansea family taking tourist photos”. and asked to see the photos to confirm what they were saying]. None of this It was less than six months since the Home Secretary, Theresa May, had activity appears to be remotely connected with terrorism, and it is difficult announced her intention to replace the old section 44 stop-and-search to understand from the information given by the police how the officer could powers, which many critics believed had been abused by the police. have mistaken for terrorists a family including an adult with learning Section 44 of the Terrorism Act 2000 had, to all intents and purposes, difficulties near the tourist attraction of Gloucester Cathedral. remained unused since Theresa May announced to the Commons that these If we look at the Review of Counter-Terrorism and Security Powers powers were to be withdrawn from the police. These had been used findings and recommendations presented to Parliament by the Home systematically to stop professional photographers from working and to Secretary in January 2011, the introduction to the section on photography hassle innocent amateurs from taking photographs in public places. quite clearly states: Everyone is entitled to take photographs in public places. 1. A wide range of counter-terrorism powers may be used by the The police had been seen to be using the act as an excuse to stop and police to stop people from taking photographs. There is a legitimate search all manner of people, not simply those involved in demonstrations – need for the police to be able to stop people taking photographs where section 44 had been enforced widely (and incorrectly in many cases). if it is suspected that the activity is part of terrorism reconnaissance It has also affected the press and ordinary members of the public going or targeting activity. But the public otherwise have a right to take about what most would perceive as acceptable and routine activities. photographs without fear of being stopped, questioned or searched There have been no well-publicised cases in the UK where terrorists or by the police. terrorist-related activity have been linked to ‘professional-looking’ cameras. 2. The following terrorism powers may be used to stop people taking (It seems those with mobile phone cameras or compacts don’t get stopped.) photographs: As an analysis by human rights organisation Justice shows quite well, the (a) Under section 43 of the Terrorism Act 2000 a police officer may new powers, while a huge improvement on the old section 44, still don’t fully stop and search a person they reasonably suspect to be a terrorist, meet the requirements of article 8 of the European Convention on Human to discover whether that person has in their possession anything Rights – the reason the old powers were suspended. which may constitute evidence that they are a terrorist. Section 43 “As people take snapshots all the time with mobile phone cameras and digital compacts, and are not stopped, it would appear that to a police-person, professional-looking equipment is what triggers some sort of knee-jerk reaction.” Pete Jenkins 84
- 85. {THE BUSINESS} allows the seizure of photographs/film if the officer reasonably suspects it constitutes evidence that the person is a terrorist. “If all people taking snapshots or photographs in Film and memory cards may be seized as part of the search, but public places were stopped in the manner police officers cannot delete images or destroy film. (b) Section 44 of the Terrorism Act 2000 provides police with the described, the police forces around England and power to stop and search anyone within an authorised area for the Wales would grind to a halt and have no time purpose of searching for articles of a kind that could be used in connection with terrorism (the use of section 44 in this way was, for any other activity.” Pete Jenkins however, suspended by the Home Secretary in July 2010). The powers do not require a reasonable suspicion that the articles are › On 14 December 2009, Assistant Commissioner John Yates present. As with section 43, section 44 does not prohibit the taking reminded all Metropolitan Police officers and staff that people of photographs. Section 44 is the subject of a separate section taking photographs should not be stopped and searched unless of this review. there is a valid reason. (c) Section 57(1) of the Terrorism Act 2000 makes it an offence for › In March 2010, the then Minister for Policing met representatives a person to possess an article in circumstances which give rise to from the Royal Photographic Society, the British Institute of reasonable suspicion that their possession is for terrorism-related Professional Photography and the photography rights purposes. A photograph, film or camera could fall within the definition campaigner Austin Mitchell MP. The Minister agreed that of ‘article’. individual cases of concern over the use of police powers to (d) Section 58 of the Terrorism Act 2000 makes it an offence to collect restrict photography should be passed to the Association of Chief or make a record of information of a kind likely to be useful to Police Officers (ACPO) head in this area for his consideration a person committing or preparing an act of terrorism, or to possess (there have been no cases raised with ACPO since then – though a document or record containing information of that kind. there have been cases raised in the media).” The legislation explicitly defines a ‘record‘ to include a photographic That no cases have been raised with ACPO merely suggests that incidents or electronic record. have been dealt with by the local forces concerned to the eventual (e) Section 58A of the Terrorism Act 2000 makes it an offence to elicit, satisfaction of those concerned. So the question we must ask is: if so much or attempt to elicit, or publish or communicate information about an advice has been given by ACPO, why are incidents such as the one involving individual who is, or has been, a constable or a member of the armed the Kitchen family still happening? forces or intelligence services. The information must be of a kind As mentioned previously the police officer concerned made an error of that is likely to be useful to a person committing or preparing acts of judgment – the latest in a long line of such errors. ACPO has assured terrorism. Information for these purposes could include photographs. the British Photographic Council that officers are instructed not to arbitrarily This offence is based on an earlier offence which was contained stop photographers (whether amateur or professional) without good reason, in section 103 of the Terrorism Act 2000 which extended to Northern and that the mere possession or use of a camera is insufficient evidence Ireland only and expired on 31 July 2007. alone. That in almost all (or all?) cases that have been reported the camera concerned has been a substantial digital SLR may be a clue. It is clear from this that the incident involving the Kitchen family As people take snapshots all the time with mobile phone cameras described by WalesOnline should not have taken place, and that the fault and digital compacts, and are not stopped, it would appear that to a would appear to be an incorrect interpretation of his powers by the police police-person, professional-looking equipment is what triggers some sort officer concerned. of knee-jerk reaction. From the Review again: If all people taking snapshots or photographs in public places were “Over the last two years the Home Office and the police have issued stopped in the manner described, the police forces around England and a series of guidance notes regarding the use of counter-terrorism Wales would grind to a halt and have no time for any other activity. powers in relation to photographers: The Metropolitan Police issues a guide to photography for the benefit › The National Policing Improvement Agency (NPIA) issued revised of their own officers, and despite the change to section 44 of the guidance on the use of stop-and-search powers in November Terrorism Act and the new recommendations, these remain in place 2008 which made it clear that the section 44 power does not stop with minor adjustments. the taking of photographs in an authorised area and that the police should not prevent people from taking pictures using SO CAN YOU AS A PHOTOGRAPHER TAKE these powers. PHOTOGRAPHS IN A PUBLIC PLACE? › In August 2009, the then Minister for Policing wrote to all chief The answer is most emphatically yes and the guidance I gave a year ago constables whose forces had standing section 44 powers to make in this magazine is just as true now as it was then. it clear they cannot be used to stop photographs being taken in From the Metropolitan Police Service’s own Photography Guidelines. public places or to make people delete images. › Members of the public and the media do not need a permit to film › The Home Office published in the same month a national circular or photograph in public places and police have no power to stop clarifying the use of counter-terrorism legislation in regards them filming or photographing incidents or police personnel. to photography in public places. The circular is publicly available › The power to stop and search someone under section 44 of the on the Home Office website. Terrorism Act 2000 no longer exists. 85
- 87. {THE BUSINESS} “It isnot illegal to take pictures in a public place. If it were, then the huge network of surveillance cameras that are in and around our city centres would have to be removed. While they are still there, you can photograph too.” Pete Jenkins › Police officers continue to have the power to stop and search What do I do if I am stopped and I think it is unfair or unjust? anyone who they reasonably suspect to be a terrorist under › Stand your ground – politely. section 43 of the Terrorism Act. › Under no circumstances lose your temper or become rude or abusive. › Officers have the power to view digital images contained in › Insist on getting the police officer’s name and identification number, or mobile telephones or cameras carried by a person searched the person’s name if they are not a police officer. under section 43 of the Terrorism Act 2000 to discover whether › Get the name of their senior officer (if a police person) or their the images constitute evidence that the person is involved in employers’ name if they aren’t. terrorism. Officers also have the power to seize and retain any › Establish whether you are free to leave. If not, ask what grounds they article found during the search which the officer reasonably have and how they intend to stop you if you decide to leave. Ask what suspects may constitute evidence that the person is legal basis they are using for your detention. a terrorist. This includes any mobile telephone or camera › If they demand your data card (or film), or if they want to delete containing such evidence. images, ask what legal grounds they have to do this. › Officers do not have the power to delete digital images or destroy › Use your common sense. Some times it is more convenient to say okay film at any point during a search. Deletion or destruction may and simply stop than to suffer the aggravation of being arrested – however only take place following seizure if there is a lawful power (such right you may be. as a court order) that permits such deletion or destruction. › Report the incident and make a complaint if necessary to the Chief › There is nothing preventing officers asking questions of an Constable of the force concerned. individual who appears to be taking photographs of someone who is or has been a member of Her Majesty’s Forces (HMF), There have been a number of protests against the misuse of the Terrorism Intelligence Services or a constable so long as this is being done Act, especially when it comes to photography, and the instances of abuse of for a lawful purpose and is not being done in a way that prevents, the legislation have been well-documented in the photographic and general dissuades or inhibits the individual from doing something which press. One of the most effective campaigns has been ‘I’m a Photographer, is not unlawful. not a Terrorist!’ It is not illegal to take pictures in a public place. If it were, then the huge SO WHAT DOES THIS MEAN? network of surveillance cameras that are in and around our city centres What you can do: would have to be removed. While they are still there, you can photograph › As a member of the public you can take photographs in a public place of too. Likewise the Google Earth project. There is still a lot of confusion about people or buildings. photography that has come about over the past 10 years or so. This confusion › You can take photographs of private property provided it is done from would appear to be partly through ignorance and partly through exposure to a public place, or if on private land with permission. the litigious society of the United States, although it must be pointed out that › You can photograph police officers going about their duty. it is legal to take photographs in public places in the States. › A police officer cannot stop and search you under the Terrorism Act It is worrying that some police officers (and it is only a small minority) unless they seriously believe you to be undertaking activities leading to and private security officials have not been adequately trained in the subject terrorism or actually being terrorism-related. of photography in public places, and all the more frustrating when › A police officer can insist on seeing your digital images only if they we are told how well-trained those officers and security operatives are. have adequate grounds to believe you are a terrorist or are undertaking terrorist-related activities. SO IS STREET PHOTOGRAPHY SAFE YET? › At no time can a police officer request or insist that you delete images. Yes, but remember: (Any incriminating images would be evidence – if they are not › Don’t be bullied. incriminating then there is no issue). › Stand your ground. › A police officer can question you about your photographing a member › Use your common sense. of the constabulary or armed forces, but this must be done considerately › And good luck. PP and must not unduly inconvenience you. What you must not do: › Take photographs within the precincts of a court. www.petejenkins.co.uk › Take photographs of military bases and facilities. › Take photographs of nuclear facilities. › Obstruct the pavement (so it’s best to avoid using a tripod). FOR MORE ADVICE FROM PROFESSIONAL PHOTOGRAPHERS VISIT › Invade other people’s personal space. WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 87
- 88. {ICON} During a single year Platon, staff photographer for the New Yorker, photographed over 100 international leaders, creating a candid and fascinating portfolio of the people who run our world. Here, Editor of the New Yorker David Remnick looks at the project, which is published in a new book, and reflects on some of the faces of power who have stared back into Platon’s lens. Absolute power In this book of portraits, most of them taken over a few days at the United Nations building, Platon has included images of nearly every major ruler on the globe at a given moment. It is a fascinating and endlessly memorable project. Since 1970, the number of democratically elected leaders has tripled, even if many of them – in Russia, for instance – are only nominally democratic. Here are all kinds of politicians, from the most benign to the likes of Muammar Qaddafi, of Libya; Robert Mugabe, of Zimbabwe; and Mahmoud Ahmadinejad, of Iran, tyrants who pack their opponents into prison and have pretensions to the sort of spell once cast by Lenin. Platon did not have much time with his subjects. In almost every case, he was given just a few minutes to place them in front of his camera and make sometimes as few as four or five exposures. But despite the severity of the constraints, there is no mistaking Platon’s photographs for the kind of images that the leaders themselves would prefer to distribute. When he works, Platon is a charmer, using a kind of apolitical, jokey facade to win the cooperation of his subject. But he is up to the task. He is far more than a technician with a knack for access. He does constant battle with the subject’s practised capacity to evade a penetrating eye. More often than not, victory is his. Platon’s Qaddafi is surreal, grotesque, as if he’s been “In almost every case, transported from a barstool in Star Wars; Mugabe, once the he was given just a few leader of his country’s liberation movement, now an obliterating monster, casts his thuggish scowl at the camera; Ahmadinejad, minutes to place them who threatens the Israelis with elimination and eliminates his domestic enemies through imprisonment, torture, and in front of his camera intimidation, faces the world with a smirk. The portrait of the and make sometimes Russian leader Vladimir Putin reveals him for all his steely as few as four or five © PLATON arrogance; this is the face of a prototypical officer of the Soviet secret services. Some of the world’s less threatening autocrats exposures.” David Remnick 88
- 89.
- 90. President of © PLATON South Africa Jacob Zuma. 90
- 91. “Platon’s Qaddafi is surreal,grotesque, as if he’s been transported from a barstool in Star Wars.” David Remnick Libyan leader Muammar Qaddafi. 91
- 92. President of Zimbabwe Robert Mugabe. 92
- 93. Prime Minister of Italy Silvio Berlusconi. “The portrait of the Russian leader Vladimir Putin reveals him for all his steely arrogance; this is the face of a prototypical officer of the Soviet secret services.” Prime Minister of Russia David Remnick Vladimir Putin. give themselves away under Platon’s gaze. Like a silent-movie actor, Silvio Berlusconi, of Italy, delivers his lascivious leer on cue. And yet while I was interested in Platon’s portraits of tyranny, I was also taken with the great profusion of normalcy, the unmonstrous, even the heroic: the beleaguered look of Mahmoud Abbas, of Palestine; the dignified stance of Jalal Talabani, of Iraq; the stalwart cheer of Mohamed Nasheed, whose Maldives may soon be submerged under the rising seas of a warming world. It must also be said that this project makes it plain that a face tells only so much. This is part of the fascination of these Introduction by portraits of power. Paul Kagame, of Rwanda, is an enormously David Remnick, complicated figure, responsible both for extraordinary political from POWER by and economic development at home since the 1994 genocide Platon, published and meddling horribly in the Congolese civil war in Congo; the by Chronicle Books, “Mugabe, once the leader of fact that he looks here like a kindly professor of engineering, £22.99, ISBN: with his oval steel-rimmed glasses and soft stare, says only that 978-4521-0058-6. his country’s liberation he is exceptionally good at concealing himself. Gordon Brown, www.chronicle movement, now an obliterating of Great Britain, strains to radiate good cheer in his portrait, though his short-lived reign as prime minister revealed him to books.com monster, casts his thuggish be honest and deeply intelligent, but also curiously withdrawn, scowl at the camera.” humorless, almost sour. He is, at least for the moment, an expert © PLATON at deflection, a stalwart democrat with a capacity to lie to one David Remnick of our best photographers. PP 93
- 94. stop press... We’re alwayskeeping our eyes open and our ears to the ground to make sure we bring you the latest news, industry rumours and kit from around the world... THE LEICA OSKAR BARNACK AWARD Danish photographer Jan Grarup has been named the winner of the 2011 Leica Oskar Barnack Award. His portfolio, Haiti Aftermath, focuses on the devastating effects of the earthquake in the Caribbean country on January 12, 2010. Born in 1968, Grarup has travelled the world during the past 20 years, capturing many historic moments and uncovering evidence of human brutality. While developing his projects, he often works with aid organisations such as Médecins Sans Frontières and UNICEF. His work has appeared in prominent newspapers and magazines, including The Guardian, Sunday Times Magazine, Stern, GEO and Paris Match. This year the award – named after the inventor of the Leica – attracted more than 2,000 entries JAN GRARUP from professional photographers. Grarup was Port-au-Prince, Haiti. presented with a Leica M9 camera and lenses worth around 9,500 euros (£8,512) as well as a cash prize of 5,000 euros (£4,480) on 5 July IT’S IN THE BAG as part of the International Photography Festival, Petrol Bags’ latest carrier is designed for busy Les Rencontres d’Arles. photographers who do a lot of travelling. The PD610 www.leica-oskar-barnack-award.com DigiSuite DSLR camera case has a semi-hard build and is styled like a suitcase. The interior includes a central compartment which comfortably fits up to two DSLR cameras with lenses attached, as well as detachable dividers and a padded pouch in the lid to hold a laptop. Twin brackets on the base of the DigiSuite mean the case can be connected quickly to Petrol Bags’ Snaplock wheel-and-trolley system, and a plastic exchangeable logo frame allows for personal branding. The DigiSuite DSLR camera case is priced at around £260 from www.petrolbags.com G Two for one The latest durable vinyl backgrounds from XL studio lighting feature matte black and matte DIGISKY retractable diffuser. It also allows white surfaces on one roll. These are ideal for Gossen has released a high-precision, three pre-sets to be customised for either high or low-key photography, and having compact exposure meter. Digisky different lighting conditions and is two backgrounds in one will save money and features a built-in remote radio equipped with a ring controller so that space. Supplied on an aluminium tube, it trigger which is compatible with the all functions are easily accessible. provides a perfect balance between weight and Elinchrom Skyport to set off studio The meter is priced at £400 and is durability, and comes in 2m and 2.9m widths lights remotely, a TFT-LCD colour available through and a range of lengths. Prices start at £50 from graphic display, plus a rotating and www.intro2020.co.uk www.xlstudiolighting.co.uk 94
- 95. LATELY WE’VE BEEN HEARING... G Actress Helena Bonham Carter might not have been the most obvious choice for the Marc Jacobs Fall/Winter 2011 campaign but, judging by the leaked images we’ve seen, we think fashion photographer Juergen Teller has done an excellent job… G Is it us or is everyone using tilt and shift again, especially in HD video? We rewatched The Social Network, the film about the creation of Facebook, on DVD and remembered it was even VANESSA WINSHIP used in that… Black Sea, October 2006. G Russian Prime Minister Vladimir Putin has hired an ex-model to be his personal photographer. Yana Lapikova, THE WINNER IS WINSHIP HEAD TO HEAD a 25-year-old former Miss Moscow contestant, has a portfolio that includes We applaud British photojournalist Vanessa With a maximum load images of fruit platters. According to Winship, who has received the Henri capacity ranging from 12kg Mr Putin’s spokesperson, neither Cartier-Bresson International Award along up to 25kg at the top of the Ms Lapikova’s gender nor her previous with a tidy sum of 30,000 euros (£26,880) for range, the Benro Gimbal career were deciding factors in her her upcoming project, Out There: An American tripod heads have appointment. Sure they weren’t… Odyssey. The prize is awarded every two years been designed G The frontline is not as far away as we by the Fondation Henri Cartier-Bresson to help to hold heavy thought. A Press Association a photographer to create a project that they gear and telephoto photographer was shot in the leg during might otherwise have been unable to afford. lenses. Sports recent sectarian riots in east Belfast... Winship is not the first British photographer and wildlife G Focusing could be a thing of the past if to have won the prize: Chris Killip took the photographers will benefit particularly cameras follow the lead of start-up honour in 1989. from their speed, stability and company Lytro’s new Light Field camera, www.vanessawinship.com manoeuvrability. The tripod heads which allows you to shoot first and choose www.henricartierbresson.org provide a steady camera platform your focus later. Although you can sign up combined with a quick, smooth action to register your interest, the company control to ensure sharp images. has not yet revealed on its website Prices range from £220 to £585 at www.lytro.com how much it will cost… www.kenro.co.uk G A photograph of Billy the Kid dating from 1879 or 1880 fetched $2.3million (£1.44 million) at auction in Denver, Colorado, showing it pays to clean out G Quantum QLink your attic once in a while. The tintype The new portrait is believed to be the only Quantum surviving authenticated image of the QLink allows Wild West outlaw… you to use G Alamy, the online stock photo site, has G Photographer gets appy Nikon and added one million celebrity images to Award-winning Dutch photographer Kadir Canon flash its collection, which now numbers van Lohuizen has launched an iPad app units a staggering 24 million pictures. It’s good called Via PanAm. It combines a series of off-camera. news for picture researchers but bad blog posts, photos and videos from a This wireless kit news for anyone hoping to make journey along the Pan-American Highway, uses radio signals to a living from selling stock imagery… focusing on migration in North and South control Nikon and Canon flash up to 600ft from G There are now 100,000 apps available America. It is available for £2.39 from the the camera. It not only fires the remote flash, for the iPad, allowing you to spend even App Store and already contains reports but gives control in TTL, manual and auto more time ignoring that editing you really made in Chile, Argentina, Peru and Bolivia. modes, as well as over the setting of ratios. It is need to get finished… www.viapanam.org/blog priced at £114. www.flaghead.co.uk 95
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- 106. legend Tim Page 1944- “...for the hell of it, for the kicks, the fun, the brush with all that was most evil, most dear, most profane.” His pictures were not what made his name, Herr described him as the most “extravagant” though. This is how he really entered the world: of the “wigged-out crazies” in Vietnam. “Page liked to augment his field gear with freak When Page asked himself why he was there, this paraphernalia, scarves and beads, plus he was is what he replied: “For the hell of it, for the English, guys would stare at him like he’d just kicks, the fun, the brush with all that was most come down off a wall on Mars.” That’s the second evil, most dear, most profane.” sentence on the fourth page of Michael Herr’s Compared to those high standards, his actual 1977 book, Dispatches. It’s the war seen and felt – pictures could only disappoint. He worked mostly and loved, frankly – through the rock’n’rolled for Time-Life, but also for UPI and AP and Paris eyes of Herr and Page, and Sean Flynn, another Match. He was a hard-grafting – if drugged-up – photographer, who went MIA in Cambodia front-line photographer, set on filling magazine in 1970. John Le Carré called it “the best book I pages, mostly by getting too close to the action. have ever read on men and war in our time.” He wasn’t a man of art or design. His pictures told Herr co-wrote the screenplay for Stanley the story at the time and told it well. Kubrick’s Vietnam picture, Full Metal Jacket, and Some of his snapshots are good, in an worked on the narration for Coppola’s Apocalypse image-of-record way. Too many people looking Now. The nameless crazed photographer in that straight into his camera, though. There’s a whole picture, played by Dennis Hopper, was a history of that confused war in one of his images composite of Page and Flynn. And that’s Page’s – a US soldier in a tank turret, with a pink place in photography – not for his photographs umbrella and the word ‘Hippie’ on his helmet. British-born Tim Page was never but as a photographer. A life lived through And there’s an image of a helicopter taking off, afraid to get close to the action, emulsion – glare-washed Ektachrome. As close as dust raising, men huddling and running, twigs risking his life in war zones to you can get to the guns, maybe closer – a 21mm scattering. There’s an almost unconscious lens, so hungry for understanding that it buries classicism about it: the inviting void at the centre bring back pictures of conflict itself halfway into its subject’s bodies. A Leica of its composition luring the viewer into a and destruction. Peter Silverton M3 and a Nikon F, hanging from the neck – part world of metaphor, of thoughts about war’s own looks at the career of cameras, part post-historic totems, part body empty intractability. Yet there’s joy, too, in the archetypal drug-fuelled armour. Chrome and steel all black-taped up – the boyish appreciation of helicopters – choppers, combat photographer. camouflage as style (or perhaps the reverse). as Page would call them. The crazed photographer, a visionary in When his pictures do echo down the years and Tim Page was born on May 25 1944, in combats. “There was too much to shoot,” wrote across the miles, it’s because they capture Tunbridge Wells and grew up in Orpington. Page. “Too many frames to be made. No time to something of his interior landscape. And ours, of At 17, he ran away from that archetypal Home do it.” That was in his 1983 book, Tim Page’s Nam course, exploring – and irritating – the tension County exurbia – to find himself, probably. – by which point, the legend and myth had between love and hate. On the one hand, our He found a calling, anyway – in Laos where he replaced whatever reality might have been there in grown-up, sensible and moral abhorrence for acquired a camera and stumbled on a coup. the first place. He also wrote this encomium: warfare. On the other, our irrational, atavistic taste By 21, he was a staff photographer for UPI’s “A pure and simple sexiness, the romance of for guns and ammo and high-tech death-delivery Saigon bureau. power over life, ego-saving, black and white systems and men in dusty helmets. The pictures he took in Vietnam were among decisive life and death, the ultimate blast, the final In 1969, he was badly wounded, his brain those which fixed that war’s place in the world’s wave on the best-equipped boards in the surf.” damaged. In 1970, he moved to Rome, then eye and imagination. Along with, say, Don Was he thinking of his pictures or his experience? to the US, then back to England, then to McCullin and Philip Jones Griffiths (both also I don’t think he knew. I certainly don’t. Los Angeles. He’s been back to Vietnam. He now Brits, of course) he helped make it the first (and His life was his work. Like Apocalypse Now, teaches in Australia. PP probably last) war which was given shape and his work patrolled the boundaries of meaning by photographs – and photographers. consciousness. He became his own opium pipe. www.timpageimage.com.au GO ONLINE FOR MORE FROM THE LEGENDS OF PHOTOGRAPHY, VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 106
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