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![“They [photographers] get
just as many jobs by tweeting
as they do by showing people
their books...” Lisa Pritchard
© MICHAEL HEFFERNAN
know some young agency creatives and shoot
some of their ideas; or offer to shoot a mock ad
campaign for a friend’s business.
What trends do you see in photography at
the moment?
Street casting – real, natural and believable models,
email with a call to my office. If I haven’t taken The time is usually right if you find yourself too including families, older people enjoying retirement
their call by the fifth time, stop calling! busy shooting to promote yourself or handle and baby boomers aged between 45 and 63 years
enquiries, or perhaps you are getting bigger old being altruistic. Many photographers are also
What are the biggest mistakes photographers commissions and need an agent to deal with fees showing their portfolios on iPads, as well as
make when approaching your agency? and shoot logistics. tweeting and blogging to promote themselves.
Showing little evidence or understanding of what
LPA is about or what we might be looking for. What makes a photographer stand out from Do you see video being a bigger part of a
This should be easy to work out simply by the crowd? photographer’s requirements in the future,
looking at our website and blog. For example, A consistent body of work with a strong signature and if so, how?
it’s unlikely that we would take on a very gritty style, inspiring personal projects, an impressive There are some niches of the photography
photojournalist or a fashion photographer who list of awards or clients and a slick and clear industry where video is becoming a more regular
has only shot editorial. website with an interesting and up-to-date blog request for the stills photographer. In certain
Photographers who get in touch giving the are a good starting point. However, possessing an pockets of the fashion and editorial world it’s
impression that they are a bit quiet and need an excellent reputation, lots of good publicity and become almost mandatory.
agent to find them some work isn’t a good professionalism are equally as important. I believe it’s still early days for a large part
plan, either. Although this is a big part of what we of the commercial world, however, with most
do, of course, the harsh truth is that I’m looking LPA/Futures represents photographers in photographers feeling little or no effect from the
to see what’s in it for my business. the early stages of their careers. How can convergence. It’s not turned the industry on its
inexperienced photographers show a breadth head as some would have you believe and won’t
What tips would you give to a photographer of work in their books? for a long time yet (if ever).
trying to get an agent? I don’t think inexperienced photographers should Video is a learning curve for many
Do your research. Draw up a wish list. Don’t just show too much breadth in terms of range. I think photographers and clients, in terms of the creative
send a blanket email to every agent you can find. it’s important to find a ‘voice’ and stick to it. approach, the logistics and the pricing. Video will
Look for the right match. The industry is so competitive; you stand a much always be an optional extra to stills; whether
Photographers’ agents come in many shapes better chance of being remembered if your work photographers choose to embrace it and add to
and sizes, from well-established industry has a distinctive stamp. Commissioners are their revenue stream is up to them. PP
experts with many contacts and several staff to looking for confidence and continuity in
newcomers just finding their feet. I’m not photographers’ work; something that they can If you have a question for Lisa that we
necessarily saying one is better than the other; identify them with. haven’t covered in Frontline, email
it’s about finding the right one for you. An agent In terms of pure quantity however, I agree a askanagent@lisapritchard.com to be
new to the business might have more time to photographer needs to be able to showcase a considered for her monthly column on the
promote you than one who is busy estimating and certain amount of high-quality images to be taken LPA blog, www.blog.lisapritchard.com
producing shoots; but then a better-known agent seriously. Look into the market and work out what
will give you more credibility and is likely to is being commissioned at the moment and fill in
fast-track commissions. It’s vital that you get on the gaps accordingly. I suggest shooting as much Lisa’s first published book, Setting up a
well and feel you can communicate. personal work as possible. Be resourceful – to Successful Photographic Business
Ask yourself if you are, in fact, ready for an get your foot in the door in the commercial (published by A&C Black), is out in
agent. It may be that you still need to build your world those first campaigns are all-important. November and can be pre-ordered now
portfolio of work, gain a presence in the industry Consider collaborating with stylists or models from Amazon.
and get a few commissions under your belt. who also need to expand their portfolios; get to
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![{ WORKING PRO }
Lighting is a challenge; you can’t use a traditional flash or Speedlight, so
you must use constant light. In outdoor light, or bright indoor light, the
camera functions exceptionally well, but once you are outside at night, or
inside and it gets darker, it’s necessary to use continuous light. Obviously
you can’t shoot RAW… these are all minor technical hurdles that you can
get over with practice.
“Having said all that, as a photographer who shoots with two cameras
and runs around all day with 70-200mm lenses, it was a release – it almost
felt like I was naked! It was the first wedding I’d shot in nine years where
my back wasn’t aching afterwards. The biggest advantage is the access;
you’re able to approach people more easily. They open up to you and
when they realise what type of camera you’re shooting with, they have
a reaction we never usually see. They are surprised, interested and they
become an active participant.”
On the big day, the team used three iPhone 4s in total, placed in OWLE
Bubo mounts that featured a wide lens attachment. Brian also modified
the rig to add an external battery pack to combat the short battery life and
added a neck strap. For the videography they used a tripod and monopod.
For Brian and Rainer, another of the huge plus points of shooting on
the iPhone – event photographers take note – is the ability to upload the
images instantly to the internet at the wedding. This is an aspect where they
feel the device has huge advantages over its DSLR counterparts, even if
“A lot of people are wowed by it... we honestly feel the iPhone thing is really cool. We don’t
know in what direction we’ll take it, but we’d love to do more of it.” Rainer Flor
the quality of the images isn’t comparable. Rainer describes this element as
“super powerful”. He explains: “Brian and I have been doing this for some
time and guests are always asking, ‘When are the photos going to be up?’
I shot a wedding last week in California – an Indian wedding – and I took
some pictures on my iPhone. I was able to post them right then and there
and show them to the couple and their family. The expressions on their faces
were priceless.”
The built-in editing software in the phone means decent quality images
can be uploaded almost immediately. “You can charge a premium for doing
a same-day edit and post for a client and it’s really appreciated,” says Brian.
“It didn’t used to be that way when I started nine years ago; people were
very patient then, but now I get calls the next day from clients wondering
why their photos aren’t online.” From a marketing perspective, the two
men agree that being able to post images on the same day is certainly good
for business.
I tell them that often when I talk to editorial photographers, they lament
how, on a digital shoot, the client will ask to see the image before any
post-production has been done, before the photographer is ready to show it. in time companies such as Canon and Nikon will find a way to connect their
“It’s funny,” Brian continues, “but people will remember you. Particularly at cameras to the internet so photographers can post photos and videos right
weddings, if you can show photos or video to 200 wedding guests, those 200 after they shoot them. The experience is completely different; it’s not
people will remember you as a good photographer, whereas if you waited 30 just about the photo, it’s about what everyone gets out of it because we can
days and posted those images only when they were 100 per cent perfect, then post it right after we shoot.”
they might think, ‘He was good but he took a long time to post those photos.’ As successful professional photographers, are they afraid of sabotaging
I do think you need that balance.” their own businesses by using mass market kit? “Not at all,” Brian replies
This instantaneous upload changes the photographer-client acquaintance, confidently. “The cameras that we use [Brian shoots with a Canon EOS
which is why Rainer and Brian get so excited about the iPhone experience, 5D Mk II while Rainer uses an EOS 7D] are available to everyone at
even as two passionate DSLR users. “I think this is the next evolution,” consumer stores. A lot of my clients own the same equipment as me or use
says Rainer. “Everyone is so concerned. There’s a misconception that the even better cameras, but it all comes down to the skills of the photographer
quality suffers and while a fraction of that might be true, there’s another half or videographer. It’s 90 per cent the eye of the shooter.”
to the story, about the experience that the user gets out of it. I’m sure that “I’m not worried at all, quite the opposite,” says Rainer. “I want more
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Professional photographer uk 2011-09
- 1. WWW.PROFESSIONALPHOTOGRAPHER.CO.UK FOR PROFESSIONALS, BY PROFESSIONALS PROFESSIONAL SINCE 1982 SEPTEMBER 2011 £4.20 PPOTY AWARDS HOW OUR 2011 COMPETITION MUCH? One picture, ● IS LAUNCHED! PROFESSIONAL PHOTOGRAPHER SEPTEMBER 2011 ● £100,000 COLUMNIST: Middlebrook THE BIG tells it straight INTERVIEW BEN DUFFY, the 12th man THE UNDERCUTTERS How to combat WHAT PROS WANT... Weekend Warriors £1,400 of Bowens TravelPak tested SOFTWARE, iPhone 4 weddings... GADGETS Does opportunity knock? & HEROES
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- 3. Everything in lifechanges, including editors on magazines. We are all living and working in an industry that is founded on change. And certainly for working photographers we need to look at change as an opportunity. I am under no illusion that many of you will not be overly worried that one of the magazines you buy has a new captain at the wheel, but I do as this is my life, my passion and represents more than 75 hours per week of my time. From my point of view, as the new Group Editor of Archant’s Imaging titles and Editor of PP, the opportunity is very much to evolve the magazine, to get to know its readers and to build a legacy. From a reader’s perspective, the opportunity is to get involved in the magazine and help to shape its future. I genuinely mean that: whether it’s in contributing words and images, sending in your ideas and thoughts or asking us to look into an element of the imaging business that you need answers about. After all, we are journalists and should act like them! Yes, there are going to be changes in the magazine’s content and look over the coming months, from new feature ideas to the layout and design of PP, but I believe the changes will be for the better for readers. THIS MONTH There are some exciting things going on this month, apart from me joining the team, including the launch of our Professional Photographer of the Year 2011 competition, a new columnist in the form of Martin Middlebrook and some rants from working pros about the age-old issue of Weekend Warriors in the wedding business and dealing with clients asking for free stuff. In addition, Brian Adams (no, not the rocker) has shot an assignment entirely on an iPhone 4 and in a new feature, What Pros Want, a portrait shooter looks at some rather expensive Bowens lights to see if he can ‘justify’ the expense. If you are looking for some pure inspiration, check out Ben Duffy's amazing portraits of the world’s sports superstars in our Big Interview. Another new september columnist is Selina Maitreya, a US-based marketing expert who has been working with professional photographers for the past 30 years. We wanna see how the Yanks do things and if we can learn anything from them. I hope you enjoy the issue and please feel free to send your constructive feedback, feature ideas and pitches, picture stories, thoughts and musings to us here. Have a great month. Adam Scorey, Editor THIS IMAGE AND COVER IMAGE BEN DUFFY FRONT COVER I love this shot by Ben Duffy of Rory McIlroy, the 2011 US Open golf winner. It is perfect for the cover because of its feedback@professional fun, yet striking expression. photographer.co.uk
- 4. NEW PHOTOGRAPHY 8 StudentPortfolio We take a look at the winning graduates in the Fresh Faced & Wild Eyed 2011 competition 29 Editor’s Choice New PP Editor Adam Scorey chooses his favourite image from the online portfolio section NEED TO KNOW 22 Professional Photographer of the Year 2011 COMPETITION We launch this year’s PPOTY awards; which categories will you enter? 35 It’s Not All Glitz and Glamour NEW COLUMNIST Martin Middlebrook explains the reality of a hard-working pro who will do anything to pay the bills 42 The Undercutters Wedding photographer Mick Cookson reignites an age-old debate about ‘Weekend Warriors’ 48 Stand Your Ground Portrait photographer Craig Fleming explains why the profession needs to get tough 51 The Right Stuff NEW COLUMNIST In the first of a new series, marketing guru Selina Maitreya reveals how to tackle branding and style 55 How Much? NEW SERIES Hollywood A-list photographer Andy Gotts reveals how one image earned £100,000 for charity 56 Frontline Lisa Pritchard, of Lisa Pritchard Agency, discusses the relationship between photographers and agents 58 Policing the Press Peter Stevenson examines the world of photojournalists and their dealings with the police INTERVIEWS & CHATS WITH... 60 The 12th Man Commercial sports photographer Ben Duffy talks about the journey to the top of his game 70 iDo We talk to the professional photographers who shot a wedding on an iPhone 4 74 Through My Own Eyes Fine-art photographer John Kenny talks to PP about using a large-format camera on a project in Africa 106 Heroes In a variation on our Legend series, Mick Cookson reveals why Bill Brandt is his ultimate idol NEWS & REVIEWS 15 Click This month’s line-up of the best news, books and exhibitions 81 What Pros Want... We get working ‘togs’ to test the gear they want to buy. This month it’s Bowens’ new Gemini 500R TravelPak 89 Gadgets Our pick of this month’s most exciting gizmos and gadgets 90 Imagenomic Portraiture 2 Portrait photographer Karl Shaw takes a closer look at a post-production plug-in for Photoshop 103 Stop Press... The latest essential news, gossip and kit from the pro world KEEP IN TOUCH 31 Feedback Your thoughts, your opinions, your page 32 Podcast Every issue we record a free podcast discussing a topic from the world of professional photography 46 Subscribe Save 35% with our latest subscription offer so you never miss an issue
- 5.
- 6. Metroprint: Everything you alwaysliked about Metro, now even better value online Metroprint is a simple and fast way and white resin coated prints and to get properly colour-managed technicians ready to help if and when photographic prints from desktop to you need them, Metroprint redefines door. With unique features such as self-service online printing. supersize mural prints, genuine black www.metro-print.co.uk
- 7. contributors ADAM SCOREY REBECCA STEAD KELLY WEECH SIMON REYNOLDS The new Group Editor of Archant Art editor Rebecca has five years’ Features assistant Kelly joined Simon was a sub-editor on Imaging has eight years’ of experience in magazine the team in 2009 and continues newspapers for more than 30 experience editing and 10 years’ design and has been with the PP to be passionate about years. His knowledge means as a professional photographer. team since September 2010. all aspects of photography. our words are in safe hands. JESSICA LAMB MARTIN MIDDLEBROOK BEN DUFFY LISA PRITCHARD Jessica is the guardian of our Based in the Midlands, Martin is Ben was a sports photographer Lisa owns Lisa Pritchard Agency website, Facebook and Twitter a commercial photojournalist for an agency before swapping and represents a wide range pages, and keeps the readers and has been a contributor to PP press deadlines to specialise in of photographers. This month up-to-date online. for the past two years. commercial sports images. she is our Frontline subject. KARL SHAW BRIAN ADAMS CRAIG FLEMING ANDY GOTTS Karl, a portrait and fashion Brian is a wedding photographer Specialising in editorial-style Hollywood A-list portrait photographer based in the with more than 10 years’ portraiture and beauty, Craig has photographer Andy is best known north-east, is only happy when experience. He lives in Florida been a professional photographer for his black-and-white images shooting with his Nikon D3s. but works all over the world. for the past seven years. of actors and singers. JOHN KENNY MICK COOKSON PETER STEVENSON SELINA MAITREYA Photographer John has travelled Manchester-based Mick shoots Peter has worked in insurance American Selina has acted as extensively across Africa since weddings in the UK. Before that for more than 30 years and is now a consultant to commercial 2006 and captured images of its he owned a production company director at InFocus, a specialist in photographers for 30 years, and remotest communities. making TV commercials. insuring photographers. is also a lecturer and author. Like what you see here? Why not check out our sister title, Photography Monthly? The October issue will feature expert tips from the pros to help you shoot in low light in any situation, as well as the secrets of subtle HDR. 7
- 8. The Photographers’ Gallery’sFresh Faced & Wild Eyed competition, now in its fourth year, showcases the portfolios of students who have recently graduated from imaging degree courses. Here we give just a taste with one image from each of the 20 winners. Complete portfolios can be seen at www.photonet.org.uk PORTFOLIO RENHUI ZHAO Course: MA Photography, London College of Communication Zhao’s work is based on doubt and uncertainty, through the history and development of what he calls the zoological gaze, ie how people view animals. He tests the principles behind the dissemination of knowledge and acceptance of truths. Here he presents a series of photographs showing leaf insects (part of the phylliidae family) on their food/host plants taken from the 2009 Leaf Insect Competition in Tokyo. The best of these leaf insect breeds are shown every year at the Phylliidae Convention in the city, where the species are shown along with their foodplants and owners. Pictured left, Winner, from The Great Pretenders. www.zhaorenhui.com wwwcriticalzoologists.org 8
- 9. ALIS PELLESCHI Course: BAVisual Communications (Photography), Birmingham City University Fashion Icons was inspired by the notion that anyone can be a fashion icon, and anyone can be beautiful. Two pensioners pose in their own homes wearing Kling by Kling’s designer clothing. While the outfits appear incongruous on the subjects in their everyday surroundings, they also become the ‘fashion icons’ of this photographer’s work. Alis Pelleschi’s interest in people and characters informs her fashion and portrait work; her wider body of work includes many unusual self-portrait setups. Pictured left, Usha, from Fashion Icons. www.alispelleschi.com TEREZA ZELENKOVA Course: BA Photographic Arts, University of Westminster Supreme Vice evolved from the photographer’s interest in the revival of the occult in the Western world during the 19th century. The work considers our susceptibility to irrational beliefs that often grow from the desire to make sense of the natural (dis)order of things. However, while this project reflects on the 19th and early 20th centuries, the images invoke death as the only objective truth of our existence. Nothing is real, everything is permitted, according to Zelenkova. Pictured right,Canon Docre, from Supreme Vice. www.terezazelenkova.com 9
- 10. JUNG-WOOK MOK Course: BAPhotography, London College of Communication The experience of being unable to revisit demolished and redeveloped areas of the South Korean capital, Seoul, where the photographer grew up, inspired this project. Working with footage taken from various sources, Mok tries to reproduce the diverse moments of ‘explosive demolition’ as a significant symbolic event and transformation of the urban environment. Triggering lost memories, the intention is not only to capture the whole passage of demolition in one picture, but also to revisualise the abstract, ambiguous character of the transfiguration by using a long exposure. Pictured below, Figure 01 from The Urban Topography Research project. LUCA GIACOSA Course: BA Documentary Photography, University of Wales, Newport “Wolves are presences, worries in the shepherds’ minds, their eyes are like glowing embers in the darkness,” says IDA ARENTOFT Luca. In the past 20 years they have Course: BA Fine Art Photography, returned to the Western Alps; this was Glasgow School of Art made possible because while wolves, deer, chamois and wild pigs were The important elements in the series reconquering the Alps, thousands of Passing are a recurring sense of mountain-dwelling people were an absence or a mere trace of a abandoning the region for the factories presence. The images resonate and suburbs of Italian cities. a stillness, where subtle actions Wolves have become the scapegoat happen and emerge in glimpses. for problems that afflict these areas, Finding or creating spaces of and coexistence seems like a utopian indeterminacy through the time of ideal. The aim of this project is year, the sombre shades of night, to explore and document the battle or the glaring light of the flash, play between nature and humans. important roles and help to build Pictured above, the chestnut forests a sense of time moving both forwards that surround the village of Snive, in and backwards. north-west Italy, have been used by Pictured below, Untitled (Red House various wild animals to spread from 53) from Passing. valley to valley in the last few decades. www.idaarentoft.com From Pian del Louv. CHIARA TOCCI Course: BA Documentary Photography, University of Wales, Newport Life After Zog and Other Stories is a portrait of Albania 20 years after the collapse of Communism, as the country tries to throw off its past and move forward. It portrays a nation on the verge of change, wanting to join the European Union, and longing for what is new and modern. Tocci visited the northern mountains, the cities, schools and prisons, discovering an enchanted place inhabited by people who “share the land with their ancestors’ ghosts.” Time and history often seem to have stopped abruptly, but blood feuds and disillusionment persist. Pictured above, Roses, Donika, 13 from Life After Zog and Other Stories. www.chiaratocci.com 10
- 11. YOSHI KAMETANI Course: BA Photography and Film, Edinburgh Napier University SYLWIA KOWALCZYK An organised collection of visual Course: MFA Photography, Edinburgh information, Plastic Spoon has College of Art evolved from four years of building relationships with the residents of Kowalczyk’s Temporal Portraits Muirhouse, Edinburgh, one of the developed in reaction to society’s most deprived public housing estates obsession with celebrity and in the UK. ‘identifiable’ portraits. Her work, by The scheme has suffered high contrast, is not interested in drawing unemployment rates and issues with attention to the individual's identity. drugs and violence. It is located on the The images are deliberately outskirts of a city that – conversely – unaccompanied by a name or title, KYLE ZETO has one of the highest numbers of compelling the viewer to complete Course: BA Fine Art, Central Saint Martins College of Art and Design millionaires per capita in the country. the image themselves as they are The photographs capture individuals, at times confronted with just a lock of Human imagination and nature have intersected throughout cultural history. landscapes, objects and domestic hair at the back of a neck or From the English poet and artist William Blake to Canadian poet Bliss Carman and settings that communicate the feeling a fragment of face emerging from American writer and philosopher Henry David Thoreau, biological systems have of isolation, alienation and a sense of behind a curtain of hair. provided stimuli to human fantasy. For Zeto a representation of nature has a vision eccentricity specific to Muirhouse. Pictured below, Untitled, no 9 from projected on to it. Anthropomorphism is attributing human characteristics to Pictured above, Playground from the Temporal Portraits. something inhuman or perhaps inanimate. “Nature, to us, is both those things.” Plastic Spoon series. www.sylwiakowalczyk.com Pictured above, Hivehead from Folk Logic. www.mryoshi.com GITTE HOETBJERG Course: BA Fine Art Photography, Glasgow School of Art Hoetbjerg’s work explores intimacy through the fragile borders between distance and closeness. Uncompromising in her approach, Hoetbjerg tries to engage directly with the intimacy of her subjects, creating both graphic and more subtle images, hinting at the affective and reflective nature of human beings. Pictured above, Boys from A Show. www.gittehoetbjerghansen.com 11
- 12. CAMERON HAYNES Course: MA Photography, London College of Communication Haynes explores the interplay between identity and classification with individual and collective consciousness, and examines how these inform our understanding of visual representation. More interested in the perception of things than how they look in themselves, Haynes uses found portraits which he manipulates. SONAL KANTARIA The surface of the photograph is Course: MA Photojournalism, University of Westminster rendered opaque, leaving small areas of original colour exposed in order Against the backdrop of an India emerging as a major player in to highlight the skin of the subject, global markets, millions of people have been involved in human thus creating absurd taxonomic trafficking. Girls as young as 10 years old, frequently from the schemes which aims to highlight the poorest backgrounds, are being kidnapped and sold to brothels, inaccuracy of data collection when sometimes by their own families. used to define individuals. This project explores the stories of a number of girls and young Pictured left, Yellowish White, from women who have been rescued from the brothels of Mumbai and What it Means to Be. nearby Pune to be reintegrated into society and, if appropriate, returned home. The work touches on the social, economic and cultural issues that affect contemporary India. Pictured above, Arati from Naseeb: Trafficked. www.sonalkantaria.com ANDREW BRUCE Course: BA Photography, University for the Creative Arts, Farnham “We divide the landscape and exclude nature from our day-to-day existence; we barely notice the ‘thud’ against our vehicle when we literally come into contact with animals,” says Bruce. His work takes this moment of contact, the ‘road kill’, as its starting point. Tender is a meditation upon morality and our increasingly detached relationship to nature. There is an ambiguity in the title; on the one hand it is about intimacy, on the other it makes reference to pain. The work is made methodically, ELISA NOGUERA LOPEZ using an 8 x 10 view camera and life-size analogue handprints. Course: MA Photography, London College Pictured above, #01, from Tender. of Communication www.brucebruce.co.uk Using elements from an imaginary household, Noguera Lopez places her subjects in the centre of the photograph, FAN CHON HOO raised with small footstools as if they are Course: BA Photography, London College of Communication resting on plinths. The curtains and upholstery materials, used as a backdrop, This work responds to the Willow Pattern developed by English flatten the image and accentuate the craftsmen in the late 18th century. Fan Chon Hoo is interested in amorphous positions adopted by sitters. how a foreign cultural form can be appropriated and translated By presenting both anonymous people into an exotic collectable. He creates paper ‘earthenware’ printed and unidentified pets, the intention is to in cyanotype and embellished with imaginary landscapes showing emphasise the ordinary details, textures oriental architectural structures found in the UK. Fan Chon Hoo and shapes within the images, and to wants to challenge cyanotype’s association with the ‘blueprint’ by abstract the relationship between considering the question of origin and fluidity of cultures. the human and the domesticated. Pictured left, Article #3, Teacup, from The Blue and White Pictured above, Untitled 1, from Perhaps Collection. Finally Alone. www.fanchonhoo.net 12
- 13. AMI BARNES CLARE HEWITT SAMANTHA HARVEY & Course: BA Photography in the Arts, Course: BA Commercial Photography, Arts University College, ANNA BROOKS Swansea Metropolitan University Bournemouth Course: BA Graphic Design and Photography, Kingston University Photography can be used to In Britain the law relating to assisted suicide is in a state of confusion document life; but it can also play and has recently been the focus of extensive public debate. The ethical issues and paranoia a role in shaping experience. In this Through producing these portraits, and interviewing her subjects, surrounding the law on work Barnes seeks to challenge the Hewitt has tried to make a more humanistic link between individuals photographing children in today's traditional role of the camera as and the wider arguments. The work examines how compassion and society are controversial and have passive observer and highlight it as understanding at a personal level interact with society’s moral, legal, caused confusion. This collaborative an active agent in personal medical and sociological values. project questions the point at relationships with those around her. Pictured above, Raymond Tallis, retired professor of geriatric which photographing children will The series First Dates is the medicine, from The Value of Life and Death. be completely forbidden. collaborative result of relationships www.clarehewitt.co.uk Pictured above,Class Portrait. and interactions with the people who www.samantha-harvey.co.uk appear alongside Barnes. It is an www.anna-brooks.com exploration in control, the experience of the self through another and the potential of the camera to merge art and reality. Pictured below, Stéphan, a video still from First Dates. www.amibarnes.com OCHI REYES Course: BA Photographic Arts, University of Westminster Reyes’s own body and thoughts are the basis for a critical examination of society’s expectations to do with identity. The thoughts scratched on to her skin are related to not fitting in and the feeling of anxiety arising from this displacement. Fresh Faced & Wild Eyed 2011 is the It is not only this malleability of the skin that interests Reyes, but Photographers’ Gallery’s annual competition also the idea that skin absorbs information from the outside world; it for recent graduates. Entries were submitted is the interface between the self and others, both separating us and online and judges then chose the work for the becoming the physical link between our bodies. website exhibition. To see more images in all of Pictured above, 27th May 2010, from Revelations. the winning photographers’ portfolios, go to www.ochireyes.com http://freshfacedwildeyed.photonet.org.uk/ 13
- 15. PP - CLICK- SEPT 10/08/2011 10:35 Page 15 click A tribute to Tim Magnum Photos is to represent the archive of the late photojournalist Tim news/books/exhibitions Hetherington, who was killed by a mortar shell in Libya on 20 April this © GUY BOURDIN year. A vote to accept the British Charles Jourdan photographer’s work, which includes advertisement, still and moving images from his spring 1979. fateful trip to Libya, was held at Magnum’s 64th annual meeting in Bourdin in your pocket Paris. Hetherington was celebrated The work of the influential and often controversial French fashion photographer Guy for his groundbreaking approach to Bourdin is traced in a new pocket-sized hardback. It presents 55 photographs in photojournalism, which embraced chronological order, including some of his most famous work as well as previously many mediums, as well as his fearless unpublished images. Bourdin worked for French Vogue magazine for more than 30 years, storytelling. His legacy includes the from the mid-1950s to the mid-1980s, shooting campaigns for some of the biggest names in 2010 Oscar-nominated film Restrepo, fashion. The impact of his imagery, which rejected product shots in favour of a more which he filmed while embedded with atmospheric, often surreal style, is still felt today in both commercial and fine art the US Army in Afghanistan. To read photography. Guy Bourdin, by Alison Gingeras, published by Phaidon Press, £7.95, our interview with Hetherington ISBN: 978-0-7148-6258-3. www.phaidon.com from the PP’s October 2010 issue, visit www.professionalphotographer.co.uk. www.magnumphotos.com www.timhetherington.com Lichfield in the limelight Patrick Lichfield was known for his iconic images of public personalities and royalty, and as the Queen’s cousin he enjoyed access Back to its roots to a glamorous world. A new book covers his Hasselblad has been bought by career from the 1960s to his death in 2005, Ventizz Capital Fund IV, a private and includes more than 300 colour images. equity firm based in Switzerland and A linked exhibition will be held at the Chris Germany. Its acquisition brings the Beetles Gallery, London, in December. Swedish-founded manufacturer www.chrisbeetlesfinephotographs.com back to its European roots after Patrick Lichfield: Perceptions, by Martin eight years of ownership by the Harrison, published by Quadrille on Hong Kong based Shriro Group. 3 October, £30, ISBN: 978-184400948-0. www.quadrille.co.uk/books/art-and-travel 15
- 16. click A look on the bright side We know you’ve seen his 1984 image, Afghan Girl, a thousand times, but that doesn’t make its impact any less powerful. Steve McCurry, Magnum master and king of colour, is the latest to have an exhibition of work at Chris Beetles Fine Photographs in London. Largely featuring McCurry’s images of India, the exhibition also journeys to places as varied as Bhutan in South Asia, Kuwait and Cuba, as well as showing Afghan Girl. A common thread is McCurry’s skill at capturing humanity news/books/exhibitions and strength in the most unlikely of places, from a refugee camp in Pakistan to a sandstorm in Rajasthan. © STEVE McCURRY Steve McCurry, Chris Beetles Fine Photographs, 3-5 Swallow Street, London W1B 4DE, 6-24 September. www.chrisbeetlesfinephotographs.com Jodhpur, India, 2005. South African witness A touring exhibition in Liverpool is showcasing more than 90 images shot in South Africa by Magnum photographer Ian Berry. Covering the period from 1960 to 2004, they document the collapse of apartheid, the appointment of Nelson Mandela as the country’s first black president, and its aftermath. The display includes images of the Sharpeville massacre in 1960; Berry was the only photographer to document the scene when armed police fired on crowds protesting against the apartheid regime, killing around 70 people. Living Apart: Photographs of Apartheid by Ian © MAGNUM PHOTOS Berry, International Slavery Museum, Albert Dock, © HENRY WESSEL An impromptu Liverpool L3 4AX, until 6 November 2011, pavement dance, admission free. www.liverpoolmuseums.org.uk Johannesburg ,1961. Nothing but the Crosby Street, SoHo, New York, Hawaii Seven-O 1978. Struth If you haven’t had a summer holiday this year, immerse The Whitechapel Gallery, London, yourself in Waikiki, a new book is staging an exhibition of work by by American documentary German art photographer photographer Henry Wessel that Thomas Struth; his first solo documents the sun-soaked show in the UK for almost 20 Hawaiian capital of Honolulu. years. Struth was taught by Shot in the 1970s, the pictures © THOMAS STRUTH Bernd and Hilla Becher in showcase Wessel’s gift for Düsseldorf, which shaped his capturing shape and form style. He began his career perfectly. Don’t expect capturing the streets of cities tourist-style picture postcard such as Düsseldorf, Brussels, London and Naples. In the past three decades he has turned shots; rather a series of subtle his attention to photographing family portraits, technology sites − such as Kennedy Space moments, captured beautifully. Center − and places of faith and belief. This is a rare opportunity to see Struth’s work Waikiki, by Henry Wessel, exhibited in the UK. The collection includes large-scale photographs – some up to four published by Steidl, £50, metres wide – as well as his early black-and-white images of European cities. ISBN: 978-3-86930-300-0. Thomas Struth: Photographs 1978-2010, Whitechapel Gallery, 77-82 Whitechapel High www.steidlville.com Street, London E1 7QX, tickets: £9.50/£7.50 concessions. www.whitechapelgallery.org A vine Oliviero Toscani, the genius behind the controversial Benetton campaigns (featured in the January issue of romance PP) has brought his creativity to the wine trade. The Italian photographer and Tuscan vineyard owner’s OT wine is made from a blend of Syrah, Cabernet Franc and Petit Verdot grape varieties. www.otwine.com 16
- 17. © Airy Goullet © JURGEN DABEEDIN FOR ORIGINALS “Light Blue has changed my life, for the better – it keeps everything organised and easy to see. I cannot impress enough how easy it is to use and how important it is to me, and how great the customer service is, too.” Matt Pereira, Light Blue user Designed for all types of photographers, from one-person businesses to studios with several staff, Light Blue is a flexible piece of business management software that lets you keep on top of shoots, orders and contacts. It’s bursting with clever things to help you to run a busy and successful photography business. Download a free, fully functioning 30-day trial from our website, and discover Light Blue for yourself. Light Blue Software is proud to be sponsoring the Student category in the Professional Photographer of the Year Awards 2012. AWARD-WINNING MUSEUM QUALITY PAPER www.lightbluesoftware.com
- 19. PP - CLICK- SEPT 10/08/2011 10:37 Page 19 click Louis Smith, Huntingdon Gymnastics Club, Cambridgeshire, The D-Lite-it March 2011, © FINLAY MACKAY / NATIONAL PORTRAIT GALLERY / BT ROAD TO 2012 PROJECT news/books/exhibitions D-Lite-it Kits Going up a gear from £470 inc vat BXRi Road to 2012: Changing Pace is the second exhibition at the National Portrait Gallery, London, in a three-year cycle funded by BT, and documents Britain’s top athletes and their supporters, as well as key figures behind the London 2012 Olympic and Paralympic Games. The 37 images on display are by Emma Hardy and Finlay MacKay, the latest photographers to be commissioned for the project. Subjects include London 2012 chairman Lord Coe, film maker Danny Boyle, who is artistic director of the opening ceremony, and world triple jump champion Phillips Idowu. Road to 2012: Changing Pace, National Portrait Gallery, St Martin’s Place, London WC2 0HE, until 25 September 2011, admission free. www.npg.org.uk/roadto2012 Raising the bar The overall winners of the first Bar-Tur Award, a prize that recognises new talent in the photographic world, have been announced. Open to students and graduates of University of the Arts London, it has been established in BXRi Kit from memory of Ann Lesley Bar-Tur (1947-1984), £785 inc vat RANGER RX a talented British artist and alumna of Chelsea College of Art and Design. The judging panel, which included portrait photographer Platon Q UADRA Antoniou, selected Briony Campbell in the Alumni category for her project Eating Dad’s Dinner, which she began after her father was diagnosed with terminal cancer. Sam Ledger © SAM LEDGER was the winner of the student award for his black-and-white image 7982619518114.0 (pictured). www.barturaward.com Canon Pro Solutions Show 2011 It’s back! This year’s Canon Pro Solutions Show will take place on 25 and 26 October at the Business Design Centre in Islington, London. It’s the third year for this show, which is aimed at video, still image and broadcast pros, and features the latest Canon products. With the convergence of still and moving image having a big impact on the industry, this will continue to be an important element of the 2011 event. Free seminars by Canon ambassadors and well-known photographers and film makers will take place over the two days and trained professionals will be on hand to inspire visitors. The Professional Photographer team will be there too, so drop by and say hello. Entry to the show is free if you pre-register online at Quadra Kits www.canon.co.uk/prosolutions2011 from £1085 inc vat E&EO
- 21. Ta k en o n P E N PHOTOGRAPHER: PHILIP VOLKERS L O C AT I O N : L O N D O N M AY 2 0 1 1 MODEL: ALEX CROWE-EVANS
- 22. PROFES PHOTOG OF THE YEAR 22 ENTER NOW
- 23. SIONAL RAPHER 2011 To celebrate the talent in the UK’s photographic community, we are officially launching our Professional Photographer of the Year awards for 2011. The response to last year’s competition was amazing, and we say a huge thank you to the sponsors, judges and readers for their hard work and THROUGH OUR WEBSITE commitment. We’d love to build upon this WWW.PROFESSIONAL success and create a competition in which PHOTOGRAPHER.CO.UK the whole industry wants to participate 23
- 24. 2011 OF THE YEAR AWARDS Keeping things simple is often the best way photography magazines, websites and to handle complex scenarios, and this year’s social media outlets. He was a professional competition will be kept as straightforward newspaper and TV photographer for more as possible. It will be hosted on the than 10 years. Professional Photographer (PP) website, and each issue of PP, from next month to ANDY GOTTS has been a photographer to February 2012, will feature some of the Hollywood A-list actors, from Brad Pitt to judges’ favourites that have been uploaded Daniel Radcliffe, for the past so far. In April 2012 we will host an official 21 years, and many have become friends. prizegiving ceremony and party for the He is also president of the British Institute winners, judges and sponsors. More on of Professional Photographers (BIPP). the party in future issues. The May 2012 issue of PP will include TOM CATCHESIDES is a leading UK wedding a PPOTY Special Edition showcasing images photographer who also does portraits, from the winners and runners-up in corporate events and PR work. In 2009 he a 24-page section, including interviews, founded Light Blue Software, one of the comments from the judges and images from sponsors of the PPOTY awards this year. the winners’ party. Opposite page: Winner of the Professional THE COMPETITION Photographer of the Year title and of the Fashion This year we are having 13 categories, award 2010, Arseniy Semyonov. with a winner and a runner-up in each. Right: Winner of the Editorial award 2010, Rebecca Litchfield. Below: Winner of the There will then be a final judging to Advertising award 2010, Tim Wallace. select the Professional Photographer of the Year. To enter just log on to www.professionalphotographer.co.uk and submit your entries in the given categories. You don’t have to enter all of them; you may pick just the ones where you feel strongest. The deadline is Friday, January 27, 2012. THE JUDGES PAUL SANDERS has been the Picture Editor of The Times since 2004. As well as being a keen photographer himself, he is equally obsessive about cycling, and blogs about it at cyclingdisorder.blogspot.com BEN DUFFY is an internationally renowned commercial sports photographer who has shot just about every A-list sports star. His impressive client list includes adidas, Nike, the Premier League and EA Sports. ADAM SCOREY is the Group Editor for Archant Imaging and is responsible for the editorial direction of its portfolio of 24
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- 27. 2011 OF THE YEAR AWARDS THE CATEGORIES We have 13 categories for photographers to enter and the titles are generic to encourage as many as possible to take part. There will be a winner and runner-up in each category, plus Best Portfolio winner and the Professional Photographer of the Year title. You may enter as many categories as you like but are limited to one image in each, with the exception of the Portfolio Award. 1. HIGH FASHION – from a head shot to a full length, we want to see images oozing style 2. STREET PHOTOGRAPHY – raw, candid, colour or mono, a visual comment 3. THE WILD WORLD – show Mother Nature’s true character 4. COMMERCIAL CLIENTS – from abstract architecture to industrial Britain 5. IN THE STUDIO – show us your mastery of light Opposite page: Winner of the Travel award 6. ON LOCATION – from gritty urban scenes 2010, Paul Thurlow. Above: Winner of the to polished city portraits, we want to see Weddings/Social Reportage award 2010, Sacha Miller. Right: Winner of the Contemporary you show skill at using the surroundings Art award 2010, Sergey Lekomtsev. to enhance your image 7. SPORTING ACTION – show us your perfect timing, amazing lens control and how you capture the passion WHAT DO YOU WIN? 8. REPORTAGE WEDDINGS – are you the We would like to think that becoming next Jeff Ascough? Professional Photographer of the Year 2011, 9. STILL LIFE – let the judges see your or a category or Portfolio winner, are strong control of lens choice, depth of field enough reasons for entering. Yes, there will and composition be an exclusive winners’ party with sponsors 10. STUDENT OF THE YEAR – an open and judges, plus magazine staff, but we also THE SPONSORS category for anyone in full-time education feel that you need to get something a bit studying a photographic discipline extra. So, each winner will receive an 11. EDITORIAL/NEWS – from hard to soft, exclusive logo to promote themselves to the show us your skills at interpreting a brief industry and to their clients, which can then and responding to events as they unfold be used to help market themselves through 12. BREAKING THE MOULD – another open websites, stationery and business cards, category for everything weird, wacky and as a mark of distinction and a sign of quality. avant-garde – have some fun! In addition, there will be a section created 13. THE PORTFOLIO AWARD – this goes to on the PP website profiling the PPOTY the photographer with what the judges winners, using this logo as a reference point, consider the strongest overall portfolio so potential clients can visit and discover of three images. The category and their awardwinning photographer. subject matter are open, and we This would be used as a click-through encourage you to submit new images from the winners’ websites back to the from one or more shoots PP website. PP 27
- 28. Amazing Internet The Art of Creative Web Design Pro Series Bespoke Websites Websites - the easy way to get - the ultimate tool a custom site for less for the professional ! NEW New! Get a custom look and feel without the custom For the discerning professional where a unique design and price tag. Choose from a series of beautiful designs and build is required, our team will design and build a site from the let us customise it to produce a superb, updateable bottom up with the exact style and functionality you require. site matched to your brand and tailored to your exact needs. These are our flagship photography sites on which we have built our international reputation. Prices quoted individually. Starting from a pre-designed structure, we take your logo and brand colours and create a unique site that really works for your business. You can also add on services such as logo “I challenged Amazing Internet to build design, matching blog, e-commerce, and much more. a site to be proud of. Which they did and then some.” – www.katehopewellsmith.com Pro Series Websites from £999 + VAT 020 8977 8943 contact@amazinginternet.com www.amazinginternet.com Stunning Albums & Photobooks, hand built in house. Prices and solutions to suit every pocket! CHOOSE FROM 7 STYLES, COUNTLESS SIZES, ENDLESS OPPORTUNITIES! Visit our website and download our Albums & Photobooks Service Guide & Price List NOW! Tel: 0845 862 0217 Web: www.onevisionimaging.com Email: info@onevisionimaging.com
- 29. Scorey’s favourite fromthis month’s Portfolio uploads You may think I picked this shot because it’s of an attractive woman in a skin-tight wetsuit. Partly. But on closer inspection you can see the crafting of the light, the subtlety and balance Chris has used that shows a real understanding of lighting - I particularly like the rim lights. There are multiple lights in use against the dark wetsuit with a contrasting face and swimming cap. It’s tricky, exposure-wise, but what I like about it, more than anything, is its simplicity and its symmetry. The lighting really enhances the subject, rather than overpowering it. Very nice. PP www.christopherneil photography.co.uk CHRISTOPHER NEIL LLEWELLYN Want your image featured here? Upload your shots to www.professionalphotographer.co.uk 29
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- 31. { feedback } tell us what you think via Twitter @prophotomag or Facebook Pro Photo Mag or by email feedback@professionalphotographer.co.uk feedback@professionalphotographer.co.uk PRO PHOTO MAG Dear Professional Photographer, see as ‘art’, mainly as each image Dear Professional Photographer, loads of photographers specialising I read with interest your article that we take and see needs some I just wanted to say another big in unusual types of work out there. ‘Call it Whatever You Want but form of interpretation. The old thank you to Professional Tim Shaw Don’t Call it Art’ in Professional cliché can be brought into play here Photographer magazine for Photographer (June 2011). in that the beauty (or otherwise) is selecting me as a winner of the Dear Professional Photographer, This subject has absorbed me for very much in the eye of the Shoot the Catwalk Competition Great magazine, have been some time, and I discussed it in beholder. For me, I’d rather have earlier this year. Are you guys subscribing for a few years, my 2008 book Photographic some form of response than apathy. planning another FW comp? always something new. Composition. Basically I think Apathy is a nasty, horrid thing and (I'd love the opportunity to shoot George Davies some photography IS art, but a lot creates what I call ‘holes’. NY Fashion Week!) is not. Even some ‘art’ is not art! Some form of response allows us Margaret Yescombe Dear Professional Photographer, To make progress I think you need to learn and, ultimately, grow. Excellent magazine. Great to see a definition against which to Personally, I’d love photography Dear Professional Photographer, fellow photographers’ work, measure. In my case I use creativity to become ‘cool’ again – if I can Love the mag, even better when I techniques and experiences. (essential) plus craftsmanship (with use that word. But this would mean get a picture printed in the Alastair Bell some flexibility) plus emotional we may need ‘leaders’ or icons to Portfolio section. Thanks. Great response (essential). I find help show us the ‘way’ – a Banksy issue this month. Dear Professional Photographer, this quite reliable – for pictures, or Jamie Oliver type. The biggest Paul Thurlow Who is the new Editor of the sculpture, music etc. I have no time problem I can see, other than the Professional Photographer Mag? for photography which just apes sheer volume of people shooting Dear Professional Photographer, Maria Dragan painting, or some of the more now – and what they’re shooting on Excellent read, but I am starting to vacuous ‘arty’ work. But I do like – is that ‘cool’ is as cyclical as the think I am the only photographer Dear Maria, to be moved by a photograph, be it fashion industry. Does photography doing construction and civil The new Editor of Professional reportage, abstract or avant-garde. lead art or visa versa? Or, as I engineering. I would like to see Photographer is Adam Scorey. I feel we are a bit stuck in this suspect, is it that events to which more varied work, other than Pro Photo Mag formulaic ‘contemporary’ phase of we as photographers respond really fashion, weddings; there must be conceptual constructions and blank dictate things? face. As I said in my earlier letter I guess we now also have to bring (PP, December 2010) what we need in technology as part of the process; is not snob photography, but good new developments (from camera @prophotomag photography. This applies to all sensors to Speedlights) and genres, including the commercial. software can massively affect our Some nice interviews in latest since some of regular contributors Geoff Roe, via letter inspiration and what we can now do @prophotomag Kalvar, Mollica, will no longer be in it. with our creative juices. Hansen and Georgiou all @jamiewillmott Dear Geoff, A point I feel strongly about, and #Goodstuff. @lensgrunt I understand your point fully; what one you have mentioned, is that of @prophotomag question: if do we call our pictures now – the importance of craftsmanship. Praise from @peterdench for everyone’s practically leaving the images or photographs? Technically I think this is an essential Press & Editorial Photography mag as said in this month’s issue, what’s to look forward to next they are not photographs... Perhaps ingredient that should be fostered graduates’ London show in Aug’s month? @jamamini with a more formal definition, this and grown in all of us. I love @prophotomag p35 – “work is transitional phase we are all in and technology, gear and gadgets, but good and democratic”. @jamamini Still plenty to look coming to terms with may be easier it should be up to the photographer @UCFalmouth forward to in the next issue. The to understand/handle. However, I how best to employ all of them. philosophy of the magazine will do think we all need to keep an Adam Scorey, Group Editor, @prophotomag I’m interested to remain the same: by pros, for pros. open mind and treat everything we Archant Imaging see what the next mag will be like, @prophotomag PP 31
- 32. PP - Podcast- SEPT 10/08/2011 10:55 Page 32 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 July 2011 Issue May 2011 Issue September 2011 Issue HOW MUCH IS YOUR BOOKSHELF WORTH? CONVERGENCE AND THE FUTURE NEW PPOTY AWARDS LAUNCHED The podcast contributors talk about collecting OF PHOTOGRAPHY New PP Editor and Imaging Group Editor photography books. They examine why some The impact of HD DSLR film making on the Adam Scorey is joined by Jeff Meyer, who has books have not only held their price but world of professional photography is the podcast just taken over at the helm of our sister title, dramatically increased in value while others have topic this month. With many stills photographers Photography Monthly, to discuss the been relegated to the dusty shelf of obscurity. now being asked to shoot video, the debate Professional Photographer of the Year 2011 Long-time photo book collector Grant Scott focuses on problem areas such as narrative, Awards and the latest developments in the explains his passion and the discussion turns to sound and editing, and how stills photographers world of photography. the ways of spotting a good investment. are reacting to this new world. AND THOSE YOU MAY HAVE MISSED… June 2011 Issue April 2011 Issue August 2011 Issue THE BEST OF BRITISH PHOTOGRAPHY GETTING YOUR WORK EXHIBITED HIT THE STREETS The podcast discussion this month revolves The podcast contributors discuss the world The previous PP Editor, Grant Scott, and his around the Best of British list published in the of exhibitions. As curator and exhibitor deputy editor, Eleanor O’Kane, discuss PP June issue. The team look at some of the respectively, Grant Scott and Peter Dench share the renaissance of street photography with great names of British photography through the their experiences and look at the wider benefits photojournalist Peter Dench. He explains his decades, stand up for their own personal of making an exhibition of yourself. passion for this type of work and talks about favourites and ask why some periods have seen photographers who have influenced and a proliferation of great British photographers. You can subscribe for free and download the inspired him. They are joined by editorial If you feel a photographer who deserved to be podcasts from iTunes by typing professional photographer and PP podcast fan Chris Floyd, included has been left out drop us an email at photographer into the search tab or listen via who shares his thoughts on the subject. feedback@ professionalphotographer.co.uk www.professionalphotographer.co.uk. PP 32
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- 35. MIDDLEBROOK IT’S NOT ALL GLITZ... ...AND GLAMOUR Straight-talking pro MARTIN MIDDLEBROOK asks us to sympathise with the unglamorous reality of hard-working pros who will do any assignment to pay the bills, but then blows it with talk of basking in the heat of the south of France enjoying a large beer for lunch This year I have 10 articles, and I also work as a consultant my bitch, is this: it’s not how it used to be. photographed a door and to an advertising agency. I took myself off to Hell, what am I saying? I don’t really remember a fireplace, a skin care Mumbai to gather images that might form how it used to be, but they tell me it was splendid conference and a man part of a new humanitarian project, but and fine – how lovely! dressed as a banana – that are presently just being used to fill the oh, and one dressed as a pages of articles I have to write. WHERE’S THE CASH? strawberry. I have also It’s not all glitz and glamour, not everyone There are too many photographers and too few exhibited at the British Museum and am is Nick Knight or Rankin, so most of us grab budgets; the maths are simple, and so you have laying out a book on my Afghanistan project. what we can to fulfil our lives creatively and to to think a little laterally about how you might I have redesigned my website and written pay the mortgage. This is our reality. So my gripe, continue to make a living. Everyone says you 35
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- 37. need a website,so you do that. But it’s not MIDDLEBROOK enough. Get a blog and a Facebook page too, but you probably need to sell the kids to produce that vanity coffee table book – a giveaway that will bring you no work, but massage your sensitive soul. You had better get your head around convergence as well, it’s coming for sure, they keep telling you; so HD is your latest upgrade, and Final Cut Pro. However, you are spread too thinly, you can’t do any of it well – some of it you can’t do at all – and all the time, what you get paid for this work is tumbling out of control because some upstart is offering to photograph weddings for £150. You can’t compete with that, what with the mortgage and the camera upgrade you have just taken, and your legal obligation to feed the kids and not use them as collateral against your misguided investments. As circles go, it’s becoming harder to square. It gets harder, too, to remind ourselves why we do this; that old creativity chestnut looks a little worn out when you are photographing a man dressed as a banana and, if I am honest, the fireplace shoot didn’t rock my boat. FOLLIES The wonder of the human condition is the “The equation is as follows: Banana suit + foreign travel unquenchable desire to put yourself through it + skin care + social media (yawn) + no daily commute all, again and again, even though common sense says you are just stabbing yourself in the eye. + earning just enough to live = A damn happy life!” So I am off to Provence to continue a personal project on bullfighting that I began about six Martin Middlebrook years ago. Another self-financed folly that will swell my portfolio and make me feel good for a while, but won’t bring me the adulation of Sebastião Salgado, just an infected mosquito bite. BUGGERED IF I KNOW So why do we do it? Why do we still have faith in it all? Why do we risk so much, often for so little? Well, I’m buggered if I know, but I think it’s something to do with not really wanting a proper job. We insist that nothing will kill our ‘very being’ more swiftly and efficiently than a harassed daily commute and a tyrannical boss; we believe that somehow our skills should provide us with a life outside of that little loop, that we deserve it, that we are somehow superior people – but, of course, we are not! We couldn’t hack corporate life if we tried, so we capitulate and swim like swans; all grace and splendid beauty above the surface, but a frantic, negligent paddle below. And I should know, I have been eking out that little parody for longer than I can remember, always on the edge of glory, or an abyss. The worst part is this: every time I think I can’t do it any more, something amazing Above top to bottom: Man dressed as a banana with his sidekick; Bullfighting in drops from the sky like candy and somehow Provence from Martin’s personal project. Previous page: Photographing paint drying. 37
- 38. MIDDLEBROOK Three shootsfor the price of one: Product photography from the skin care conference. “Photographing a variety of professors of dermatology describing in graphic detail various skin conditions that would make the Elephant Man look a picture of health is not a career highlight...” Martin Middlebrook hoodwinks me into another 12 months of up my nose. I have taught myself to shoot it FEAST OR FAMINE scratching and searching. “What an idiot,” I say all because when you live in a tiny provincial So in this given week I have several days’ paid to myself, but my alter ego responds instantly: market, which is where many of us work, you work, but the rest is activity that I hope leads to “What else are you going to do, thicko?” don’t have the privilege of picking and choosing fame and fortune and a pocketful of bookings. your speciality, you are the jack of all trades, it’s The reality is that most weeks are like this; HAMSTERS how you survive. Somehow, I taught myself to who am I kidding? All weeks are like this! So resignation has become my future and within write about it all as well and my musings keep It’s always feast or famine, never a steady flow the constraints of that depressing parameter I me going too, which is why I find myself here, of pleasing commissions or exciting projects that concentrate on every positive I can find. I try very at 11.22am on Monday 4 July, committing 2,000 light my fire. When you get that call asking hard to turn them into money from which I can words on the reality of being a professional if you can photograph a door, a window, invest more of my future in hope and opportunity photographer in these most testing of times. a fireplace and some coving, you feign gushing – oh, and uncertainty. So the circle of life So my week holds the following: excitement; it’s the job you have always dreamed continues. I don’t suppose we are very different of. “Oh God, thank you for the chance. Let me from those corporate hamsters turning that Monday and Tuesday: Finish this article, supply buy that plasterboard and magnolia – the set will endless wheel of ‘permanent and pensionable’. appropriate images. be ready in the blink of an eye.” The regret is I have always broken down my work into almost immediate as you realise your living room various parts: the bits I love that make me feel Wednesday: Shoot concept images for an is going to look like B&Q for the next three good and provide a little prestige, the work advertising agency pitch. It’s unpaid work, weeks and you spend every last second telling the that I have to do to pay the bills, and the fun that but holds the promise of winning the kids not to touch anything. fills the holes but pays nothing at all. The sum photographic account when the eagle has The skin care conference wasn’t too peachy of these parts usually suffices and some years landed, which it surely will – I tell myself! either. Photographing a variety of professors of I am blissfully happy; I’ve learnt to accept the dermatology describing in graphic detail various swings and roundabouts because some days I am Thursday: My agency day and I consult on this skin conditions that would make the Elephant on a rocket ship to the stars. and that. A weekly pay packet, but no concession Man look a picture of health is not a career I can photograph architecture, PR and events, to employment – I tell myself. highlight, but it was a classic example of how studio and weddings, photojournalism things have changed. In addition to photographing and abstract concepts – the bases are all Friday: A heads-down day trying to attract new the conference, I was asked to bring studio lights covered, there is nothing at which I would turn business – sell, sell, sell! and backdrops to photograph 40 staff members 38
- 39. UCLan launches UK’s firstTravel Photography Masters degree The University of Central Lancashire (UCLan) has launched the UK’s first ever Masters in travel photography. The postgraduate programme is specifically holiday snaps or photographs for budget and fellow graduate Antoni Georgiev has for travel photographers, aimed at both holiday brochures, it’s about being able to produced a portfolio of work about the professional and experienced amateurs, and tell a story and capture the experiences of Maasai tribe in Kenya. includes the option of industry placements a particular place. It will enable practitioners Carl O’Keeffe commented: “My photography and experience with charities and other to develop their skills in this niche area.” has come on more during this course than at not-for-profit organisations. The full and part-time course has been any other time. The opportunity to travel to The field-based course enables participants established on the back of UCLan’s already Zambia and photograph in a situation that I to spend 12 days on an international successful MA Photography degree that has could treat as a professional assignment has residential working with indigenous allowed recent students to shoot in Istanbul, made so much difference to my aim, resolve people. Proposed visits include workshops Kenya and Zambia through collaborative and my photography.” with Nairobian photographers and projects across the University. Anyone interested in the MA Travel conservationists in National Parks in Kenya. Recent graduate, Carl O’Keeffe, has shot in Photography should email Course leader Steve Speed commented: “This Zambia as part of advocacy work for Non- Steve Speed: sspeed@uclan.ac.uk course isn’t about learning to take great Government Organisation, Sport in Action, or call 01772 892400. Photos by: Antoni Georgiev (MA Photography)
- 40. MIDDLEBROOK One ofthe highs of being a professional photographer: Martin’s image of a market trader in Mumbai; collected as part of a planned humanitarian project. and carry out product photography at the same this endless self-development, drives me crazy; I will just have music streamed to me on demand. time. It was effectively three shoots in one for the I do get a little weary of it all. But then I consider I did recently get drunk at a friend’s house and same bargain price. It’s a form of theft when you the following: while many of my friends have we played Joni Mitchell’s Blue album on LP and think about it; each additional element reared been commuting up and down the M5 these agreed that the sound was three-dimensional its irritating head after the price had been agreed past two years, I have been to Afghanistan three and amazing. But, of course, when I get on my – theft by stealth. What are we to do? How to times, exhibited several times in London, been flight to France my entire record collection will see it all? published across many magazines, financed trips be coming with me as zeros and ones – something Well, I see it this way: all these things are the to India, France and the US and probably only you can’t do with LPs. Each of us digital converts parts that make up the sum, and the sum is that worked about half the year. It’s hard to gripe when – and that’s all of us – are equally as responsible I go to Provence in a couple of weeks and indulge you look at it like that. for our new reality as the bloke who will shoot my photojournalism whimsy in 35°C heat and that wedding for £150. drink a grande pression for lunch, thanking my REALITY lucky stars that I don’t have to go to work for a The reality of a professional photographer has EQUATIONS living. Heaven I tell you, heaven! changed greatly over the past few years and If the sum of the parts means that we have an for many of us has become a huge challenge. experiential existence, I will take that every time, CONSTANT REINVENTION However, I am never going to walk away thank you. None of us remembers the dull I wrote 12 months ago that each year I make my from this reality, but merely embrace and grow times, but we do remember the highlights, and living in different, undreamt of ways. It will with it – what else can I do? I used to buy being a photographer there are plenty of those continue this way; each year it evolves and if LPs that I would then record on to tape. Then CDs along the way. The equation is as follows: Banana I sit around thinking about it for too long, I will came along, at which point I negligently sold my suit + foreign travel + skin care + social media become coal. It’s an annoying but immutable record collection. I built my CD collection, which (yawn) + no daily commute + earning just enough truth, so I presume that next year the bulk of is now stored in my loft and I have bought to live = A damn happy life! PP my income will come from different sources nothing but downloads for the past six years. once again. Sometimes this constant reinvention, Soon all this will change again, I suppose, and www.martinmiddlebrook.com NEXT MONTH - MARTIN MIDDLEBROOK REPORTS BACK ON HIS TRIP TO PROVENCE, WHERE HE CONTINUED HIS BULLFIGHTING PROJECT 40
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- 42. {INSIDER } The UNDERCUTTERS MICK COOKSONis possibly about to upset a few people, or at least reignite an age-old debate, but he asks some serious questions of wedding photographers and then offers some possible answers My name is Mick Cookson. I’m a professional THE WEEKEND WARRIOR BACKUP wedding photographer based in north-west Right, I’ll get it off my chest from the start. The WW shoots with little or no backup kit and England. It has taken a good three years The problem with the wedding photography limited or no insurance – you are fully insured of solid, hard graft to get my business industry is that it’s unregulated, with no official for public liability and have professional established… and I still work full-time on qualifying requirements and no decent governing indemnity policies in place, right? Oh, and you keeping it that way. After a 15-year career body overseeing everything – in my opinion. are declaring everything to HMRC, aren’t you? in TV commercials, running my own We have the SWPP (a society), the RPS (another I know a certain WW who claims he has 23 production company as director/producer, society), the MPA (an association) and the weddings booked in this year at around 500 quid I decided to pack it in and go back to my first BIPP (an institute), which all offer ‘qualifying’ a pop. That’s decent money on top of a salary. love: shooting weddings for a living. levels for photographers. But let’s be honest, For me, it has been the perfect career move; having letters after one’s name means more to UNDERMINE well, most of the time. a photographer’s ego than to a budget-conscious Rightly or wrongly these people exist; they always bride – and before anyone starts moaning, I was have done, it’s just more obvious now that the originally an LBIPP, but deliberately allowed industry has ‘gone digital’. By undercutting a my membership to the institute to lapse (for a working pro’s fees, because they can afford to, and specific reason). undermining all their years of experience, skill So, with no official body regulating the and professionalism, these WWs are both annoying industry, enter the ‘Weekend Warrior’ – those who and damaging to many. Admittedly, they do serve still have the security (and salary) of a full- or a market; there are brides with only £300 in their part-time job through the week. These ‘Weekend budget who just want some images on disc for their Warriors’ (WWs) are the archetypal budding phone and Facebook page, who are not bothered pro. Normally they are no more than keen about contemporary images and styles so would amateurs with a good eye and a few lenses never contact the full-time professional anyway. – though there are exceptions on both counts – So are the WWs a good or a bad thing for the who are ‘knocking out’ weddings on the cheap industry? Personally (here we go) I think they’re a at weekends. Anybody with a decent camera bad thing. We need proper regulations and a code of can produce professional-looking results, or so conduct to work to (cue email complaints). the advertising hype would have us believe. Yeah, right. Just buying a Canon EOS 5D Mk II kit doesn’t make you Jeff Ascough or Joe Left and right: Few ‘Weekend Warriors’ produce the consistently top-quality work that a good pro has to do. Buissink overnight. It doesn’t even make you Whatever the mood, whatever the weather, a good pro Mick Cookson! will produce the goods, day in, day out. 42
- 43.
- 44. DEGREES OF SEPARATION Most weddingpros shoot Canon or Nikon. I’m a dedicated Nikon fan, with a D3 and two D700 cameras. No D3100s or D50s here – I’d break them in a month. The pro Nikons naturally suit the way I work, and my workflow is specifically geared around these cameras for efficiency. My latest acquisition is the new 35mm f/1.4G lens. It gives me the edge in (no-flash) low-light shooting and for my natural documentary style of photography. It joins my 24mm f/1.4G, 50mm f/1.4G and 85mm f/1.4G lenses to make an arsenal of low-light glass, something that the Weekend Warrior (generally) doesn’t have or use alongside their kit zoom, or cheap, all-round zoom lens and flash combination. My work Above: Professional IS OKAY ENOUGH? a full-time pro. To them I say: if you are good, stop is worth the fees glass sets the I had an electrician phone me recently, asking devaluing the industry and charge accordingly so pro wedding I charge as a result photographer apart if I could train him to become a wedding as not to piss off your full-time colleagues and put – probably more. from the ‘Weekend photographer because he wanted to “earn a few us out of business. But the key thing is, Warrior’. No cheap, quid”. I asked if he would mind me rewiring To the others who don’t seem to care and are I know how to get the all-round kit zooms houses, unqualified and undercutting his prices happy in Program mode with their £300 shoot ’n’ can produce images most from my kit; like this. at weekends, for a few extra quid. The phone went burn weddings, you’re welcome to them; you are I know what f/1.4 quiet... then he said, “Hmm, I see what you not professionals. looks like and when mean” and promptly hung up. It’s exactly this and when not to use it. shoot ’n’ burn attitude that is slowly destroying WHAT DO WE DO ABOUT IT? These are tools, the wedding photography industry. Does this parasitic behaviour worry you? nothing more, nothing The advent of digital technology makes Are these types undermining your professional less, but tools that everyone a photographer these days. I have had standards, undercutting your prices and taking I love. people at weddings show me their images on business away from you? If the answer is yes iPhones and tell me they’re just as good – if not let me tell you how I deal with it. better – than mine! So, faced with this mentality, we pros have to look seriously at ourselves and up MAN IN THE MIRROR our game. Let me say again: I appreciate that there You need to look carefully at yourself and what are some really good part-timers out there who, for you offer, and then compare it to what the WWs whatever reason, cannot make the jump to being produce. Is there a noticeable difference in quality 44
- 45. {INSIDER } between yourwork and the WWs’? There should I’m not a big fan of the low-fidelity ‘retro’ look Above: You get what you pay for. be; if not, that is another discussion. Then, move that everyone’s shooting at the moment; but A good pro wedding photographer earns their fee. They work hard away from the same market as them and up your everyone is shooting it. Why? Brides love it, that’s to cope with any adversity to keep game. Obviously, be better than they are and why; it’s what they want because they’ve seen it in the day rolling, so the bride and don’t go for the same clients. Easier said than the same magazines – they want to look like that groom are left with beautiful done, perhaps, but there is little point in offering and they’re paying the bill, after all. I offer it as an images for their album – their latest family heirloom. Mercedes-level quality in a market wanting option and it works. garage shed bargains. Do you keep your website and blog up to date? (You do have a blog, don’t you?) Do you have a A NEW MENU Facebook page or put your latest shoots on We are all different as photographers, so maybe Twitter? Try new lenses and post-production DO MICK’S OPINIONS it’s time you looked at your photographic style, techniques (to speed up your workflow) and stay RESONATE WITH YOU? wedding albums and services offered. Are they up ahead of the WWs. You need to get your product to date? Or are they a bit dog-eared and tired? above that of the WWs, and noticeably so. WOULD YOU LIKE TO HAVE Do you offer traditional and digital albums to give You don’t need their clientele anyway... do you? YOUR SAY? CONTACT US AT clients a choice? What about iPads loaded If you do, you’re not much better than a Weekend FEEDBACK@PROFESSIONAL with wedding images or free engagement shoots? Warrior yourself. So what do you spend the rest PHOTOGRAPHER.CO.UK Do you read bridal and fashion magazines, of your week actually doing? PP OR GO TO OUR WEBSITE looking at the current vogues in photography WWW.PROFESSIONAL and adapting them into your shoots? http://mickcookson.com PHOTOGRAPHER.CO.UK 45
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- 48. {INSIDER} STAND YOUR GROUND It’sa fact that since the dawn of digital, the perceived value of our work has, in other people’s eyes, reduced dramatically. Combine this with a recession and, according to CRAIG FLEMING, it’s time for photographers to get tough N ow, I’ve never been a fan of artists’ agents; with one exception they were your way, guaranteed...” Hmm. Again, I think I’ll economic troughs, but I’ve always happy for me to use the images and everyone decline if it’s all the same with you. said that, like a forest fire, they said they loved the photos. Result. do serve a purpose: killing off A month later I was shooting for the client STAND YOUR GROUND dead wood and allowing new growth. again, with a further booking for the following The only way we as photographers can stop Indeed, if you can survive a downturn, week, which led me to believe I had been right things like this happening is by all standing our you’re in a good position to come out to stand my ground. I’ve never discovered the ground. I’m not saying it’s easy to turn down the other side. That said, in recent months truth about why they wanted me to remove those commissions, but at the end of the day we all I’ve observed an alarming trend: images, but I suspect it was down to some work for one reason alone, and that is to get paid. increasingly, existing and new clients are middle management type who feared their world I love my job, I’m passionate about asking me to shoot for them for free. might collapse if, God forbid, anyone other than photography, but I’m just not prepared to let Yes, free! This is often preceded by the themselves had any good publicity out of them. clients walk all over me. Whenever requests like claim of: “We’re on a budget.” Now, unless this come in I always offer to go and see them to you’ve recently won the lottery, we can AND AGAIN… discuss the options; the first of those options safely assume that we’re all on a budget A few weeks on and an email landed in my being paying me. It’s harder for people to ask of some kind or another. in-box from the same client. In the subject box you to work for no payment when you’re sitting was the heading, “I know this is cheeky, but...” in front of them. A LITTLE STRAINED Basically, they wanted me to shoot a gala dinner I have a client for whom I’ve been doing regular but, because they were “on a budget”, asked VALUE YOUR WORK commissions over the past two years. A good if it would be possible for me to shoot it for Putting a specific value on your own work can be client they are too, giving me the opportunity to free. Yes... that is bloody cheeky. Now if you’re tricky, but I put in the time and effort on every job shoot household names and to get paid for it not sitting down right now I suggest you do so I do, so I know I’m worth my rate. I don’t imagine at the same time. However, over the past six because not only did they want me to shoot that if you walked into a Porsche dealer with £200 months things have become a little strained. it for free, they wanted me to hand over the files they would let you drive out with a new 911. Two instances have given me cause for concern. so they could sell them afterwards. The reason for that is simple: it’s not enough to Firstly, I was asked to remove from my That isn’t just cheeky, it’s downright buy one. The same thing applies to my work. website all the portraits I had shot for the client offensive. I immediately declined their generous My rate is set to allow a little discount here and – an odd request given that these were publicity offer in a short email. I could have made my there, but I certainly will not be giving away my shots, images that were seen all over the web response even shorter – two words to be exact work cheaply – and definitely not for free. PP and in the local and national press. Quite why – but as straight-talking as I am, I resisted the images on my website were deemed so the urge. offensive, I’m not sure. It’s a difficult place to This is a problem that seems to becoming CRAIG FLEMING be; on the one hand you don’t want to lose what more frequent. A couple of other photographers Specialising in is essentially a good client, but on the other you I know have had the same type of request and it editorial-style portraiture have to show off your best work. I decided to is difficult to know what to do, especially when as well as hair and beauty, challenge my client and refused point-blank to it’s an existing client with whom you have Craig has been a professional remove the images! previously had a good working relationship. photographer for the past Secondly, I was told it wasn’t the client Something else that is becoming more apparent seven years. You can see more of his who had a problem with the images, but the is the ‘carrot dangling’ request: “If you do this work at www.craig-fleming.com artists’ management. Fine, so I emailed the one job for free there’ll be loads of work coming DO CRAIG’S OPINIONS RESONATE WITH YOU? WOULD YOU LIKE TO HAVE YOUR SAY? MESSAGE US VIA TWITTER OR FACEBOOK, OR EMAIL US AT FEEDBACK@PROFESSIONALPHOTOGRAPHER.CO.UK 48
- 49. This image byCraig Fleming was commended in the fashion section of the Professional Photographer of the Year awards in 2010. To find out more about the 2011 awards see page 22.
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- 51. THEBUSINESS PART ONE In the first of a new series, SELINA MAITREYA shares her insights from three decades of advising commercial photographers in the US on how to market themselves. This month she discusses how to construct the complete marketing package THE RIGHT STUFF As a consultant to commercial photographers for the past 30 years, my long replaced film and buyers are more difficult to access directly, the path job has been to guide visual professionals by helping them to define to achieving success is the same as it always was. and refine their visual product and successfully market their body of work. The concepts, systems and practices that I suggest to my clients are Develop a solid product that has commercial legs effective universally. Target your market, develop five to seven sales channels, service In a nutshell, what every commercial shooter needs to offer clients is exceptionally, and stay in the game consistently and long enough to a deep, defined body of work, focused around a specific visual approach to succeed. Sounds simple, but the reality of the ‘doing’ is much more their chosen topic. In addition, photographers need to understand today’s complex. There is, however, a schematic that each photographer can selling paradigm and consistently meet the demands required in order to learn and make their own. develop market identity. When a creative pro accepts the responsibility for their success and Thirty years is a long time to focus one’s talent in a specific market; it’s begins to work the plan, the path to success has begun. When I look closely safe to say that I’ve literally ‘grown up’ in our business. It’s also fair to add at the steps taken by photographers who have achieved successes, I see a that during this time the industry has grown, shifted and transitioned different variation of the same process. I call the formula The Mix. © ISTOCK / ANDREW JOHNSON constantly. I’ve been a witness and a participant as these changes have First of all, let me be clear, the successful photographers I am talking occurred. As a result I have much to share with you, and I’m excited to have about are not the Annie Leibovitzes of this world. However, they have had the opportunity to do so. success, as each one at different times in their career has reached their Here’s my first nugget for you: everything has changed and nothing has creative and financial goals. They have achieved their success by employing changed. Confused? Let me shed some light… While the selling paradigm not one or two steps of The Mix, but by putting all of the essential steps has shifted and new marketing tools pop up yearly, and while digital has needed into place for the complete mix. That’s the key. 51
- 52. THEBUSINESS “Marketing is asimple equation and is effective when diversified and done consistently. Effective marketing for any photo business starts with branding and style, combined with an up-to-date database.” Selina Maitreya You don’t need every sales option, but some components can’t be left out of assignment in the future) chosen carefully and thoughtfully – and one and you will need to choose one option from each section of the process. that is large enough to support your outreach efforts (direct mail, visual email). You’ll also need a second, more select group (from the larger Here are the ingredients you should have: database) for in-person portfolio visits. Work on this. A talent-based body of work ready to sell (this means a defined visual Now let’s assume you have got the vision-based body of work, and approach around a specific subject with enough samples to build trust in you have developed your database; now you need to commit to four to five potential clients) different sales channels. That’s right, four to five! A deep database of appropriate contacts (and a smaller, more researched group of contacts for in-person visits) Must-haves include: Four to five different marketing/sales channels (including direct sales – Website see Must-haves section right for options) Blog Marketing materials that are visually branded to move the visual Visual email message forward Visual direct mail Perseverance In-person portfolio showings Faith In-person networking opportunities Patience Social online networking (Allow a two to four-year timeline before seeing consistent results for Portal placement a completely new business) Print sourcebook Press Notice that I wrote that those who were successful worked ALL of the steps above, not just one or two of them. While there are eight to 10 options You will need to develop your plan of approach; one that represents all of for sales and marketing tools, you will need to employ at least four to five. the must-have options and two to three other avenues for visibility. Marketing is a simple equation and is effective when diversified and But before you move forward you must decide on how much of a financial done consistently. Effective marketing for any photo business starts with investment you will be making this year. As you begin to create a budget, branding and style, combined with an up-to-date database. take stock of where you are now. Do you need to build a vision? Or is the Notice the words ‘diversified’ and ‘consistent’? For years I have been vision there but you need more examples? Do you have a database? meeting photographers who get a piece of The Mix but don’t jump in Maybe you need to build a palette of tools. Don’t get overwhelmed and completely. Maybe they get the vision piece and then decided to send direct don’t get discouraged. Simply see where you are and own it. Commit to mail out to promote themselves. That’s it, direct mail. Maybe four to six investing the resources needed in order to move you to the next step, not times a year, period. the next two or three. Stay present and move forward with an open heart. Then there are creatives who believe in sending out visual email once Progress takes time, money, talent and commitment. PP a month. End of story. Of course, if they hear a panel of art buyers talk about how much email they get, they decide no longer to send email; now Selina is also the creator and host of Clarion Call, the first they are on to social networking. free worldwide telesummit for professional photographers. Get the drift? Photographers may now understand that they need to Visit www.selinamaitreya.com market, but most have not yet embraced the concept of incorporating The Mix. The important thing to remember is that everything starts with a complete visual product. No vision? No need for anything else. Selina Maitreya has written a book called How to Succeed in All subsequent steps rely on a body of work. All your sales and marketing Commercial Photography: Insights from a Leading Consultant, tools are worthless if you don’t have the goods. Let’s see why. which is described as taking a holistic look at how to have a life Let’s assume a buyer has a project (finally). They refer back to one of your in photography. Selina is joined by photographers, clients marketing tools and call to ask for your print book. If you don’t have one and other consultants in sharing information and inspiration. (because you’re convinced that nobody looks at print books), there goes the The book is published by Allworth Press, priced at £18.99, assignment. Maybe the next interested creative goes to your site looking for ISBN: 978-1581154917. a ‘deep example’ of the type of vision needed for their assignment, and all they see are one or two examples mixed in with lots of other types of photography or approaches. The body of work needed isn’t there; you’ve NEXT MONTH: WAKE UP AND SMELL THE COFFEE wasted their time and your money. They won’t be calling YOU again. Clearly, a vision-based body of work is number one. So, let’s assume you SELINA GIVES US AN INSIGHT INTO HOW CORPORATE GIANTS THINK have the vision piece sorted out. Who are you going to sell to? If you have ABOUT PRODUCT POSITIONING, AS WELL AS THEIR SALES AND the vision and you are selling to the wrong contacts, you’ll have no success. ADVERTISING. SHE ALSO EXPLAINS HOW AND WHY PROS SHOULD USE You need a database of potential buyers (contacts who may have your type STRATEGIC THINKING WHEN CREATING THEIR BUSINESS PLANS. 52
- 55. THEBUSINESS £100,000... FORONEIMAGE! Some imagesjust sell and sell. Why? Well, we aim to find out in our new feature that tries to unlock the secrets of great images in the hope we can all learn how to improve our chances of increasing sales This month we speak to Andy Gotts, portrait photographer of the Hollywood A-list. In 2003, he was taking portraits of the stars for his book Degrees, a concept based loosely around the theory of six degrees of separation. He would shoot one actor, then ask them to suggest a friend or someone they admired as his next subject. One of the female actors was the beautiful Kate Winslet. Andy takes up the story: “I shot this portrait of Kate for my charity project Degrees on 16 June 2003, using my Mamiya RB67 on Tri-X film (yes film!). The shoot was very laid-back; just myself, Kate and her daughter Mia were there, which is very often how I like to shoot and how the people I work with prefer to be shot. There was no hair or make-up; the shot was exactly how Kate looked that day – naturally stunning. This shot has been printed in limited edition large-size prints, the largest size being 60in. All proceeds from the sale/auction of this image have been donated to charity; through the sale of this one image, the charities concerned have benefited by more than £100,000. For me, Andy Gotts will be the subject it is quite a humbling thought that this one of our Big Interview feature in image could have such an impact.” the October issue of PP, when We then asked Andy just why he thought we will be featuring previously the image had been so successful. unpublished work, including some “Of course, Kate is a huge star and very of his latest colour portraits. beautiful, which helps massively. But from To see more of his work ANDY GOTTS my point of view as a photographer, this go to www.andygotts.com shot of Kate is so appealing because she looks naturally beautiful. She has an alluring expression, which makes her look see in a glossy magazine, it’s an honest shot post-production. Also, the shot looks even more enticing, as she is not trying to – a capture of the moment – which is timeless with the soft lighting; it could have be. It is not a retouched shot, as you would what true photography is, not hours of been taken yesterday or in the 1930s.” PP 55
- 56. 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 Lisa Pritchard, founder of Lisa Pritchard Agency, about photographer and agent relationships, how the industry is evolving and what it takes to cut it in the world of professional photography What is your definition of a photographers’ and have had to diversify within the industry. agent? But then again, I know many successful Photographers’ agents market and promote photographers who have thrived in terms of photographers, generate commissions and commercial commissions throughout the negotiate fees. But this is not all they do. recession. Perhaps it’s separated the wheat from Experienced agents can give advice and support the chaff. Customer satisfaction is paramount. on all manner of business and legal issues, from More businesses are commissioning industry trends to client contracts. They usually photographers directly, rather than going through get heavily involved in the creative side of agencies. Some of the people that I deal with at things, editing images for promotional agencies seem to be less experienced and not purposes, suggesting ideas for new work and so knowledgeable about commissioning what to enter for awards. As photographers’ photography, but maybe it’s just me getting more Lisa Pritchard agents we also often take the role of mentor experienced. (Let’s hope so after 20 years!) or even counsellor. Life as a professional Photographers spend as much time writing their photographer can sometimes feel insular. blogs and commenting on social networking Owner: LPA (Lisa Pritchard Agency) Having an agent offers the opportunity to be forums as they do taking pictures. They get just part of a team, giving you someone to bounce as many jobs by tweeting as they do by showing ideas off, get encouragement from and share people their books and these days they shoot the ups and downs with. moving images as well as stills. Career history: How has the photography industry changed in How does a photographer get on your books? Account handler: Image Bank recent years? It’s usually a matter of right time, right place. Photographers’ agent: Flashlight and The main changes in recent years are the It’s also more about quality than quantity for me The Picture Company knock-on effect of the economic climate and the and I only generally take on new photographers Photographers’ agent: Independent changes in technology. Deadlines and budgets if a ‘space’ becomes available, so to speak. If a Photographers Group have been tight, but that’s been going on for a photographer feels that he or she has something to Director: Insight Advertising and Corporate while now and there are still lots of nice jobs offer LPA and our client base and that they will Representation around with fair budgets and timelines. I know complement our other photographers, then initially Owner: Lisa Pritchard Agency a few photographers who have been ‘quieter’ they should send an email to tell me why they would be a ‘good catch’. The first thing I’ll do is check out their website. If the work is strong, not too varied and there is a good track record of commercial commissions, then they are in with a good chance. They should follow up their “Do your research. Draw up a wish list. Don’t just send a blanket email to every agent you can find. Look for the © NICK DALY / NIVEA right match. ” Lisa Pritchard
- 57. “They [photographers] get just as many jobs by tweeting as they do by showing people their books...” Lisa Pritchard © MICHAEL HEFFERNAN know some young agency creatives and shoot some of their ideas; or offer to shoot a mock ad campaign for a friend’s business. What trends do you see in photography at the moment? Street casting – real, natural and believable models, email with a call to my office. If I haven’t taken The time is usually right if you find yourself too including families, older people enjoying retirement their call by the fifth time, stop calling! busy shooting to promote yourself or handle and baby boomers aged between 45 and 63 years enquiries, or perhaps you are getting bigger old being altruistic. Many photographers are also What are the biggest mistakes photographers commissions and need an agent to deal with fees showing their portfolios on iPads, as well as make when approaching your agency? and shoot logistics. tweeting and blogging to promote themselves. Showing little evidence or understanding of what LPA is about or what we might be looking for. What makes a photographer stand out from Do you see video being a bigger part of a This should be easy to work out simply by the crowd? photographer’s requirements in the future, looking at our website and blog. For example, A consistent body of work with a strong signature and if so, how? it’s unlikely that we would take on a very gritty style, inspiring personal projects, an impressive There are some niches of the photography photojournalist or a fashion photographer who list of awards or clients and a slick and clear industry where video is becoming a more regular has only shot editorial. website with an interesting and up-to-date blog request for the stills photographer. In certain Photographers who get in touch giving the are a good starting point. However, possessing an pockets of the fashion and editorial world it’s impression that they are a bit quiet and need an excellent reputation, lots of good publicity and become almost mandatory. agent to find them some work isn’t a good professionalism are equally as important. I believe it’s still early days for a large part plan, either. Although this is a big part of what we of the commercial world, however, with most do, of course, the harsh truth is that I’m looking LPA/Futures represents photographers in photographers feeling little or no effect from the to see what’s in it for my business. the early stages of their careers. How can convergence. It’s not turned the industry on its inexperienced photographers show a breadth head as some would have you believe and won’t What tips would you give to a photographer of work in their books? for a long time yet (if ever). trying to get an agent? I don’t think inexperienced photographers should Video is a learning curve for many Do your research. Draw up a wish list. Don’t just show too much breadth in terms of range. I think photographers and clients, in terms of the creative send a blanket email to every agent you can find. it’s important to find a ‘voice’ and stick to it. approach, the logistics and the pricing. Video will Look for the right match. The industry is so competitive; you stand a much always be an optional extra to stills; whether Photographers’ agents come in many shapes better chance of being remembered if your work photographers choose to embrace it and add to and sizes, from well-established industry has a distinctive stamp. Commissioners are their revenue stream is up to them. PP experts with many contacts and several staff to looking for confidence and continuity in newcomers just finding their feet. I’m not photographers’ work; something that they can If you have a question for Lisa that we necessarily saying one is better than the other; identify them with. haven’t covered in Frontline, email it’s about finding the right one for you. An agent In terms of pure quantity however, I agree a askanagent@lisapritchard.com to be new to the business might have more time to photographer needs to be able to showcase a considered for her monthly column on the promote you than one who is busy estimating and certain amount of high-quality images to be taken LPA blog, www.blog.lisapritchard.com producing shoots; but then a better-known agent seriously. Look into the market and work out what will give you more credibility and is likely to is being commissioned at the moment and fill in fast-track commissions. It’s vital that you get on the gaps accordingly. I suggest shooting as much Lisa’s first published book, Setting up a well and feel you can communicate. personal work as possible. Be resourceful – to Successful Photographic Business Ask yourself if you are, in fact, ready for an get your foot in the door in the commercial (published by A&C Black), is out in agent. It may be that you still need to build your world those first campaigns are all-important. November and can be pre-ordered now portfolio of work, gain a presence in the industry Consider collaborating with stylists or models from Amazon. and get a few commissions under your belt. who also need to expand their portfolios; get to 57
- 58. THEBUSINESS Capturing newsworthy eventsas they unfold is what press photographers do as a matter of instinct. However, a recent case in Manchester shows this can land them in trouble. To set the scene: a fight breaks out in a city street between two groups of men after a court hearing into an alleged assault on Channel Four’s Big Fat Gypsy Weddings star Paddy Doherty. There you have your money shot – an action-packed image ripe for the taking. It’s in your nature. You seize the moment. Or do you? Especially after officers have just warned you not to cause an obstruction or take pictures of suspects’ faces. POLICING Manchester Evening News photographer Sean Wilton was arrested, along with six people allegedly involved in the brawl. Reports suggest that while trying to speak to a police officer and explain that he wasn’t obstructing their work “in any shape or form” he was threatened with the confiscation of his equipment before THE PRESS being arrested. So, do we have officers being particularly harsh or a photographer falling foul of the law? Taking pictures in a public place is not an offence in itself, but it can lead to other laws being broken. In this case the officers believed that photographing at the scene might have antagonised the people fighting and caused a further breach of the peace. In other cases, taking pictures of people or property that are likely to be In light of an incident in which a newspaper sensitive can lead to an infringement of privacy, photographer was arrested after taking data protection, copyright and trademark laws. There’s a potential risk at every point of a camera. images of a brawl following a court case, The act of taking pictures is not the only danger area. Problems can start when pictures are PETER STEVENSON, an insurance specialist, published, especially if they start to circulate and go viral on the internet. These difficulties examines photographers’ responsibilities and affect all types of photographer. the attitude of the police towards journalists Sean Wilton’s case is a perfect example of how photographers can get into sticky legal situations through no fault of their own. As a photographer, you need to consider how you would arrange Is it fair to have one set of rules for press move towards helping restore the peace. But we and fund legal defence costs relating to both photographers and another for the rest of us? are left wondering if the police acted in a criminal and civil actions taken against you. Whatever your view on the incident, the fact heavy-handed manner or if the photographer was ISTOCK / JEN GRANTHAM Hopefully, common sense should prevail in the remains that the police felt it necessary to make acting irresponsibly. Whatever the answer, end, as it did in this case, when the MEN an arrest and put Sean Wilton in a police car – this case illustrates the importance of having photographer’s arrest was quashed due to a nightmare for any photographer believing he is legal expenses insurance in place. “an apparent intervention from a senior officer”. ‘just doing his job’. I can see why the police may Sean Wilton is described as an MEN However, are we opening a new can of worms? have decided that taking pictures wasn’t a positive photographer, which suggests the Manchester 58
- 59. Evening News employedhim, so he would police, can arrest photographers for alleged Peter Stevenson is director of InFocus, have been acting under the protection of its public order offences such as breaches of the a specialist in insuring photographers. financial, legal and insurance resources. peace or of security regulations. Legal expenses Infocusinsurance.co.uk However, it is unwise for freelancers to expect the policies are designed to cover this type of national or regional media to be generous court defence cost, as employing a lawyer to defenders of principles at all times, especially defend a photographer’s position and get them if it means they risk becoming guilty by out of prison and back working can be a very EVER BEEN IN THIS SITUATION? TELL US YOUR association. The authorities, for example the expensive exercise. PP STORY. EMAIL ADAM.SCOREY@ARCHANT.CO.UK 59
- 60. British boxer DavidHaye in Vancouver, Canada, in the build-up to his world title fight against Wladimir Klitschko in Germany. 60
- 61. { THE BIGINTERVIEW } THE 12TH MAN In a rare quiet moment, commercial sports photographer BEN DUFFY chats to Professional Photographer Editor ADAM SCOREY about his rise to the top of his game Ben Duffy, a quiet, charming chap from Leeds, started his life as a jobbing sports snapper, capturing the weekly exploits of stars and athletes while working for a small but highly respected agency. However, Peter Crouch only went and scored his first hat trick for Liverpool, didn’t he? Yes, this was a seminal moment for Crouchy, but it had a dramatic effect on Ben and changed his life forever. “Has the industry changed in 14 years? Yes,” says Ben. “There was a time that you’d be standing in the training ground with a 70-200mm waiting for, well, whoever. Training would finish, the lads would come and have a quick chat, you would grab a few shots and they’d be on their way with a smile and a wave. Now, everything is controlled by a third party. The lads finish, walk past you and get into their Ferraris, Lambos and Rollers. Bye. But those were the days when, after a footie match, I’d BEN DUFFY knock at old Frank’s place at number 96 opposite the ground, slip him 20 quid of the 30 I’d been given for 61
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- 63. “As an admirer andfan, my aim is to do myself and my subjects justice, so when I’ve finished a shoot I can hold my head high and believe that I’ve captured something special.” Ben Duffy England cricketer Kevin Pietersen. 63
- 65. { THE BIGINTERVIEW } expenses and use his kitchen to develop the films style and experiment a little – it was all mainly me look like I knew what I was doing, which he and his phone to wire them back to the picture desk. off-camera flash. However, what I’d seen so far was fine with. Until he agreed, I was sweating Frank would even make me a brew and some lacked subtlety and finesse. It took some time to bullets a bit, but the shoot went amazingly... sarnies. If I was at an unknown ground I’d just get my technique to the point where I was happy, thankfully. I gave my assistant a healthy bonus!” knock on a door around the place until someone but this was to set me up for the future. This is the reality for many professionals breaking agreed to do it – hopefully for £15! Ha, ha... there “My catalyst was partly this realisation and partly into new territories. Rarely does the transition go was no 100Mbps Wi-Fi, multimedia press rooms or that I wanted to make my own mark on the world of smoothly and there are times when, as you all know, PocketWizards – off-camera, wireless shooting was photography... and, yes, there is a little ego in there it is necessary to take jobs where you are not quite the stuff of science fiction.” too, I suppose; it would be amazing to have millions sure of the outcome or just how you are going to For 12 years Ben Duffy did the sporting of people see my work on billboards, ad campaigns achieve the whole brief. But it’s this spirit of photographer’s circuit in and around Leeds. Although and in magazines; the buzz is incredible. I’ve got exploration that Ben had set his mind on when this was for a small agency, it did all the big stuff; two kids, a mortgage and a house that is not as big starting out on his own. He didn’t have a studio and manual primes, pre-focusing and Leeds United as I’d like, similar to most people, so a bit more was unsure about what he was going to charge, or were scrapping in the Premier League. Now it all money wouldn’t go amiss. At the time, my only even what rights he was happy to keep his own or seems old-fashioned and antiquated – Formica really serious option was to go for work of a more hand over to the client in this new commercial in a polished granite world. But you would also commercial rather than editorial nature. I’m not world. He explains: “For 12 years someone else had get closer; closer to the athletes and the passion. silly, I’d been doing sports photography for 12 years sorted the practical and business side of things, so But there comes a time in every photographer’s and built up really good contacts, and I started to I wasn’t sure what I should do. I went to the career when there is a sudden moment of realisation make noises to them in the commercial direction.” Association of Photographers (AOP), which had that everything you know, everything you’ve worked Ben admits that the key to his success, apart from some great guidelines, but I had nothing to refer to. for, has changed. For Ben that moment came at a little luck, was managing his clients carefully, I called a few mates who, in the end, said the best Anfield one typical afternoon. communicating constantly with them and being advice was to think of a figure in my head that I’d “I was shooting for the Premier League; able to deliver on the assignments. But his first be happy with – based on reputation, experience Liverpool were playing Arsenal in March 2007. commercial job, he readily admits, hit a bump in and the client’s requirements – and just stick with it. I’d been asked to get more editorial images so was the road before it had started: “I was completely out So I did.” there with a 17-40mm. It was when Crouchy scored his first hat trick for Liverpool. He was right in front of me. I had him with his arm in the air “For 12 years someone else holding up three fingers, with the crowds in the background and it was all on a wide. I must admit had sorted the practical to thinking this was my career-making shot, my and business side of decisive moment. I envisaged it being everywhere – this was the shot picture editors had sold parts of things, so I wasn’t sure their body for in the past. The reality was different. It made the Mail on Sunday and Sunday Telegraph, what I should do.” Ben Duffy which was great, but the other papers used images from God knows where that didn’t sum up the of my depth; not in creative terms but in how I was gravity of that moment. The penny dropped; it going to achieve what the new client wanted,” he wasn’t about stunning images any more. It was recalls. “They kept talking about digi lights – corporate, contracted and controlled. It was over.” I didn’t have a clue but just nodded and said yes. So what do you do when you realise you are Fortunately, I had a little time to get myself travelling down the path of extinction, digital has organised; it was time to call in a few ‘favours’. devalued the market, every Tom, Dick and Harry I knew I needed an assistant for this job, it was just with a 300mm is clawing at the gate, the piece of too big for one person to do – plus I didn’t want to the pie you relied upon is smaller than before and look unprofessional. I called a mate and asked him there are more mouths around the table? You if he knew of anyone who had the lighting change, you adapt and you evolve – or you go under. experience I was going to need. The chap I got was So while still working for the agency, Ben started to a godsend. I was honest with him and said he’d explore new things, as he explains: “I started to need to hold my hand a bit with the setup and make look at lighting; my plan was to develop a new lighting technique that was different. Though the Right: Britain’s leading heptathlete, Jessica Ennis. agency was small, we were still getting some good Opposite page: Footballer Wayne Rooney in one of his assignments. This time allowed me to perfect my rare official media appearances in 2010. 65
- 66. WITH THE ROYALPHOTOGRAPHIC SOCIETY ACHIEVE the LRPS, ARPS or the coveted FRPS (LRPS/ARPS available by exemption to those holding the relevant qualifications including LBIPP/ABIPP members) PROMOTE yourself and your business on The RPS Website NETWORK via the members forum, facebook and specialist/ regional groups PROGRESS by uploading your images for exclusive expert advice* BELONG to a Special Interest Group free in your first year of Membership ENJOY The Society’s acclaimed journal (10 issues per year) packed 2011PHOTOGRAPHERS with news, reviews, in-depth articles and inspirational photography AFFILIATE with The Society through exclusive use of our crest on CALL FOR ENTRIES your website** SAVE exclusive member discounts on selected photographic £40,000 OF ART PRIZES workshops, entry to Society competitions and associated offers With Membership at just £8.50 per month*** invest in yourself and join a growing community ENTER UP TO 6 WORKS ONLINE NOW www.thenationalopenartcompetition.com of professional photographers SUBMISSION CLOSING DATE 18 SEPTEMBER 2011 GO TO WWW.RPS.ORG OR CALL 01225 325 733 * Only applies to members working towards a Society Distinction Sponsored by Towry, the Wealth Advisers ** The Society crest must be used as a hyperlink to www.rps.org www.towry.com *** By direct debit only, monthly payments will be less for student, disabled, over 65 and overseas subscriptions ADMINISTERED BY THE CHICHESTER ART TRUST CHARITY NO 1067096 IMAGE: KEVIN WILSON FRPS award winning Wedding Photographer Calling all Schools & Nursery photographers Are you maximising your sales? Our beautifully simple online solution could revolutionise your business! Call us to find out how on (0845) 862 0217 Tel: 0845 862 0217 Web: www.onevisionimaging.com Email: schools@onevisionimaging.com
- 67. { THE BIGINTERVIEW } “It’s just as much of a challenge not to rely on software, but to create in-camera with my lights. This, for me, is the biggest part of the journey.” Ben Duffy WWE wrestler Kelly Kelly.
- 68. “Gear is oftenmore important to the client than it is to the photographer, whether that’s a lighting setup, or they want the latest high-end digiback because they’ve heard it will shoot a vast quantity of pixels.” Ben Duffy Welsh former world champion boxer Joe Calzaghe. 68
- 69. { THE BIGINTERVIEW } Above: Diver Tom Daley in a converted squash court in digital back for the really high-end stuff when Ben believes the secret to his success is the fact Plymouth where he trains, in front of a painting that he I need it. My working style is fast and generally that he is a sports fan first and foremost, so the and his colleagues created themselves. on location, in anywhere from a local sports hall people he is now meeting and photographing are or a warehouse to a huge training ground. So it those he has admired for years. “I can honestly say Ben’s style was very much non-studio based. means I need to be able to identify a suitable spot, it’s been a real privilege to meet all the people that The lighting technique on which he had spent conceptualise the theme and then action it – all I have. As an admirer and fan, my aim is to do time working, though to a high standard, was in within the space of a few minutes (and I do mean myself and my subjects justice, so when I’ve finished reality a constant evolution; a fact that was minutes!) and also to a standard that would be a shoot I can hold my head high and believe that confirmed by his experiences on ensuing shoots acceptable to an agency in New York or Tokyo. I’ve captured something special. I love people and with various assistants. His technique was practised Though, to be honest, I am at a bit of a crossroads I treat everyone the same, but I have to remember and creative, but ultimately needed the more at the moment with gear.” that sports stars aren’t models and there is often technical know-how of an assistant’s training on Ben’s dilemma is whether to invest heavily in only so far you can go due to an agent looking over many of his assignments, due to new technologies a new system rather than to keep hiring it. The 5D your shoulder.” and equipment. Ben confides: “Gear is often more Mk II is great, but clients and agencies demand So what’s next for Ben? “More of the same, really. important to the client than it is to the photographer, the highest quality and are very sophisticated and You always need to push yourself as a photographer, whether that’s a lighting setup, or they want the clued up. It’s a crossroads many pros face – hire or to experiment and try something new. Okay, you latest high-end digiback because they’ve heard it buy. “I rent most of my gear from The Flash Centre have to do this on a job-by-job basis, and get your will shoot a vast quantity of pixels. in Leeds,” he says, “as they have got everything I safety shots, but then you can explore new ideas, “Probably the biggest revolution, however, is need and I’ve got a great relationship with the lads concepts or lighting techniques. It’s just as much of in the lighting, particularly in its portability. there. But I can see it getting to the point soon a challenge not to rely on software, but to create I now use the Elinchrom Ranger RX Quadra AS where something like the new Phase One IQ140 in-camera with my lights. This, for me, is the system with a Canon EOS 5D Mk II and various may have to be a reality if my clients keep asking biggest part of the journey.” PP L-series prime lenses. I hire a Phase One P 65+ for larger and larger images.” www.benduffyphotography.com FOR MORE GREAT INTERVIEWS WITH PROFESSIONAL PHOTOGRAPHERS VISIT WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 69
- 70. When we firstheard that a wedding had been shot professionally on an iPhone we thought it must be iDo a publicity stunt. PP catches up with the photographers involved to get the Given Rainer’s unbridled enthusiasm for the mobile device, I could see how he would easily agree to such an experiment, but what about the bride-to-be? Rainer gives a huge laugh. “She trusts my judgment and has got to know Brian too, so she loves his work. Even so, I couldn’t rely solely on the iPhone to capture stills and video, and I wanted to have a plan B just in case. We were guinea pigs and wanted to test it out, but we still wanted good photos and video in case the experiment didn’t turn out the way we wanted. I had to give my fiancée some peace of mind that the photos story behind the shoot and video were going to turn out well.” As a test run, Brian took along his iPhone when he shot Rainer and Brian Adams and Rainer Flor love iPhones. They love everything about bride-to-be Candice’s engagement pictures on his Canon EOS 5D Mk II, Apple. They eagerly await every shiny new product the brand creates. just one month before the wedding. The aim was not only to practise Brian and Rainer are also professional wedding photographers, shooting with the iPhone, but also to experiment with editing and to shooting on Canon DSLRs. It was only a matter of time, therefore, fine-tune that all-important aspect of wedding photography, shooting images before they turned their attention to the iPhone 4 and what it could of high enough quality for the album. The results were positive. “I ended up achieve with its 5MP camera. printing a 12in x 12in album of their engagement session where I mixed in The pair have established thriving – and separate – wedding businesses in the United States; Brian shooting stills and Rainer working as a videographer. Having been introduced six years ago, they started working “I ended up printing a 12in x 12in album in partnership and often shoot weddings together, travelling extensively around the United States and beyond. It was this partnership and shared love of their engagement session where I mixed of technology that led to them capturing what they believe is the first wedding to be shot professionally on the iPhone 4. Speaking from his in both iPhone and SLR images... Florida office, with Rainer joining us on the line, Brian explains how they We actually showed it at Rainer’s wedding took the leap. “At the time Rainer and I were sharing office space and every day we and people loved the photos; no one BRIAN ADAMS PHOTOGRAPHICS INC / IPHONESHOOTERS.COM would talk about technology. We’re always first in line when an Apple product comes out, we always have the latest stuff. Then one day could tell the difference...” Brian Adams well over a year ago, Rainer showed me a video that was posted online of an iPhone fashion photo shoot. We looked at each other and almost at both iPhone and SLR images,” Brian says. “We actually showed it at the same time burst out, ‘We should shoot a wedding with iPhones!’” Rainer’s wedding and people loved the photos; no one could tell the Given the competitive nature of the market, where a wedding difference between the photos in the books.” Having to consider the photographer is only as good as his last album, surely capturing the final format the client might want for the images caused some concern, happiest day of a paying client’s life on a mobile phone could potentially be but Brian knows that clients tend not to favour large prints these days. committing career suicide? Brian replies: “We began brainstorming and the “The world is changing,” he says. “In the last few years I’ve noticed that question came up: who would be crazy enough to allow us to shoot their no one is really purchasing anything larger than an album-sized print. wedding with an iPhone? Rainer said, ‘Well, my wedding’s coming up, Some of my clients are interested in digital photos only for Facebook, so I’ll be the guinea pig.’” for example. As someone who has been in the industry for a while, I try 70
- 71. { WORKING PRO} to make sure my client orders an album, so I am really concerned only about images up to around 12in x 12in. That was my biggest worry and we used the engagement session as the test, so when we got the album printed all my fears were alleviated.” So far, so good. However, the engagement did highlight where the challenges lay. “I did expect them,” admits Brian. “One of the major ones This page and following pages: was shutter lag; there’s a bit of a lag with the iPhone so you have to Images taken on the iPhone 4 over-anticipate the moment, which means that when I shoot with it I’m at Rainer Flor’s wedding and Brian Adams with the camera. planning to take the shots half a second before the moment happens. 71
- 72. { WORKING PRO} Lighting is a challenge; you can’t use a traditional flash or Speedlight, so you must use constant light. In outdoor light, or bright indoor light, the camera functions exceptionally well, but once you are outside at night, or inside and it gets darker, it’s necessary to use continuous light. Obviously you can’t shoot RAW… these are all minor technical hurdles that you can get over with practice. “Having said all that, as a photographer who shoots with two cameras and runs around all day with 70-200mm lenses, it was a release – it almost felt like I was naked! It was the first wedding I’d shot in nine years where my back wasn’t aching afterwards. The biggest advantage is the access; you’re able to approach people more easily. They open up to you and when they realise what type of camera you’re shooting with, they have a reaction we never usually see. They are surprised, interested and they become an active participant.” On the big day, the team used three iPhone 4s in total, placed in OWLE Bubo mounts that featured a wide lens attachment. Brian also modified the rig to add an external battery pack to combat the short battery life and added a neck strap. For the videography they used a tripod and monopod. For Brian and Rainer, another of the huge plus points of shooting on the iPhone – event photographers take note – is the ability to upload the images instantly to the internet at the wedding. This is an aspect where they feel the device has huge advantages over its DSLR counterparts, even if “A lot of people are wowed by it... we honestly feel the iPhone thing is really cool. We don’t know in what direction we’ll take it, but we’d love to do more of it.” Rainer Flor the quality of the images isn’t comparable. Rainer describes this element as “super powerful”. He explains: “Brian and I have been doing this for some time and guests are always asking, ‘When are the photos going to be up?’ I shot a wedding last week in California – an Indian wedding – and I took some pictures on my iPhone. I was able to post them right then and there and show them to the couple and their family. The expressions on their faces were priceless.” The built-in editing software in the phone means decent quality images can be uploaded almost immediately. “You can charge a premium for doing a same-day edit and post for a client and it’s really appreciated,” says Brian. “It didn’t used to be that way when I started nine years ago; people were very patient then, but now I get calls the next day from clients wondering why their photos aren’t online.” From a marketing perspective, the two men agree that being able to post images on the same day is certainly good for business. I tell them that often when I talk to editorial photographers, they lament how, on a digital shoot, the client will ask to see the image before any post-production has been done, before the photographer is ready to show it. in time companies such as Canon and Nikon will find a way to connect their “It’s funny,” Brian continues, “but people will remember you. Particularly at cameras to the internet so photographers can post photos and videos right weddings, if you can show photos or video to 200 wedding guests, those 200 after they shoot them. The experience is completely different; it’s not people will remember you as a good photographer, whereas if you waited 30 just about the photo, it’s about what everyone gets out of it because we can days and posted those images only when they were 100 per cent perfect, then post it right after we shoot.” they might think, ‘He was good but he took a long time to post those photos.’ As successful professional photographers, are they afraid of sabotaging I do think you need that balance.” their own businesses by using mass market kit? “Not at all,” Brian replies This instantaneous upload changes the photographer-client acquaintance, confidently. “The cameras that we use [Brian shoots with a Canon EOS which is why Rainer and Brian get so excited about the iPhone experience, 5D Mk II while Rainer uses an EOS 7D] are available to everyone at even as two passionate DSLR users. “I think this is the next evolution,” consumer stores. A lot of my clients own the same equipment as me or use says Rainer. “Everyone is so concerned. There’s a misconception that the even better cameras, but it all comes down to the skills of the photographer quality suffers and while a fraction of that might be true, there’s another half or videographer. It’s 90 per cent the eye of the shooter.” to the story, about the experience that the user gets out of it. I’m sure that “I’m not worried at all, quite the opposite,” says Rainer. “I want more 72
- 73. positive. “A lotof people are wowed by it,” he says. “People have their own THE KIT opinions but we honestly feel the iPhone thing is really cool. We don’t know Brian and Rainer in what direction we’ll take it, but we’d love to do more of it.” used the OWLE And clearly some people are happy to have their weddings shot with Bubo mount for mobile phones. Brian and Rainer have already had an enquiry from Ireland iPhone 4. about shooting another iPhone wedding (“The groom’s a big Apple fan!”) Made from a and intend to price any iPhone weddings similarly to DSLR shoots. single piece of So what’s the future for these iPhone sharpshooters? At the moment Brian aluminium, it weighs and Rainer are waiting to see what happens next. “We are happy to shoot 1.1lb and has a 37mm people’s weddings with iPhones,” Brian says, “but we may develop into lens threading with 0.45x a community of people who shoot things with iPhones. We want to keep it wide-angle/macro combination lens and open at this point. We do need to embrace it rather than be afraid of it or fear an adjustable microphone for shooting video. that it’s having a negative impact on our business.” It is available in the UK from Rotolight for £149.99. Both are eagerly awaiting the next generation of iPhone, which they think www.rotolight.com might have a longer battery life and a better camera, with less shutter lag and improved low-light performance. The pair have also discovered a new SLR lens attachment for fixing a Canon 70-200mm lens to the iPhone, people to be able to use the technology for their own personal use. We are which could take their iPhone photography to a new level. not out to try to convince people that they should shoot everything with “Our intention was never for this to be a publicity stunt,” Brian concludes. iPhones. We’re not knocking SLR cameras, we love shooting with them. “We just thought, ‘Hey, this is cool, let’s be the first to do it.’ Once we For the most part we’re mainly just proving that this kind of shooting with saw the results and everything was edited, we took a look at it and thought, this piece of relatively inexpensive technology is totally possible and if ‘Wow, this is good, let’s put it out there!’” PP brides and grooms are interested it’s a perfect fit.” I wonder if they have incurred the wrath of their fellow wedding To visit Brian and Rainer’s website go to http://iphoneshooters.com photographers? “We have had some negative reactions from people who possibly don’t understand the whole story,” Brian concedes. “They are down on us, saying the bride and groom aren’t going to be happy with WOULD YOU HAVE YOUR WEDDING PHOTOS TAKEN ON AN IPHONE? the quality of the photos, or questioning why we would want to do such a HAVE YOUR SAY AT FEEDBACK@PROFESSIONALPHOTOGRAPHER.CO.UK thing when there is better quality technology out there.” YOU CAN SEE THE VIDEO ON THE PROFESSIONAL PHOTOGRAPHER From the video point of view, Rainer says the comments have been more WEBSITE WWW.PROFESSIONALPHOTOGRAPHER.CO.UK 73
- 74. Warrior from the Rendilletribe called Pandilan Korole – taken at the singing wells of Songa, northern Kenya. April 2011. I met this young man with one other warrior at a place known for the sounds made by warriors as they sing and pass buckets of water to the surface from deep wells. Due to the drought there had been an escalation of conflicts with other tribes which had left this place almost deserted, but this young man and his friend knew the risks and seemed undaunted. 74
- 75. { WORKING PRO} THROUGH JOHN KENNY is a MY part-time fine-art photographer based in London. In 2006 he began OWN his travels through Sub-Saharan Africa’s remotest areas, taking portraits to highlight EYES the effects of climate change on indigenous communities. KELLY WEECH finds out why, on his latest trip, he swapped his Canon EOS 5D Mk II for an 8 x 10 Chamonix large-format JOHN KENNY film camera 75
- 76. { WORKING PRO} W hen he first went to Africa in 2006, John Kenny was not Towards the end of 2010, John decided to take his photographic vision and envisaging a long-term photographic project, nor did way of working to another level, because he felt his working habits had he realise the impact the continent would have on become repetitive. His solution was a Chamonix 8 x 10 large-format him personally and creatively. In the remoter areas, camera, which would take him back to basics and allow him to hone his the reaches of urbanisation and 21st-century living are sometimes craft. He was not seeking to replace his Canon EOS 5D Mk II, but to barely detectable, with uncertain resources and enormous hardship augment his work with the smaller, digital camera. “I believe large-format a part of everyday life. These traditional societies rely on the certainties of cameras lend themselves to a more considered and contemplative approach tribal rites and a profound understanding of rainfall and pasture patterns to photographing,” explains John “It’s quite hard to contemplate, to provide a way of life. Within this structure people live a modest existence, for us photographers, that there might be some sense of satisfaction in without the material wealth of the western world. He recalls: “I always knew actually not taking a picture. In a strange way it can be quite rewarding not I wanted to see the continent of Africa through my own eyes, mainly because to take the picture when being ready to do so; I think it is the inner sense the Africa that I felt ‘familiar’ with was in reality nothing more than an of quality control kicking in and telling you that the image would not have acquaintance with what I had heard through the news: a steady stream of been good enough, for whatever reason, so why commit the money, stories focusing primarily on despair. It’s true that I photograph for myself, time and hope into something you feel is flawed?” first and foremost, but a close second comes my desire to show others This change in thinking and being more discerning when prejudging the the magnetism that draws one into the eyes of these fascinating people.” success of each shutter click is something that is not often considered in Hitchhiking and trekking to find his subjects, John has set out to capture the digital world. There are practically no penalties in pressing the shutter portraits that act as a stark reminder of the impact climate change is having at will and although this freedom is sometimes of great benefit on these communities. He says: “I specifically chose to photograph the – for example when you are learning – John found it hindering his own individuals that you see on my galleries because I had a real sense of wonder photographic development. when I met them. Each one had something that attracted me, sometimes a The use of an 8 x 10 camera slows down every step of the photographic piercing intensity, or an uncommon beauty, which I felt compelled to try to process and requires a more methodical working approach. But there is capture.” The images he produced do just that, marking both the influence of also the expense of film and processing to consider. Shooting with an 8 x 10 the modern world and the pride inherent in traditional cultures. in addition to a digital camera obviously increased the cost of this project, which was completely self-funded. However, there are ways to make sizeable savings if you do your homework. John got all his film at 70 per cent off the retail price because it was slightly out of date, although technically perfect, and paid half the costs of 8 x 10 colour film development in London by sending them in large orders to Peak Processing in Sheffield Many people I photographed were mesmerised that this camera – which is really just a wooden space box – had demanded complete concentration over a prolonged period from both of us.” John Kenny (www.peak-imaging.com). In total he shot about 90 sheets of film and used no more than two sheets per person. The final stage of the process involved digitising the film; he selected only a small number of shots and used a drum scanning service in London. He reassures me: “It is still possible today to shoot 8 x 10 on a budget, but you have to shop around and be prepared to use the post a lot to buy and process your materials.” John found his old-school approach served as an ice breaker and talking point among traditional societies in northern Kenya. He says: “Some people were just amazed by the contraption, while others were simply amused Left: Warrior from the Samburu tribe called Pitalo Lenjuio – taken at Archer’s Post, northern Kenya, April 2011. I photographed this warrior as the light was fading in intensity and conditions were far from perfect for the way I photograph; nonetheless this young man was amazing to work with and his demeanour was one of the most natural I have ever come across.
- 77. Warrior from theSamburu tribe called Learnesi Learamo – taken at N’Donyo Wasin, northern Kenya, April 2011. I met this young warrior at a remote animal market that happens once a week. I had to photograph at the edge of the market, so by the time I took this shot I had a big crowd of people around me and it was becoming a little chaotic; so I worked fast and carefully to try to capture what I thought was an exceptionally beautiful and striking young Samburu moran (warrior). 77
- 78. “In northern KenyaI had real challenges with finding enough light. Previously I’d shot my subjects in the shade; however, my budgetary constraints meant I needed to adapt my working methods around the materials I could get hold of...” John Kenny WHAT’S IN YOUR KIT BAG? + Chamonix 8 x 10 large-format field camera (maple wood and carbon fibre) + Fujifilm Provia 100F slide film + Gitzo 5541LS carbon fibre tripod with Arca-Swiss Z1 ballhead + Canon EOS 5D Mk II + Canon EF 85mm f/1.8 lens Above: Warriors from by it; but there was almost never any ambivalence. I just wish that I had the Samburu tribe taken a picture of one of my subjects peering through the ‘empty’ camera called Imelesuan Arapo (left) and as I took the lens off the front when packing up the gear. Many people Lekeru Mirigishan I photographed were mesmerised that this camera – which is really just (right) – taken at a wooden space box – had demanded complete concentration over a the singing wells of Songa, northern prolonged period from both of us. I never tired of letting people peer into the Kenya, April 2011. fresh air of the camera body to see their reaction.” I met them as they On the other hand, the 8 x 10 camera also presents practical and technical rested at the wells; one warrior spent problems. In return for outstanding quality and resolution, you give up half an hour or so a lot of working agility when photographing subjects. Large-format cameras applying red ochre demand plenty of patience, especially when using only natural available to the other’s hair to beautify him. light. On the most recent trip, the subjects were shot against a white background, simply to reflect and add more light because of the limitation of working with the 8 x 10 camera. “In northern Kenya I had real challenges with finding enough light. Previously I’d shot my subjects in the shade; however, my budgetary constraints meant I needed to adapt my working methods around the materials I could get hold of, in this case ISO 100 Fujifilm Provia transparency film. I was always faced with a judgment call on whether to sacrifice shutter speed for depth-of-field, or vice versa, even though I pushed the film and rated at ISO 200. It was a real challenge when people were standing for the shots, often in windy conditions. BIOGRAPHY I think the fastest shutter speed I managed was 1/30sec – and clearly you John Kenny lives in need to be very careful in watching out for subject movement in close London and has been portraits at all stages of the photographic setup and image capture. a part-time photographer The depth-of-field limitations with 8 x 10 are in a different world to that since 2007. His images are of digital formats, with the front-to-back focus sharpness being so much the result of many years less than with 35mm full-frame capture.” visiting remote cultures across the Sometimes John felt he did not have enough time to set up the 8 x 10 African continent. When not travelling camera and he would rely upon his Canon EOS 5D Mk II. “You can’t capture or exhibiting, he returns to his job as everything with 8 x 10, especially when you may have access to a person a freelance technology consultant based for a very short time, and also because not every subject can give you the in the UK. concentration to make the picture a success. So I shot both formats and I will definitely use this approach again.” He used his judgment to 78
- 79. { WORKING PRO} decide which format would give him the better chance of success with Above: Young girl from the Turkana tribe called a particular subject. Alamach Allol – taken at Loiyangalani on the edge of Lake Turkana, northern Kenya, April 2011. In his new exhibition Facing Uncertainty – Photographic Portraits from I photographed this girl in intensely hot and windy Kenya, John’s images will be on display up to two metres wide by 1.6 metres conditions with my 8 x 10 Chamonix. It was hugely high. However, at this large scale, John insists that he is not pushing difficult to stop the wind from blowing the extended bellows with my 450mm portrait lens, and I also needed the limits of this format, even with an 8x enlargement, simply because of to wait for clouds so I could manage contrast on the its phenomenal resolution. Each image will be captioned to help provide transparency film. I took this shot during a very brief context for the viewer. John feels the writing will counter-balance a tendency pause in the winds – by then both the subject and I were more than ready for it! to romanticise the lifestyles of the people in the photographs. “It is obvious that there are compelling hardships that shape the daily existence of people who live among traditional societies. My exhibition aims to provide the viewer with a realistic view of how the communities in semi-arid areas such as northern Kenya are encountering enormous difficulties with the droughts of the last decade. At the moment I’m working with a community leader from a Samburu tribal village to construct the show’s narrative and provide an insight into the role that recurring drought and climate change plays for those who live there. I’ve seen first-hand the difficulties of a sustained lack of water and pasture for communities which live in dry areas with their animals.” John will give some of the exhibition’s profits to community groups in Facing Uncertainty, Photographic Portraits these areas and will also ask visitors to the show to consider a donation. from Kenya, by John Kenny, will run A selection of his work will be donated to the Africa Foundation in the UK from 22 September to 3 October 2011 at and feature in its Art for Africa auction in aid of the countries where he has 3 Bedfordbury Gallery, Covent Garden, worked previously. PP London, WC2N 4BP. If you go along, let us know your thoughts by emailing www.john-kenny.com feedback@professionalphotographer.co.uk 79
- 80. WINNERS Studio Flash System Gemini 500R Portable Flash System Travelpak creative freedom without compromise Pro Range TravelPak Battery System Compatible with Pulsar & PocketWizard trigger cards R Range Control Panel Compatible with Pulsar & PocketWizard trigger cards C Range Small & Large Batterypaks Compatible with Pulsar & PocketWizard trigger cards GM Range www.bowens.co.uk @litebookmag ‘Bowens’® and ‘the power behind the picture’® are registered trademarks of Bowens International Limited. PocketWizard® is a registered trademark of LPA Design. © 2011 Bowens International Limited.
- 81. WHAT PROS WANT... A LIGHT’S A LIGHT, RIGHT? Pro portrait shooter KARL SHAW wanted to update his location lighting setup and fancied Bowens’ new Gemini 500R TravelPak Kit, but was unsure if he wanted to spend the money. So we stepped in, gave him a set and asked him how he got on... 81
- 82. “I’m not sayingother manufacturers don’t provide similar products or level of service, nor that Bowens’ products are necessarily better than anyone else’s. It’s just that I tend to follow the ‘if it ain’t broke, don’t fix it’ path when it comes to switching brands.” Karl Shaw T here’s always a checklist, always like a Rolls-Royce if the performance is like the name Bowens is synonymous with quality a few questions that need to be asked an asthmatic pit pony. and choice – everyone I’ve encountered along when buying any expensive piece of Now, cameras come and go; more pixels are the photographic journey is familiar with its photographic equipment. Whether being crammed into the same surface area, products and reputation for providing you’re a first-time buyer, or replacing or replacing your still superb, 18-month-old everything a working professional needs to kit supplementing existing gear, it’s important workhorse that is now ‘old’. Lenses get out a busy studio. I’m not saying other that all the right boxes are ticked. Let’s be improved with better coatings, less distortion manufacturers don’t provide similar products honest, there’s not a lot in the photographic and new vibration reduction systems, but or level of service, nor that Bowens’ products world that’s cheap – even the items that are studio lights tend to stay the same, don’t are necessarily better than anyone else’s. ‘cheap’ are not exactly inexpensive. really need improving and therefore avoid the It’s just that I tend to follow the “if it ain’t While price is obviously important, the old ‘out-of-date’ indignity that afflicts your broke, don’t fix it” path when it comes to adage “you get what you pay for” certainly camera. Even when an existing model gets switching brands. Have I successfully dug holds up when it comes to anything designed a facelift we tend to add to it or replace myself out of that hole? for professional duties. With daily doses of damaged items rather than ‘update’ – a light’s use and abuse, a working studio needs a light, right? QUALITY equipment that has the level of toughness After a very brief deliberation I am now the and build quality you get only when spending NEEDS MUST… proud owner of a Gemini 500R TravelPak that bit more. The gear also has to deliver on Recently I fell into the ‘add to’ category of light Kit. At close to £1,500 for two lights, what it promises – it’s no good being built improvement. Now, when it comes to lighting a battery pack and accessories, it may 82
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- 85. WHAT PROS WANT... seemlike quite an outlay; after all, in these recession-hit times there are cheaper options and far easier ways of using light outdoors: hello strobists. But let me explain: lights or lighting are a means to an end, it’s that light hitting the subject that gives us the picture, and the ability to model, sculpture and shape features to our liking. With Bowens I get a certain quality of light that’s hard to put my finger on and while I do own and use other makers’ gear, it’s the light that the Bowens emit that I keep coming back to. I also like their build, and while weight isn’t always a good thing – more of that later – these 500R heads feel reassuringly weighty and capable of taking the odd knock or two that is inevitable in a busy studio or on location – more of that later, too. I also like their ability to pop all day in quick succession without overheating while maintaining the same output flash after flash. I’m saying ‘like’ but I actually expect this from a set of Bowens. WHAT DO YOU GET? So what do you get for your money? Two 500R heads with a colour temperature of 5,600K, auto dump, a large LED display with good-size controls and a recycle time of 1.3 seconds. Then there are all the cables you need for internal and external use, bulbs and a sync cord, one 60 x 80cm softbox, one rather neat 90cm silver/white/shoot-through umbrella, a wide-angle reflector to use with the umbrella, two stands – not damped, which is my only gripe – and a very good trolley case that can be used with or without the wheels. Basically, it’s a portable studio (a phrase I dislike), often used to describe a small, two-light kit, compact enough to be transported easily between locations which usually provide the electricity. This is a proper portable studio and the main reason I chose the TravelPak was having the ability to use 500W studio lights outdoors. LET’S GO OUTSIDE Working indoors the Geminis do exactly what I would expect: they take all my existing light modifiers – grids, snoots, beauty dishes and softboxes – and sit happily alongside my other lights. Outdoors, things stay the same, albeit with a few obvious exceptions. Remember I mentioned weight wasn’t always a good thing? With the kit as a whole weighing nearly 25kg, it’s not a good idea to have to drag it too far. Yes, it has wheels, but some lifting will be 85
- 86. required over roughterrain; not the end of the world, but worth noting. One option is to take exactly what you need, as losing one light and stand reduces the weight if you’re going to be using only a one-light setup. I mentioned that the Geminis are capable of taking the odd knock or two, but they would probably lose the argument with concrete if they fell from a height. First time out I had one of those ‘watch in slow motion as the wind fills the umbrella and comes crashing to the ground’ moments, even with only a very slight breeze and the battery pack weighing down the stand. Luckily I was in the middle of a field with fairly long, bushy grass, but the umbrella was still destroyed – a beauty dish provides less of a sail. Sandbags or doorstops are an ideal solution but just add to the weight that needs lugging around. Finally, recycle times will be longer and battery life reduced the more power you use. Having said that, I’ve been on location shooting all day and never had any complaints, even being surprised by how much battery life was left. This is starting to sound like an advertorial for Bowens, but I have to be honest. I have used and tested all sort of lights over the years; I’ve got Paterson, Lastolite Lumen8s and Interfit lights, so am well-versed in what’s on offer. The Bowens Gemini 500R TravelPak Kit is ideal for the working pro who wants professional lights in the studio one minute but to be able to pack them away, en route to a location, the next. There are plenty of less expensive options, but the Bowens are quality in both build and light delivery. I love using these lights outdoors and being able either to mix the flash with ambient, use as fill or completely overpower the ambient, stopping down the shutter for dramatic effect. Getting creative with light outdoors adds another dimension to studio or wedding photography and the Bowens tick every box when it comes to satisfying both me and my clients. PP ALTERNATIVE OPTION SPEC BOWENS GEMINI 500R TRAVELPAK TWIN HEAD KIT ELINCHROM RANGE QUADRA RX 2 HEAD ‘A’ KIT PRICE: £1,429 PRICE: £1,615 POWER: 500W This is Elinchrom’s fully portable, battery-operated, GUIDE NUMBER: 85 wireless set of location lights. Due to their small size POWER RANGE: 5 stops (15W to 500W) – they fit inside a briefcase-sized hard case – and COLOUR TEMP: 5,600K decent power output (400W), these lights are RECHARGE TIME: Small BW7690 battery six hours/ a popular choice with location shooters. The heads large BW7691 battery eight hours come with a reflector, all your cables and the IN THE BOX: Two 500W heads, including two tubes EL-Skyport wireless system built-in, as well as and 250W modelling lamps, two stands, 60 x 80cm a daylight-balanced LED modelling lamp. However, softbox, 90cm umbrella, wide-angle reflector, two you’ll need to buy an adapter to fit your Elinchrom mains leads, sync cord, battery and controller. softboxes and umbrellas. BUY: www.bowensdirect.com BUY: www.theflashcentre.com 86
- 87. WHAT PROS WANT... “First time out I had one of those ‘watch in slow motion as the wind fills the umbrella and comes crashing to the ground’ moments.” Karl Shaw
- 88. Don’t leave yourselfexposed! Aaduki Multimedia is one of the leading insurance providers for photographers, video makers and journalists in the U.K. 01837 658880 | www.aaduki.com | info@aaduki.com Got a comment on this ad? Then please email us on advertising@aaduki.com Authorised and regulated by the Financial Services Authority
- 89. GADGETS GADGET iPHONE PHOTO CUBE PRINTER It’s the most popular camera on Flickr, so it seems only reasonable to have a compatible printer. Dock your iPhone into this device and process your pictures without the need for MONTHLY a computer. This compact cube printer will produce 4in x 6in prints in less than a minute and charge your iPhone at the same time. It can be used via an AC adapter or USB connector and is priced at $160 (£98). www.sharperimage.com If you’re like us, there are more gadgets involved in your photography SKULLCANDY FIX IN-EAR EARBUDS If you like to listen to music when you’re on the go or than just your camera. While they simply crank your tunes to pass the time while editing, this new FIX from Skullcandy promises an earphone may not take or edit your picture, that won’t fall out of your ear. Employing what they call we’ve had a look for some of the ‘FIX technology’, the earbuds come in two silicon gel sizes and offer an in-ear hook design to stay put in your more unusual items on the market canal. Other features include a 1.3m-long cable and that might enhance this process a rear acoustic port for deep bass. www.skullcandy.com VIMEO PRO ACCOUNT Not so much a gadget as an improved platform on which you can use your gadgets, the new Vimeo PRO account from the video-hosting firm lets users upgrade to a professional suite of tools, high-definition video (up to 1,080p), customisable portfolio websites, playback and sharing options, enhanced privacy settings, with no bandwidth caps or time limits. The PRO account costs $199 (about £122) annually and gives you 50GB of video hosting and 250,000 plays. http://vimeo.com/pro NEWERTECH NUVUE ANTI-GLARE SCREEN PROTECTOR FOR iPAD WALLEE MODULAR iPAD SYSTEM As more people use their iPads for playing This was one of our favourites. Together, the Tether Tools back images, the more that glare from the Connect and the Wallee Modular Accessory Case let you sun will become a major annoyance. integrate your iPad or iPad 2 into your photography and Perhaps this isn’t such a problem now, film workflow. Versatile and interchangeable, the Wallee given the summer we’ve had, but the sun case serves as a receptor for locking each of the mounts will shine again, won’t it? This bubble-free, and accessories in the system. Attach it to your tripod, easy-peel-and-stick veneer prevents the light stand or anything else you use to incorporate your rainbow effect from glare and smudges, iPad as a teleprompter, viewing station or simply to and reduces eye strain. It is compatible with review images. The Connect kit is iPad, but not iPad 2, and has an RRP of $25 priced at $120 (about £73) from (about £15). www.newertech.com www.tethertools.com where you can also watch the video. MOBISCOPE PHONE ZOOM LENS As the camera functions on mobile phones have improved, many of us would probably stop carrying a compact camera, were it not for the poor optical zoom range on camera phones. The Mobiscope sets out to bridge this divide. Small enough to fit in your pocket at 34mm x 70mm, it can be locked on to your mobile phone via a small attachment and adds 8x optical zoom to your camera phone’s performance. At the time of writing it was priced at £15.95 from www.geniegadgets.com 89
- 90. Imagenomic Studio and locationportrait photographer KARL SHAW has been looking for a post-processing software that is purely for his type of work. Here he takes a closer look at US-based software company Imagenomic’s Portraiture 2 plug-in for Photoshop We all know how the whole skin smoothing/ retouching aspect of photography has had some bad press of late, with models looking as if they have lost pounds in weight and gained porcelain-smooth skin. We also know that it is a necessary part of the picture-taking process for many portrait or wedding photographers. It is also time-consuming and something of a grey area when it comes to charging our time. After all, it took probably 1/125sec to capture the image and a good deal longer to work it up. Now, when it comes to retouching I’m a bit of a sadist, not caring how long I sit in front of my computer smoothing this and whitening that, as long as I achieve the desired result and the client is suitably overwhelmed. After all, the client is “...The number of images I’d processed over the king. In the past I’ve always shied away from quick fixes; you know the kind of thing – one two weeks was unbelievable, compared with click does all and saves you hours in Photoshop. I’ve always regarded these claims as, well, my usual retouching route, so buying a copy cheating and akin to witchcraft. Now this is for myself was a no-brainer.” Karl Shaw ONE-CLICK WONDER Inset: It’s as plain as the nose on your face (if you’ll pardon the pun) that Charlie hardly needs retouching to within an inch of her life. However, some level of post-production is expected, to bring the picture up to the exacting standards of today’s publications. The main image, right, utilises one of the many presets that comes with Portraiture 2 – in this case, Glamour. 90
- 91.
- 92. WHAT PROS WANT... where you’re expecting me to confess to the discovery of something that has turned my workflow routine upside down and changed my whole opinion of ‘quick fixes’. Well, I’m surprised to say that you’d be absolutely right. When I make discoveries such as Imagenomic Portraiture 2, I should really keep quiet about it, not letting on that I now also ‘cheat’, take short cuts and let a mere plug-in do all the hard work for me. But on the flip side I want to shout from the rooftops how a mere plug-in has transformed the way I work, changed my retouching habits and, most importantly, saved me so much time Above: This image uses my own tweaked preset that post-processing – time that, if I’m honest, I never I call ‘just smooth’. You could argue that it’s a tad really charged out at a rate that I was happy with. over-egged, but the beauty of working in layer-based software is that you can change the opacity of the layer Now, I’m being a bit flippant when I say a you are working on so you can go from very subtle plug-in takes care of all my post-processing duties to in-your-face in an instant. and after one click I’m done; there’s a bit more to it than that. The great thing about this program Portraiture 2 is quick to get to grips with, quick – I’m calling it a program as it feels so much to customise and quick in use. There’s no faffing Portraiture 2 is more substantial than a plug-in – is that you are in about plotting where each facial feature is available for total control of so many options and you can located, no reshaping the subject’s face beyond Photoshop from CS3 save all your ‘tinkerings’ as presets to apply to all recognition and no guesswork. This is onwards, Lightroom each image in turn if you don’t want to use any of a professional piece of kit that produces stunning from version 2 on the in-built presets. results, will save you bags of time and, both Windows and However, the Glamour preset, applied to a ultimately, money. As Imagenomic says: Macintosh platforms, duplicated background layer with a reduced “It’s more than just a facelift.” and Apple’s Aperture opacity, is usually all that it takes to add the wow A photographer friend defied me not to press from 2.1. It is priced factor. But the real beauty is that it’s a breeze ‘purchase’ after my 15-day trial had elapsed. at just under $200 to use; sliders provide the control over the However, the number of images I’d processed over (about £123). Go to: blurring, fuzziness, colour, contrast and sharpness the two weeks was unbelievable, compared with www.imagenomic.com options, to name but a few, so you’ll get the my usual retouching route, so buying a copy for hang of it in no time. And that’s the point – time. myself was a no-brainer. PP 92
- 93. Probably the mostdirect The examples shown on the website are the Standard edition. There are two competitor to Imagenomic highly dramatic reconstructions, but it can additional versions to choose from as Portraiture 2 is Anthropics be much more subtle. Most who use it, not well: Studio (RAW and 48-bit files) and Technology’s Portrait unlike the Imagenomic’s offering, love its Studio 64 (for very large images). Professional, now up to ability to automatically produce very To see video demos and download the version 10. It’s also pleasing results, but also that there are Mac or Windows versions go to a very easy software to use straight out of plenty of options to fine-tune each image www.portraitprofessional.com the box and can create some fairly to personal tastes. It’s also very good Below: Here are some screen grabs I did of a shot of powerful results in a few simple clicks. value, starting at just $40 (about £25) for PP’s Editor, Adam Scorey, that show subtle changes. 93
- 94. 1971 - 2011 www.ParkCameras.com/pp Tel: 01444 23 70 68 Free Delivery to UK Mainland on Cameras/ Printers/ Scanners! £819.99 £1,049.98 SEE WEB FOR OUR LATEST OUR LATEST PRICE LOW PRICE Canon EOS 1000D Canon EOS 600D Canon EOS 7D Canon EOS 1D Mk IV 12.1.2009 Our Price £359.99 Our Price £644.99 Our Price £1,239.99 Our Price £3,754.99 ++ 18-55mmIS £694.99 18-55mm £399.99* + 18-135mm IS £1,519.99 + LP-E4 Batt £3,854.99 £879.99 £1,059.99 £1,089.99 £1,679.98 Olympus E-P3 Training Pentax K-5 NEW! Park Cameras offer a wide range of training courses & workshops across a broad range of photographic LOW disiplines. Visit our PRICE! Due in stock August! website for full details Our Price £897.00 & to book your place K-5 + 18-55 WR £944.00 See web for full details K-5 + 18-135 WR £1,359.00 Samsung NX-11 Celebrate our 40th Panasonic GF3 Anniversary with promotional NEW! days, offers and competitions - see Our Price £359.99 our website for Due in stock August! NX-11 + 18-55mm £459.00 details See web for even more offers See web for full details All prices include VAT @ 20% Opening times Mon-Sat 8:45-5:45pm; Thursday 8:45-7.30pm; Sunday 10:15-4.30pm. Sunday trading is for in-store only We accept Visa, Mastercard, Switch/Maestro. Address: York Road, Victoria Business Park, Burgess Hill, West Sussex RH15 9TT Figures in Brackets indicates stock level held at unrepeatable prices at time of going to print. All products are UK stock. E&OE. * = Please mention “Professional Photographer” for this special price Prices correct at time of going to press; check website for latest prices. www.ParkCameras.com/pp
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- 103. 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... VISA POUR L’IMAGE 2011 Two Getty Images photojournalists have been nominated for the Visa d’Or awards at Visa pour l’Image, the annual international photojournalism festival in Perpignan, south-west France. Jérôme Sessini and Álvaro Ybarra Zavala will compete in the news and features categories respectively, and the winners will be announced on 1 and 2 September. Zavala was nominated for his work on the conflict in Colombia and asked © ÁLVARO YBARRA ZAVALA / GETTY IMAGES to exhibit his work, having already received the City of Perpignan Young Reporter award. Sessini was nominated for his work in Libya. Getty Images will be announcing the winners of its 2011 Grants for Editorial Photography at the festival. Since 2005, it has awarded more than $600,000 to professional photojournalists. www.gettyimages.com/grants July 2009: Police speak to villagers during a raid at a bar in a slum in Tumaco, Colombia. G Leica increases the FOOLPROOF POWER HOUSE S-System’s flexibility The new range Apple has updated the MacBook Air with Leica has introduced three new of shockproof, next-generation processors, high-speed S-Adapters to allow Leica S2 users to waterproof Thunderbolt I/O technology, a full-size attach medium-format lenses from and backlit keyboard and Mac OS X Lion. other manufacturers to Leica S bodies. magnetproof It features Intel HD Graphics 3000, The Leica S-Adapter V can be used for SDHC/SD and provides up to 4GB of faster 1,333MHz Hasselblad V system lenses, the P67 micro SDHC/SD memory, is made of durable aluminium for the Pentax 67 system lenses and memory cards from and is available in two sizes – 11in and the M645 for those of the Mamiya 645 Samsung is now available. The cards 13in. There is also a multi-touch trackpad system. The adapters are made provide read speeds of 24Mbps and are and a high-resolution LED backlit display of anodised aluminium and available in two categories: Essential and that Apple claims has the resolution of chrome-plated brass for durability. Plus. The premium Plus range features the a much larger, bulkier screen. The S-Adapters do not come cheap at highest available class 10 speed rating, The compact new MacBook £525 each, but this extension of a class-leading write speed of up to 21Mbps Air is up to twice as fast as the compatible lens range does and storage capacity of 8GB or 16GB. the previous generation include tilt and shift. The Essential category provides a and has flash storage, www.leica-camera.com respectable write speed of up to 13Mbps in so it can be turned on capacities ranging from 2GB to 16GB. instantly and access data All cards in the new line-up feature a more quickly. Prices brushed aluminium finish. start at £849 from Prices go from £7.99 to £38.99. www.apple.com/uk www.samsung.com 103
- 104. stop press... G BlackRapid Revamp The RS-5 camera strap from BlackRapid will now be made from the tougher ballistic nylon instead of ripstop nylon, bringing it into line with other R-Straps. The RS-5 now has expanded storage, more organisational features and a magnetic clasp for silent opening. It is priced at £75. www.blackrapid.com LATELY WE’VE BEEN HEARING... G Photographer David LaChapelle has won a pre-trial ruling against pop princess Rihanna after claiming that Curtis Moffat, scenes from her music video, S&M, were © V&A Dragonfly, c1930. copied from several of LaChapelle’s images. The ruling, by a judge in New V&A York, means the photographer’s claim The Victoria & Albert Museum in London is opening its first permanent photography gallery can now go to trial. in the autumn to show highlights from its renowned collection of images. It will feature G A memorial service will be held for Victorian portraits by Julia Margaret Cameron and works by other key figures in photojournalist Anton Hammerl at St photographic history such as Henri Cartier-Bresson, Man Ray, Alfred Stieglitz, Diane Arbus Bride’s Church, in Fleet Street, London, and Irving Penn. The gallery will be open daily from 10am to 5.45pm (10pm on Fridays) from at 3pm on 8 September. Hammerl, a 25 October. Admission is free. www.vam.ac.uk South African based in the UK, was killed by pro-Gaddafi forces in Libya in April. G Getty Images has entered a new phase IAN PARRY in its deal with Flickr by presenting a selection of images on its website that SCHOLARSHIP 2011 have been chosen by its editors. Rasel Chowdhury, from Bangladesh, has won the The Flickr Select collection launched Ian Parry Scholarship 2011, worth £3,000, for his with nearly 6,000 images. series of images called Desperate Urbanization, G Photographer Cindy Sherman is highlighting the pollution of the Buriganga river in fronting a MAC Cosmetics make-up the country’s capital, Dhaka. The desaturated collection for autumn. Sherman is known landscapes are the first of their kind to win this for her self-portraits and disturbing photojournalism and documentary photography images which often challenge the beauty prize since it was launched in 1993 in memory of industry. Her transformation in the GRAND PRIX photojournalist Ian Parry, who was killed in 1989 three images for MAC certainly live up Pentax has launched a limited-edition while on assignment in Romania for the Sunday to that reputation. kit of the medium-format 645D to Times. One of the judges, Kate Edwards, picture G We love the images entitled Super celebrate it being named Camera of editor of Guardian Weekend magazine, said: Natural photographed by Mert & Marcus the Year at the Camera GP Japan 2011 “Rasel’s conceptual approach and the desaturation for issue 6 of Love magazine, in which awards. The built-to-order body has a of his images work well to produce a very different the models wear headpieces alluding to red lacquer finish and comes in a box view of Dhaka. There is a consistent distance a variety of religious icons. made of paulownia hardwood. It costs in the images and yet every now and again you G Lauren Pissochet is the people’s $16,000 (about £9,780). Orders must see figures interacting with the landscape.” choice winner of the inaugural Moving be placed by 20 September 2011 A related exhibition is running at the Getty Image Award in the Sony World through one of Pentax’s preferred Images Gallery, 46 Eastcastle Street, London Photography Awards 2011 for her video suppliers. www.pentax.co.uk/645D W1W 8DX, until 31 August. For more Phoenix: The Girl with the Red Hair. information visit www.ianparry.org 104
- 105. next month on sale 21 September Monkey takes THE BIG pictures… INTERVIEW but who Andy Gotts, owns them? colour & mono Buying secondhand: MIDDLEBROOK is this an cuts through option? the bull PPOTY 2011 – OUR FAVOURITES SO FAR ANDY GOTTS EDITORIAL ASSISTANT Jessica Lamb GROUP COMMUNICATIONS MANAGER SUBSCRIPTIONS MARKETING jessica.lamb@archant.co.uk Lucy Warren-Meeks, 01242 264783 EXECUTIVE REPROGRAPHICS MANAGER lucy.warren-meeks@archant.co.uk Lisa Flint-Elkins, 01242 264751, Neil Puttnam PUBLISHING PRODUCTION MANAGER lisa.flint-elkins@archant.co.uk Professional Photographer is published With special thanks to Mandy Pellatt Kevin Shelcott, 01603 772165 MD SPECIALIST MAGAZINES Miller Hogg monthly by Archant Specialist. PRODUCTION TEAM LEADER Archant House, Oriel Road, Cheltenham, GROUP SALES MANAGER Mikey Godden, 01603 772876 WHOLESALE AND RETAIL Gloucestershire GL50 1BB Nick Sumner, 01242 216085 DISTRIBUTION If you have difficulty nick.sumner@archant.co.uk SUBSCRIPTIONS/BACK ISSUES obtaining Professional Photographer, contact GROUP EDITOR Adam Scorey SALES EXECUTIVE Amy Pope CUSTOMER CARE 01858 438832 Seymour, 86 Newman Street, London W1T 3EX adam.scorey@archant.co.uk 01242 216054, amy.pope@archant.co.uk ORDER HOTLINE 01858 438840 TELEPHONE 020 7396 8000 ART EDITOR Rebecca Stead CLASSIFIED SALES EXECUTIVE VISIT www.subscriptionsave.co.uk rebecca.stead@archant.co.uk Bianca Dufty, 01242 211099 EMAIL professionalphotographer@ NOW YOU CAN BUY SINGLE ISSUES OF SUB-EDITOR Simon Reynolds bianca.dufty@archant.co.uk subscription.co.uk PROFESSIONAL PHOTOGRAPHER ONLINE simon.reynolds@archant.co.uk GROUP COMMERCIAL DIRECTOR HEAD OF DIRECT CUSTOMER GO TO www.buyamag.co.uk/PP FEATURES ASSISTANT Kelly Weech Chris Marston, 01242 264760 MARKETING kelly.weech@archant.co.uk chris.marston@archant.co.uk Fiona Penton-Voak, 01242 265894 www.professionalphotographer.co.uk feedback@professionalphotographer.co.uk 01242 264767 @prophotomag PRO PHOTO MAG © Archant Specialist. Archant Specialist is part of Archant Ltd. I While reasonable care is taken to ensure the accuracy of the information in Professional Photographer, that information is obtained from a variety of sources and neither the publisher, the printers nor any distributor is responsible for errors or omissions. All prices and data are accepted by us in good faith as being correct at the time of going to press. Pound conversion rates correct at the time of going to press. Advertisements are accepted for publication in Professional Photographer only upon Archant Specialist’s standard Terms of Acceptance of Advertising, copies of which are available from the advertising department. All advertisements of which the content is in whole or in part the work of Archant Specialist remain the copyright of Archant Specialist. Reproduction in whole or in part of any matter appearing in Professional Photographer is forbidden except by express permission of the publisher. Competition terms and conditions: I The closing date for competitions/giveaways is displayed alongside the competition/giveaway online. I Employees of Archant Specialist, and those professionally connected with the competition/ giveaway, ABC certified circulation for example, employees of the sponsor company, are not eligible to enter. I Unless otherwise stated, competitions/giveaways are only open to UK residents. I Prizes are as described and no alternatives can be offered. 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. 105
- 106. READERS’ HEROES: BRANDT Ina variation on our Legend series, wedding photographer MICK COOKSON reveals three of his imaging idols and how one in particular influences his work every day A s photographers, we all have our individual style; it’s what makes work in the modern digital world? Do you consistently produce work akin to us interesting and different. Whether it’s architecture, fashion, your heroes’, or is it something you ‘keep up your sleeve’ until called upon? weddings, editorial or commercial, we have our niche areas, often I must admit I love shooting mono at weddings, though I’m not brave influenced by other photographers, be they modern or enough to produce a lot of Brandt-esque imagery for my clients – especially classic icons. Each of us has our photographic heroes; for example, ask any in July and August! But, given a dark winter wedding, where my trusty photojournalist to name their influences and Henri Cartier-Bresson’s name Nikons are sweating a bit at ISO 3200 and 1/40sec at f/2, sometimes the will appear time and again, along with more contemporary names, such as Brandt in me is just a little too much to contain. Wait, before the cries go out, Martin Parr, Steve McCurry, James Nachtwey or Don McCullin, to name I’m no Brandt, by any stretch of the imagination, and will never consider a few. Even we wedding photographers have our influences (yes, honestly). myself to be, but I often wonder how he would have approached some of the For me it’s Ernst Haas, Norman Parkinson and Bill Brandt. documentary situations and associated lighting conditions I face (especially Haas was a pioneer in colour photography, extolling the virtues of early in winter) to create an image that the client will love. So… how many of you ISO 12 Kodachrome with his trusty Leicas. His editorial images, seen in the get paid for shooting modern work in the style of your hero? Hell, it’s classic books The Creation and In America, are phenomenal. Parkinson great being paid doing something we love (most of the time), but to get was a different animal – with his quirky, off-the-wall humour, backed by paid for emulating our photographic heroes too? Heaven! immense talent and technical prowess, he was a leading light of high-quality The photograph above is one of mine. During a recce for a wedding, fashion photography for more than three decades. But for today, it just has I found myself back home in Morecambe, Lancashire, at the wonderfully to be Bill Brandt, who is my near-total mono inspiration. He was a genius in restored Midland Hotel. This shot just cried out to me and is one of my storytelling; his simple, often abstract or graphic monochromatic images favourite personal images. It sits proudly on my Mac as a screen background were produced through a natural talent in social documentary photography. and I’ve been asked several times if it comes bundled with new Macs, or His work inspires me more than that of, say, Cartier-Bresson… who’s not where I got it from. I’ll take that as a backhanded compliment then... bad, I suppose. Many would disagree, of course. I shot the image on a bright, sunny day, on a Nikon D700 with a 24-70mm I have several books on Brandt – my favourite being London in the AF-S at 36mm. This is my favourite style of image: high contrast, with Thirties, a collection of mono images, showing what the capital was really strong directional lighting and a dynamic range off the scale. My trademark like then: the working-class squalor, the backstreet ‘boozers’, contrasting is to shoot for the highlights and let the shadows ‘go’, for a graphic feel – with the middle classes and their four-storey houses, Royal Ascot and something I’m not really allowed to do at weddings! In post-production electric lighting (!), and the upper classes in their top hats, with their I graded the RAW file in Lightroom 3 to create a good ‘working’ mono version housekeeping staff, horse-drawn carriages and nights out at expensive which was then imported into Nik Silver Efex Pro 2 mono film software restaurants. The quality may be lacking here and there due to technical via Photoshop. A Fujifilm Neopan ISO 1600 grade was applied, with a little limitations, but the ideas, the images and the finished work are stunning. digital ‘push-processing’ and 35mm film grain added. To me, it’s my So my question is: how many of us working pros adopt (or adapt) our modern-day homage to Bill Brandt. And I love it. PP influences and apply them to our work – consciously or otherwise? Do you as working photographers try to emulate your heroes, and does it www.mickcookson.com www.billbrandt.com GOT JUST SUCH A STORY TO TELL AND AN IMAGE TO GO WITH IT? IF SO, EMAIL ADAM.SCOREY@ARCHANT.CO.UK 106
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