F8 #4 2

f8 #4

# Introduction

Hello and welcome to Issue 4 of #f8 magazine, brought to you by Revolution Photography.

This issue is all about summer fun, getting out and about and relaxing in the sunshine. We’ve been to Brighton, one of the oldest, best known and trendiest seaside resorts in Britain and I’ve been out experimenting with what can be achieved when you forget your D-SLR and just have your camera phone.

We’ve also our usual interview with an established pro photographer; with a little twist this month, which leads us nicely onto our special feature on Mentorship and how photographic skills are being passed between the generations.

Whilst everyone is in a holiday mood, we’re giving #f8 readers a very special offer. Book a place on a Revolution Retreat before September 30th 2015 and we’ll give you a 10% discount - Just quote #f8Summer when you contact us about booking and we’ll automatically remove 10% from your final bill.

Don’t forget, all Revolution Retreats are available with 0% Finance over 3-9 months, so you’ve no excuse not to

#ExtendYourSummer

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Andrew Bell

#Index # Opening Shot # The Story behind the Shot # Snaps on a Smartphone # Interview # Mentorship # How did you get that? # Brighton Rocks # Closing Thoughts

Summer Adventures - Andrew Bell

# Opening Shots Each edition we showcase an image and tell you the story behind it. This month we’re breaking with tradition and showing three images which combine to tell a tale.

This months Opening Shots were taken in Nepal.

Our guide and elephant wrangler led us and the elephants down to the river and guided the elephants into the water to wash.

If you ever get the chance to to see elephants really close up, take it, nothing else I’ve ever done makes you feel so in awe and so insignificant at the same time. They really are incredible, beautiful animals, who demand your respect.

Once the washing was complete, the elephants began to leave the water, I wanted to get a shot of them emerging from the river so I positioned myself in line with where they were headed and began to compose the shot. Except I hadn’t taken into account just how quickly they would start moving. There’s very little in life that will compel you to move faster than 3 tons of pachyderm bearing down on you. I grabbed our first shot before diving out of the way. Much to the amusement of the crowd who had gathered to watch.

Having regained my composure I turned to see our guide commanding the elephant to kneel down, with the aid of a big stick, which he assured us the elephant would barely even notice through it's thick hide. He then promptly ran up it's trunk before standing triumphantly on it's back, happy to show off for the small crowd who had gathered. As I moved around to grab the shot, he asked if I'd like to ride the elephant back to the camp, an offer I gladly accepted.

I didn't run up his trunk and it took two people to help lift me the 10ft+ onto the elephant's back, where I promptly discovered there was nowhere to sit, or put my feet, or hold on and also, there's no way to steer an elephant!

The 20 minute journey back to the camp was probably the most terrifying of my life... It was also about the most memorable.

Images 1&2 Andrew Bell / Image 3 Courtesy of Jim Robertson

# Opening Shots

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# Snaps on a Smartphone

The modern smartphone is an incredibly powerful tool; almost always connected to the internet, email and social media on demand no matter where in the world you travel. You can read and edit documents, check the latest news and even navigate around the world.

For me though, the greatest leap forward has been the smartphone camera, in just the last five years we’ve gone from the camera being almost a novelty addition to being one of the biggest selling points.

So I headed out and about to see what can be achieved when you leave the D-SLR behind.

All of the images in this feature were shot and edited in camera on a Sony Xperia Z3.

Andrew Bell

Above: Wimborne Minster & War Memorial I’m constantly amazed by what modern technology can and will do, often without even being asked. My phone automatically backs-up my images to Google, which in turn automatically edited my photo for me and returned it to my Drive, without me doing a thing. I wouldn’t normally use filters or online editing tools, but in this instance I was quite pleased with the (automated) results.

Shooting with a smartphone reminds me of working with the cameras I had as a child; fixed frame, limited controls, no expensive lenses, little more than just point and shoot, but with the added advantages of digital photography, like getting to see and share your pictures straight away.

Left: Winter Sunset This shot was taken through the window of a moving taxi before being square cropped, in phone. I love the clarity and detail that the camera managed to capture, even under less than favourable conditions

Right: Gin O’Clock After a hard day shooting we were relaxing and enjoying Gin O’Clock. I was fascinated by the light reflecting through the glasses and liquids onto the vivid red table. Rather than reaching for the D-SLR though, I grabbed my phone to capture the image; and I’m glad I did. Quick and simple it might be, but also very effective.

# Snaps on a Smartphone

Andrew Bell

Book Now #ExtendYourSummer

# Interview

Words & Images Andy Scaysbrook

As we prepare to take a look at Mentoring, I thought it was time we got to know a little more about Revolution & #f8 co-founder Andy Scaysbrook.

This month I interview my friend and mentor; what follows is a brief dive into 30 years of photo-journalism, award winning editorial and documentary images and a very rare glimpse of some of Andy’s incredible archive.

To view more of Andy’s images visit

www.andyscaysbrook.com

Q: What is your earliest photographic memory?

A: My earliest photographic memory is taking a picture on a box brownie of the Jules Rime Trophy - The Football World Cup which appeared on the back of the 1970 World Cup annual. The trophy is made of gold and the picture was shot on a piece of burgundy velvet. It was the first picture that I took and I can remember it like it was yesterday.

Q: What was the first camera you used / bought?

A: My first camera that I bought was a Canon AE1 program. I loved it and it served me well in my early days.

Q: What first inspired you to take up photography?

I have always been drawn towards the power of the still image. My father was an avid reader of newspapers and he would buy 6 papers on a sunday and read them all. I was fascinated by the way a picture appeared on the page and I remember well my Dad telling me how important photography was as a means of telling a story. My father also loved photography and he would show me old Kodachrome slides of his travels around the world. From that moment on, I was hooked.

BBC war correspondent, Kate Adie OBE, 1993

Her big break was the London Iranian Embassy siege in 1980.[3] As that evening's duty reporter, Adie was first on the scene as the Special Air Service stormed the embassy. The BBC interrupted coverage of the World Snooker Championships and Adie reported live and unscripted to one of the largest news audiences ever whilst crouched behind a car door.

Adie was thereafter regularly dispatched to report on disasters and conflicts throughout the 1980s, including the American bombing of Tripoli in 1986 (her reporting of this was criticised by the Conservative Party Chairman Norman Tebbit), and the Lockerbie bombing of 1988. She was promoted to Chief News Correspondent in 1989 and held the role for fourteen years. One of her first assignments was to report the Tiananmen Square protests of 1989. Major assignments followed in the Gulf War, the war in the former Socialist Federal Republic of Yugoslavia, the 1994 Rwandan Genocide and the war in Sierra Leone in 2000. In 2003 Adie withdrew from front-line reporting.

Remembrance Service for Veterans of World War 2 Dorset, United Kingdom 1996

Q: Who is your biggest photographic inspiration?

A: My biggest influences are Don McCullin and Henri Cartier Bresson. I was given McCullins book ,Homecoming, as a birthday present for my 17th birthday and from that moment on I knew that I wanted to be editorial photographer. His work has always inspired me and Cartier, as we all know is the king of photo journalism. I love his compassion and his ability to capture a moment that tells a story in one frame. Q: If you could photograph any one person, from any time in history, living or dead who would you choose?

A: Interesting question. Without doubt it would have to be Hunter S Thompson. I would have loved to have hung out with Hunter for a few days Im sure we could have made some magic happen!

Q: Do you have days when you don't want to take photographs and if so, what motivates you to go out anyway?

A: Photography is such a passion of mine that I don’t need to seek inspiration to get out there. I try and find new ways of telling old stories. I often return to places many times and re shoot them. My main photographic passion is shooting people so for me its all about capturing characters. I often wander along the coast of Dorset shooting places Ive visited many times before. Its always throws up some new images as the people who walk this area provide a a new storyline overtime I shoot there.

Gypsy children, Poole, Dorset 1994

The Falls Road, Belfast, Northern Ireland 1993

Q: What's your favourite place to photograph, that one location you know you can always return to and be excited and inspired?

A: Ah well thats easy. Cuba has stolen my heart and the heart of many other too. Ive been lucky to have travelled extensivley both on editorial commissions and teaching assignments but the one country that I will always return too is Cuba. Its like no other country in the world totally unique and an absolute dream for a photographer.

Q: What advice would you give to someone picking up a camera of the first time today?

A: My advice to any budding photographers starting out today is to simply find a reason for taking pictures work on a project and find a voice. I loved wandering around just shooting anything that took my fancy but eventually you want to find a reason for shooting and start to tell a story. Working for newspapers Ive had to shoot thousands of photo essays - a series of images that tell a story - Its a great way of working as it forces you to really think about what you are trying to say. The industry is now the toughest Ive know in thirty years. Editorial budgets have been slashed and there are millions of images being created everyday, so if your going to succeed, you have to ahead of the game and be prepared to accept all types of assignments to get your name around. And the most important thing to remember is NEVER work for free. Always charge for your work, it has a value and if people are commissions you to shoot for them, then they value your work, so get them to pay for it! Working for free de values your work. A client who has been having free work from you will never turn round and start paying you so be strong and insist on getting paid. Even if its only to cover your costs.

English actor, Edward Fox, obe corfe castle, Dorset, 1992

Edward Fox is an actor and producer, known for Gandhi (1982), The Day of the Jackal (1973) and Never Say Never Again (1983). He also served with the Coldstream Guards and claims never to have worn jeans.

Pristina, Kosovo, 1999 A man raises the flag of Albania from the remains of his burnt out house. The house was burnt out by retreating Serbian forces after the Kosovo war.

The man who invented rock’n’roll Chuck berry, London, 1990

British Soldier, Belfast,Northern Ireland, 1993

I was initially struck by his boyish looks of this young soldier patrolling the Republican streets of West Belfast. I asked him how old he was “I’m 17” he replied. Having spent a week covering the work of the British Army’s operations in Northern Ireland I knew how tough a job it was. The soldiers would be under an almost constant barrage of bottles and stones as well as petrol and nail bombs which would rain upon them as they patrolled the streets.

It was certainly no place for a teenager. I later met up with him when he returned home on leave - ironically, he lived in the same town as me - he thanked me for his portrait which his Mother hung on the wall of her home. I asked how his tour of duty had gone; “tough” came the reply.

Andy Scaysbrook

# Mentorship

This issue we take an in-depth look at Mentoring and the effect it had on three photographers.

The best way to learn any skill is to practice and the best form of practice is when you’re guided by someone who’s already an expert in their field; having a guiding hand to steer you in the right direction, offering support and advice whilst nurturing you along your chosen path.

For Andy Scaysbrook, that mentorship came from Bill Jackson, world renowned art photographer who was one of the first to embrace digital photography and crossed boundaries between film and digital.

“Its difficult to under estimate how important a good mentor is when starting out on your photographic journey. I was lucky. I met and was tutored by a fabulous photographer, Bill Jackson. Bill opened so many doors for me regarding my creativity. He inspired me hugely with his thinking and his ideas. Its not all about learning the technical side of photography. This can be done by reading any of the millions of articles available on the internet or the printed page. What Bill taught me, could never have been gleaned from a photography book. It was hard earned experience and was passed on in the best possible way, via his passionate approach and his ability to channel that into creative and disciplined teaching. Bill started my photography journey, had I not met him I doubt that I would have had a thirty year career as a professional photographer. As the saying goes “ You remember a great teacher for the rest of your life” not only do I remember Bill but we are still great friends and he is always there to offer encouragement and advice some thirty five years later.”

“A teacher affects eternity; he can never tell where his influence stops.”

-Henry Adams

Words & Images Bill Jackson, Michael Bartlett & Andrew Bell

30 years ago I met Bill, he was my first photography lecturer at Leamington College and it’s fair to say that he opened many creative doors for me.

Bill explained processes of creativity that I had never even considered, set me on the path to my photographic career and exposed me to photographers work that I had never heard of; all of whom became hugely important in shaping my own creativity.

Over the years we became great friends and have always stayed in contact. However, due to us both chasing down our careers and traveling the world in search of pictures and adventures our paths didn't really cross for 30 years; until last week when we had the enormous pleasure of working together in London on a big commercial campaign for a very well known brand. I can’t begin to tell you how great that was for me too work alongside, not only a dear friend, but one of the most talented photographers I know and I know a few.

Bill is also a true Sky Blue, which makes him a brother too. A Cov lad that started a career for me and in the process, that career has been the best adventure a man could ever ask for. It’s fair to say that Bills teachings and guidance over the years have been a major factor in me becoming OK with a camera.

Thanks mate

# Mentorship / Bill Jackson

Q: Who are your mentors and why were they so inspiring?

A: My mentors in the beginning were Mickey Mouse and Michelangelo moving onto to John Ford westerns and B Movies. They informed me and still do in some ways, as you never loose that initial introductory influence when you are at a very impressionable age. My tutor at art school for a while was the photographer Gordon Goode who had been for many years the RSC theatre photographer and he introduced me to many photographers from theatre and dance, especial Max Waldman. A few years later I actually was in an exhibition with Waldman, curated by Bill Jay and the ICP Gallery in New York, on the History Of Dance Photography. In that show was also a few more heroes including Avedon and Helmut Newton. We need heroes. But my main interest and influences at that time was the work of Dianne Arbus, August Sander, Richard Avedon and Irving Penn. They introduced me into a world of amazing portraits coupled with a very high technically knowledge. I am still of a mind that photography is as much a science as it is an art form. The scientific analytic approach is a very strong interest and influence in my work. It cuts out a lot of arty self indulgent stuff on what you do.

I get more pleasure and inspiration these day from other art forms as most contemporary photography leaves me bemused. This is my problem and one I don't want to really to engage in. Give me work of artists such Richard Long, Richard Serra or Hoholy Nagy or the great James Turrell. Far more inspiring than an insipid snapshot on Instagram Q: How important was your mentor in helping you discover your creative vision?

A: Its absolutely essential, especially at the beginning of your creative journey. that there is someone there to offer advice and guidance. Without you could drift for a long time and maybe forever. You can have influences from artists whom you have never met, but actually talking with someone in a fluid informative way is vital. I may add that this does not stop, ever. As a student you are privileged in having a massive support network around you, your tutors, your friends and contemporaries but once you leave the nest it becomes even more important to find, if possible, someone who gets what you do. Not a mate or family member who possibly is not the critic/advisor you need, and this may change over the years. I still need advice and critique from someone who understands where I am at and can offer advice. When I left London I lost the frequent chats I used to have with one or two people whom I respected, I still have chats but on the phone which is not the same as having a good natter in the pub, chewing over stuff. Recently I have found a great listener and a very positive artist couple who have a great wealth of knowledge and experience in the visual arts worldwide and they have become my guides when I need them. I have collaborated on projects with them too as they respect goes both ways as with the advice.

Q: What makes a great tutor?

A: A great tutor is hard to find. Mine used to hide in the library, looking at photography books, but when I did locate him, he opened my eyes to a world of wonder from scientific, biological, industrial and humanitarian photography. What I wanted/want from a tutor or mentor, is humility, great in-depth know of many things not just the arts, someone who has gone round the block a bit with a creative and natural curiosity. Someone who can inspire, educate challenge and also accept that I too might have a valid opinion. Its a two way exchange otherwise you are onto a power situation that is not healthy for the student.

North Sea Drawing From the Cartographie Luminaire exhibition

Q: If you could choose one photographer - living or dead to work alongside who would it be?

A: Wow thats tough but if it really came down to it then I would choose Irving Penn, to be with him as an assistant on his north light portraits he shot in Worlds In Small Rooms would have been one hell of a journey. Second to that to have worked with Richard Avedon on his American West series. And then……… will it ever end?

Q: If you were to pass on one pice of great advice that you have learnt what would it be?

A: Be human. Be kind. Be respectful Never take without giving first and understand you are not the star your subject is, be it a landscape or a portrait.

Q: Is there a certain piece of information that you still call on today?

A: Yes its one I used to say to my students and I still practice today - Know where you stand see where you have come from and then you can move forward.

Sandblaster

# Mentorship / Michael Bartlett

An image can often inspire a 'wow' from a famous face to a unique angle not seen in such context, but the 'wow' for me is to think how that picture was taken, what's not seen in the image, the planning involved and, if people, the acquaintance required to allow the subject complete trust with the person with a lens in their face!

“For me to watch Andy first hand has inspired not only my photography but also aspects of myself!�

For me, forming a friendship with my mentor has turned a good relationship into a great one and mutual interests can be found which puts you in the perfect environment to learn and have fun!

A great example for myself is that my mentor & I enjoy live music. I take my camera to a gig and ask for his advice and guidance (only during the 1st 3 songs of any live music gig should a photographer be at the front snapping away, fourth song you get to the back! True fact)

One important piece of information that that Andy taught me early on was how to command a situation during important events with people you should be firm, concise and let your subjects know that you are the most important person for the few moments you need to capture their image. A skill that I had to develop pretty quickly, with a few squeaky voice moments spent learning it!Â

If I could choose one photographer, living or dead to work with it would have to be my mentors mentor; Bill Jackson. Aside from the high regard held of him by Andy, I'm mates with him on Facebook and his llamas look wicked. Or maybe they are Alpacas. It would also have been nice to of met Vivian Mayer to hear her side of the pix she took.

If I were to pass on one pice of great advice that which I’ve learned, it would be to absorb information from wherever you can.

Because I'm a lad of the modern digital era, I never really got to learn camera settings the old fashion way ( film was expensive, so I'm told ) and I relied on auto in my early days.

I strived to use manual mode for that total creative control. I found cheat sheets on the internet and I find them a great help when learning a new technique as they can give you the starting point in relation to setting up your camera correctly. They have guided me so much and also sped up my understanding of all the of my cameras settings.

Words & Images Michael Bartlett

# Mentorship / Andrew Bell

Andy became my friend and mentor after we met in Cuba; he instilled in me his passion for photography, in such a natural and easy way I didn’t even realise it was happening until it was too late and I was hooked! He showed me how to add interest to an image, to see where there was a story and helped me begin to understand how to predict what might happen next and be ready to capture it.

With his direction and teaching, my images quickly improved and soon began to be noticed on social media and beyond.

It’s natural when you start learning anything to imitate the person or people teaching you and photography is no different. For a long time I wanted my images to be “just like Andy’s” to have that same punch and visual impact, to make you stop and think, but I realised I wasn’t emulating his style, I was just copying his work, taking the same pictures I thought he would.

Now he’s helping me to find my own photographic voice; something which we both believe is a fundamental part of the journey.

With his help, I came to understand what really interests and motivates me visually and began to tap into that, to understand what elements of a scene were really appealing to me and begin to craft my photography around them.

Words & Images Andrew Bell

# Mentorship

The reason we founded Revolution Photography and started f8 magazine was to continue this tradition of mentorship and one-to-one tuition, it’s why we keep the numbers low on our Retreats and why everyone who travels with us gets their own personlised training plan.

It doesn’t finish with the end of the Retreat though, all of our guests are invited to continue their journey with us offering continuing support advice and guidance. For us this isn’t about selling you a holiday, it’s about helping you pursue a dream and that takes time and dedication, which we will continue to offer, as long as you’d like.

To find out more about our ongoing Mentorship programme, open to all Revolution Retreat guest, get in touch via the website.

Revolution Photography

Words & Images Michael Bartlett, Andy Scaysbrook & Andrew Bell

Book Now #ExtendYourSummer

# Brighton Rocks

The iconic British Seaside resort.

As far back as the Bronze age people have been traveling to the south coast of Britain, but it wasn’t until the Georgian era when soon to be King George IV constructed the Royal Pavilion, styled after the Taj Mahal that it became popular as a resort.

With the advent of the railways in the 1840’s Brighton became one of the places to see and be seen and that’s still true today.

We travelled west along the coast from Dorset to see what we could see, besides the seaside, besides the sea...

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Words & Images Andy Scaysbrook & Andrew Bell

# Brighton Rocks

Andy Scaysbrook / Andrew Bell

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#ExtendYourSummer

# Closing Thoughts The photographic industry is going through some tough times, which may seem ironic as there are more images being taken today than at any other time in photographic history.

Every section of the professional industry is currently going through some very testing times indeed. Manufacturers, photographers and image library’s are all suffering. The compact camera market has been hard hit, all of the major manufactures have seen a drop in sales; everyone has a compact camera in their pocket in the form of their smartphone and as we showed earlier, you can achieve great results with something thats primary function isn’t even being a camera.

Editorial budgets for publishers have been slashed to what can only be described as desperate levels. My work has been widely used for many years by some of the biggest titles in the industry; the rates they are currently offering simply aren’t worth working for and many now insist on ownership of the images so that they can re-sell - something the photographer used to do - which cuts another vital revenue stream from the pro.

Working for a newspaper is about the best photographic training you can get, but publishing no longer has a budget for professional photographers, they would rather take UGC - user generated content - than pay for quality professional work.

All this isn’t to put you off picking up a camera, quite the opposite, as these recent quotes from Martin Parr show; “Photography’s central role is to be the absolute medium of the day... ...It’s the most accessible, democratic medium available in the world. This has to be celebrated, and we must continually remind photographers of this... ...and in my view there’s never been a more interesting time to be a photographer” So seize the opportunities to go out and photograph, but do it first for yourself and the love of creating the image and remember, if you are planning on putting your images on the internet or selling them make sure they’re the best images you could produce and the best way to do that is to find a great mentor who will teach, encourage and inspire.

Andy Scaysbrook