the Photographer - Issue One 2024

The

Magazine of the BIPP / 2024 / Issue One

Mountains and Memories 4

We explore the remarkable life of Alfred Gregory FBIPP, the first photographer to capture the peaks of Everest

Print vs Pixel 13

As screens dominate how we consume photography, we find out what role remains for the printed image from professionals across the industry

Capturing Home 20

The world of property photography with BIPP member Simon Winson

Different Lenses 28

Finding out about the connection between the neurodivergent brain and the visual arts

Capturing Service 36

A journey into the work of the Navy Photographic Unit

Book Review 44

A review of the Queen of Boudoir book from Alexandra Vince

Flat Curve 48

Photographer Tim Wallace reveals the post-production process behind his award-winning image

Level Up 56

Peter Morgan shares advice on improving your wedding photography business

Legacy of Excellence 58

Discover the photographic history of the iconic Rolls-Royce engineering company from Steve Smith FBIPP

the Photographer is published four times a year by the British Institute of Professional Photography, The Artistry House, 16 Winckley Square, Preston, Lancashire PR1 3JJ

T: 01772 367968

E: admin@bipp.com

W: www.bipp.com

CEO: Martin Baynes

President: Jeff Brown

Directors:

FBIPP Paul Reiffer (Chair)

ABIPP Monir Ali

ABIPP Barrie Spence

LBIPP Matt Curtis

FBIPP Johnson Wee

Editor: Joel Hansen, editor@bipp.com

Advertising: Tel 01772 367968

E-mail: admin@bipp.com

UK Subscribers £30, Rest of the World £60

ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts

Neither the BIPP nor any of its employees, members, contractors or agents accept any responsibility whatsoever for loss of or damage to photographs, illustrations or manuscripts or any other material submitted, howsoever caused. The views expressed in this magazine are the views of individual contributors and do not necessarily represent the views of the BIPP. All advertisements are accepted and all editorial matter published in good faith. The publisher makes no warranty, express or implied, that any particular product or service is available at the time of publication or at any given price. No part of this publication may be reproduced by any means whatsoever, or stored in a retrieval system, or broadcast, published or exhibited without the prior permission of the publisher. This magazine is the copyright of the BIPP without prejudice to the right of contributors and photographers as defined in the Copyright, Designs and Patents Act 1988. All rights reserved. Registered at Stationers’ Hall, Ref B6546, No. 24577. © BIPP 2024

Dear Members,

Thank you to Joel for another outstanding magazine issue – it’s definitely one of my all-time favourites, featuring some astonishing images from Alfred Gregory, and a fascinating discussion on print versus pixels. Well done to Tracey Lund FBIPP and the BIPP WPC team, who have already had one of the best years with the finalist announced. Go, Team UK!

Also, I appreciate the incredibly striking images from Tim Wallace and Simon Winson, whose articles are fascinating to read. In contrast to the work done by the MOD and Rolls-Royce also featured in this issue.

It’s been an incredible start to 2024, marking Katrina’s first anniversary with us in the office and welcoming our new marketing and social media expert, Grace. We’ve hit the ground running with several simmering projects that are now coming to fruition. Last year was dedicated to internal development, with rebranding, a new website launch, and the introduction of blanket public liability and professional indemnity for all our working members, setting the stage for 2024.

This year, in our 123rd year, we have already launched the new monthly image competition, culminating in the Photographer of the Year award, and my heartfelt thanks go to Paul and Sarah Wilkinson for their dedication to this endeavour, as well as to the judges who’ve contributed their expertise. Moreover, we’ve unveiled the BIPP Unscripted podcast, which is set for monthly releases alongside additional surprise episodes. To ensure you don’t miss any content, head over to Spotify and give us a follow.

To support our community, we’ve devised a new member journey, guiding newcomers through their initial weeks of membership, with videos and detailed

instructions on using the membership benefits, including finding a photographer and all the document templates we created last year to make supporting your business with one less thing to look for or create.

Our presence has been felt at the SWPP show and The Photography Show, where our display was unrivalled by any other association. I’ve also explored various significant shows this year to gauge potential collaborations, including the Travel Show, Crufts, The Ideal Home Exhibition and two international wedding fairs. Although not all are suitable for BIPP, we are exploring the idea of establishing a BIPP pavilion at select shows, offering members discounted space under a unified BIPP professional banner.

Looking ahead, expanding our membership is imperative. Despite the challenges of recent years, from the pandemic to financial crises, I believe our efforts have positioned us in an exceptionally strong place to enhance member value and attract new professional members. As summer approaches, we’re set to launch promotional campaigns to draw new members, alongside a ‘refer a friend’ initiative, which benefits both you and the newcomers. Please participate.

Wishing you a wonderful and profitable summer.

TPS 2024

JEFF BROWN

Happy birthday to the BIPP! As I write my fourth column for this magazine, the BIPP is about to celebrate its 123rd birthday. That’s an amazing achievement for any professional association to reach; it’s also mind-blowing to think how much the photography industry has transformed in more than 12 decades. But one thing that hasn’t changed is that the BIPP, a professional institute with the individual at its heart, is here for you, the photographer. Now of course we are connected to our members in multiple ways, through our quarterly magazine, our regular email newsletters, our interactive Facebook community and just recently the launch of our fantastic new BIPPUNSCRIPTED podcast.

March also saw the BIPP coming together with its members at The Photography Show in Birmingham where we had a very professional and welcoming stand that really made an impact, exhibiting our new look and branding. Our message was clear, that we are the industry association for the professional photographer, built on history and community, leading the way with a mission to inspire, educate, support and showcase our members.

This month’s magazine also marks my year anniversary as President of the BIPP, and for this month I was asked to contribute to an article about neurodiversity, a subject I can well relate to, having struggled with dyslexia and OCD. As I had failed through the school education system, it was because of my dyslexia that I chose a creative career path instead of going into further education; that path was driven by a passion and a love for what I did, not for a requirement to attain grades or pass exams. I’ve always believed there is a positive to every negative and things happen for a reason; in fact my OCD came in very handy during my military career: having a need for tidiness, order, planning and

attention to detail was always a real advantage, but something I just took for granted. Over the years I’ve also managed to work with my dyslexia and spot many of my weaknesses, which has allowed me to publish four best-selling photography business books to date; this alone has ultimately brought a lot of opportunity to my door. So just because I have a label for my neurodiversity, it hasn’t meant I couldn’t follow my dream to become a published author, I just had to work a hell of a lot harder at it than someone with a degree in English.

As creatives we have a close connection to our work. This tends to make us very self-critical; I know many hugely talented photographers who struggle with imposter syndrome at the best of times, even though they are highly praised and admired throughout the industry. So when we add neurodiversity to the mix it can really knock our confidence and belief. But a strong sense of self-belief is the key to success and overcoming any obstacles that may stand in our way. What the mind truly believes can ultimately be achieved, just some of us have to tackle things from a different angle or work with a slightly different approach to that of other photographers or business owners. There is no one-size-fits-all for success, but with passion, a plan, direction and consistency you can make your dreams a reality, whatever those dreams may be.

Whether your dream is to write your first bestselling book, become a brand ambassador for a leading camera manufacturer, create a sell-out online workshop, win the photographer of the year award for your niche or hit that financial goal, the only thing that could well be holding you back is believing you can actually do it. This is where the supportive community of the BIPP can really help. We are here for our members. Feel free to ask questions and get involved, because every problem has a solution. We have a lot of talent, knowledge and experience here waiting to be shared, so come on and dive in.

ALFRED GREGORY

Mountains & Memories

The Photography of Alfred Gregory FBIPP

There’s not much greater accolade for a photographer than being the first to capture the elusive peaks of Mount Everest. Alfred Gregory FBIPP, a remarkable figure known for his solidity and adventurous spirit, eternally holds these boasting rights. Known as Greg to those who knew him, he passed away on February 9, 2010, at the age of 96, marking the end of his incredible career trekking across the far-reaching corners of the earth.

Greg’s wife and BIPP member, Suzanne Gregory, an accomplished travel photographer herself, spoke to Editor Joel Hansen about her beloved husband’s life and stories of their shared passion of travelling the world taking pictures.

Moulded from humble beginnings growing up in Lancashire, Greg was the son of a grocer who died in World War I when he was three. Raised by a resilient mother who faced financial difficulty while running the small grocery business during the Depression, Greg got a taste for exploring the great outdoors during his childhood. Sue says, “It was his life. He’d roam the hills with his dog and mates, whether it be the Trough of Boland or the Lake District.” The young pioneering group would cycle from Blackpool all the way up through Lancashire and Cumbria, sleeping in farmers’ barns along the way, relishing the freedom of the rolling hills of the British countryside.

Image: Portrait of Alfred Gregory with camera taken at Loje, Nepal, May 1953. Mount Everest Expedition 1953. Photograph captured by George Lowe & supplied by the Royal Geographical Society

ALFRED GREGORY

Image: The Western Cwm Party, Nepal, March 1953. Mount Everest Expedition 1953

Photograph captured by Alfred Gregory & supplied by the Royal Geographical Society

ALFRED GREGORY

“It was his life. He’d roam the hills with his dog and mates, whether it be the Trough of Boland or the Lake District.”

Greg first worked as a printer, a job Sue says he applied for “because the printing union at the time was fighting for a five-day week, and that meant if they got it, he could have the whole weekend off to go walking in the hills.”

Growing up, his involvement with the Youth Hostels Association and encounters with fell walkers led him to explore climbing, initially learning through experience rather than formal training. During these years, Greg became acquainted with many renowned British climbers of the era.

His country called him into action in World War II, where he served with the Black Watch in North Africa and Italy, already having extensive mountaineering experience, somewhat prepared for the enduring environments ahead. Sue says, “He was put in charge of the port of Naples in Italy, where he finished the war, but after falling in love with the place, he stayed for another year to support the rebuilding of the country that the Germans had destroyed.” During this period, Greg had the opportunity to climb the Alps regularly on solo trips.

While in North Africa during the war, he met a French girl, Nanette, they married and had a daughter, Yolande, and lived together in Blackpool. Back in the UK, Greg continued climbing, eventually selected for Eric Shipton’s 1952 Himalayan expedition to Cho Oyu, a reconnaissance for the 1953 Everest expedition led by John Hunt. Sue recalls Greg’s story of the prospective Everest team members sitting at Pen Y Gwryd hotel in North Wales near Snowdon on a training weekend, when John Hunt, the leader, said, “Greg, you can be the photographer; you took pictures last year.”

MOUNTAINS & MEMORIES

ALFRED GREGORY

Image: Nawang Gombu, Nepal, March 1953. Mount Everest Expedition 1953

Photograph captured by Alfred Gregory & supplied by the Royal Geographical Society

EVEREST ALFRED GREGORY

Image: Sherpas who reached South Col with Noyce and Wylie, Nepal, 29 May 1953, Mount Everest

Photograph captured by Alfred Gregory & supplied by the Royal Geographical Society

Image: Sherpas in crampons cross log bridge over a crevasse, Western Cwm, Nepal, March 1953. Mount Everest Expedition

Photograph captured by the Alfred Gregory & supplied by Royal Geographical Society

The Mount Everest team was the ninth mountaineering expedition to attempt Mount Everest and the first confirmed to have succeeded; it was organised and financed by the Joint Himalayan Committee, a body formed by the United Kingdom’s Alpine Club and the Royal Geographical Society.

Greg reached 27,900ft, supporting the journey to the world’s highest peak. He took many of the best-known pictures of the Everest trek, including images of Edmund Hillary and Sherpa Tenzing Norgay as they began their ascent to the summit. The Picture Book of Everest was published in 1953, detailing a visual account of the journey.

“People didn’t know whether you could survive at the peak, as there wasn’t much knowledge around the effect of being at such a high altitude, but they took it gently, and they won.”

In an article by writer Jim Perrin for the Guardian newspaper, a quote from Greg remembers his historic excursion: “Everest doesn’t leave you. People still want to know about it. I don’t know how many pictures I

Image supplied by Source Photographica: The Hoopla Stall on the Golden Mile, Blackpool © Alfred Gregory

Image: Edmund Hillary and Tenzing Norgay, on the South-East ridge about to leave to the South Col to establish Camp IX below the South Summit on Everest. The day before they approached the summit of Everest, Nepal, 28th May 1953. Mount Everest Expedition 1953

Photograph captured by Alfred Gregory & supplied by the Royal Geographical Society

Image: Lhotse and Nuptse from Pumori, Nepal, March 1953. Mount Everest Expedition 1953

Photograph captured by Alfred Gregory & supplied by the Royal Geographical Society

ALFRED GREGORY

“P

eople didn’t know whether you could survive at the peak, as there wasn’t much knowledge around the effect of being at such a high altitude, but they took it gently, and they won.”

took, but it was fewer than photographers would take today. No special equipment – I just kept the camera warm inside my jacket. I went up Everest as an amateur photographer, but I came down a professional.”

After this momentous feat, doors would open in the world of photography, with Greg landing a freelance position with Kodak. He would also soon meet his second wife, Suzanne.

Driven by their shared love for photography, the duo embarked on global journeys, during which Greg captured images for Kodak’s Lecture series. They enjoyed the liberty to choose their travel destinations, where Greg would later present the images from the trips across the UK at events aimed at showcasing Kodak’s products to the audience through slideshows and stories of his adventures.

Sue recalls Greg’s talent for languages: “In France, he spoke fluent French; in Italy, he spoke fluent Italian; wherever we went to go and take pictures, he’d learn the language of the country and could speak it very well - he had a special ability.”

The couple went on to set up their own business running events with equipment gifted to them by Kodak. They shared the powerful images and audio recordings they’d take from across the world to audiences ranging from specialist camera clubs to ladies’ luncheons. The business model evolved to running photographic holidays together, attracting amateur and professional photographers desiring the guidance of Greg’s mountaineering expertise through remote landscapes.

ALFRED GREGORY

Sue said, “We never taught photography; people learnt from being with other good photographers, and a lot of our customers on photo holidays were some of the best in Britain.”

They’d also supply images from their travels to Nikon, which were used as examples of Nikon’s cameras in their equipment manuals. Eventually, Greg went on to set up a travel agency in Blackpool. Sue says, “After many years of this, he was on the beach in Blackpool one day with a friend and thought to himself, some of the best pictures I could take in the world are right here, and I’ve been ignoring them.”

Greg captured authentic scenes of everyday life across a bustling seaside town, which years later was published as a book in 1993, entitled Blackpool: A Celebration of the Sixties.

Eventually, the couple emigrated to Emerald, near Melbourne, Australia, where Sue still lives today. For the selftaught photographer and mountaineer Alfred Gregory, he leaves a lasting legacy through his iconic photographs that will always remain part of world history.

Image supplied by Source Photographica: Billy’s Weekly Liar, Blackpool © Alfred Gregory

Print vs Pixels

Following a dialogue with BIPP members within the Facebook Community Group regarding the requirement for printing images for BIPP qualifications and competitions, it seemed an opportune moment to delve deeper into the topic and examine the significance of print within the contemporary photography industry.

For this article, I speak to several figures within the photography sector to understand the role of print in their fields.

Chair of Qualifications & Awards for the BIPP, Paul Wilkinson FBIPP, underscores the importance of seeing a photographer’s exact intentions when it comes to judging an image, which he believes is achieved with the greatest accuracy via a print.

Paul says that when preparing a print, creators should meticulously inspect for defects, and advises that they should be the last person to see the work, to ensure, without question, that judges see exactly what the creator intended. Digital files, however, present a slight challenge in his eyes; he explains that there is little to no way to guarantee that judges view the image as intended due to variations in monitor manufacturers, models and even specific product batches.

For BIPP qualifications, a photographer also needs to demonstrate control, creativity and a vision across twenty images as a single piece of work. “I have watched judges walk into the judging room and gasp when they see twenty prints mounted and displayed in a way that is a work of art.”

This type of presentation, in Paul’s view, just can’t be replicated digitally with the same degree of success and impact. “I have a dream of twenty Eizo monitors of the same model and from the same batch all mounted up on a rack, but hey, anyone can dream…”

Looking to the future, he highlights the possibility of integrating Virtual Reality (VR) into the evaluation process, where judges could experience a virtual replication of a printed panel display through calibrated headsets. Nevertheless, for the time being, Paul sees limits to examining 20 thumbnails on a screen, asserting that this approach can be a disservice to a panel and presents difficulties in assessment.

Ultimately, Paul says, the BIPP will “open the doors to fully digital panels—I have no doubt about that— but we can only do it in a way that ensures we don’t accidentally dilute the value of what has gone before and maintains the high standards we’ve worked so hard to restore.”

Using the BIPP’s new Monthly Image Competition as an example of digital-based judging, he emphasises that the BIPP has made considerable effort to ensure that it meets the standards of the print-based annual competition.

“Contrary to what people may think, the requirement for prints is not about looking backwards or cherishing a lost heritage—that couldn’t be further from the truth. Rather, it is about having a solid method that ensures every qualification is

PRINT VS PIXELS

PAUL WILKINSON

consistent and fair: tomorrow’s qualifications must have parity with yesterday’s.”

As Chair of Qualifications & Awards, he states the challenge is to remain relevant to growing digital societal trends while maintaining the BIPP’s respected values and standards. While accepting change is inevitable and understanding digital technology has changed our relationship with photography, he sees some traditions that will remain. “I suspect people will still hang frames on their walls and place albums on their coffee tables.”

Photographer Del Vincent, an active voice in the Facebook discussion online on the need to demonstrate print skills in a digital-led industry, says, “In the last decade, I have not once had to print a piece of work for a client in the sense that the BIPP expects.”

Aside from Del’s work used in printed material once his files are sent to clients, he says printing is a distant memory from when he was a studio manager for a print company. He says, “The studio sadly went bankrupt some years after I left, due to the drop in demand across the industry. The trend was already in effect way back then. The internet was born; printing aged overnight.”

As a commercial photographer, Del believes when it comes to BIPP qualifications and competitions, he should be assessed on his ability as a photographer, not a printer, as producing “fine art” prints isn’t expected from his clients.

Yet, as a retoucher, he says he has developed experience preparing prints for other photographers, including professionals looking to qualify for and enter competitions with bodies such as the BIPP. But to

Image of Paul Wilkinson © Karen Massey

reinforce his argument, he declares, “My personal ability to retouch and prepare for output has NO bearing on my ability to create the photograph in the first place.”

He says photographers using external printing companies give an advantage to those more financially fortunate who have funds to test results and use a top printer to enhance their work. This also raises the question for Del of totally being able to credit the photographer if successful in a qualification or competition: “we are supposed to be qualifying as photographers, not printers.”

He also says the expense of printing a qualification panel is unjustified since he doesn’t require the prints after assessment, which could total up to £400. Additionally, other printing formats that would more accurately mimic the type of paper his images are intended for, like those used in magazines and marketing materials, cannot be used for assessment.

Del sees digital assessment via calibrated screen as the way forward. In this method, judges would consider both an image produced in camera and the final edited version and could use digital tools to assess how well a digital image would print.

He adds, “I am still closely tied to printing, and yes, I do enjoy having a printed image on the wall! I just don’t think my ability as a photographer should be judged on it, especially when the print output is irrelevant to my client base.”

Raquel Villar-Pérez, Curator at Impressions Gallery, Bradford, shares her insights on the experience of viewing a printed photograph compared to an image on a screen within a gallery space. She believes, “The printed photograph offers warmth to the viewing encounter, appealing to the senses in a way that images in digital outputs cannot. For me, it’s about the texture of the paper and the myriad of possibilities of displaying the print.”

From framing styles to ink and pigments forming an image, Raquel argues these elements create a more intimate connection with the viewer. In contrast, screens’ use of light to display an image

can discourage audiences from getting near due to the outward glow, which, in turn, can lead to missing precious details in the photograph.

Despite this, Raquel discusses the array of exciting possibilities digital screens offer for exhibiting photography and engaging with audiences through modern technologies. She highlights that younger audiences are especially attracted to displays that enable them to interact with the work, noting they “are very attracted to displays that allow them to ‘play’ with the artwork,” prompting artists to incorporate virtual and augmented reality into their creations.

Image © Del Vincent

Raquel emphasises Impressions Gallery’s commitment to embracing contemporary trends and welcomes experimental ways to showcase artwork created with digital technologies as long as it aligns with the project’s theme. As technology progresses and artists expand their abilities, she anticipates a more significant integration of digital technologies in photography exhibitions.

Even in light of the constant innovation, Raquel believes, “While digital displays stimulate audiences in many exciting ways, they won’t be able to replace the intimate experience

generated between the printed photograph and the viewer.”

Terry Hope, the founder and editor of Professional Photo magazine, made a significant shift for the publication in February 2024: after 16 years in print, it would move exclusively to an online format.

This choice aligns with the larger trend of creatives adopting digital platforms. “We sensed a tipping point, where a significant number of people were comfortable reading online, whether on a phone, tablet or laptop. We believed we could effectively reach this audience in a more efficient manner.”

Image of Bost Castle Arch featuring in Impressions Gallery exhibtion © Andy Barnham

TERRY HOPE

Despite a slight internal resistance stemming from Terry’s affection for print, he acknowledges that transitioning to digital was inevitable from a commercial standpoint due to changing consumer behaviours and rising costs associated with print. The shift online promises to retain the magazine’s core content while enhancing editorial freedom and creating attractive opportunities for advertisers. The platform offers all content for free through subscription sign-ups, enabling journalists to publish timely articles and expand into multimedia content. Terry notes, “There are loads of things we can do now, which we couldn’t do before,” such as incorporating video tutorials and hybrid articles that blend text with other media forms for a more enriching experience for readers.

The new model will gradually release content over the course of the year. At the end of each month, a newsletter compiling all of the month’s stories will be distributed; these newsletters will then be archived as part of an online library.

Terry still envisions a niche market for printed photography magazines, suggesting that such publication will be more of a collectable commodity valued for their high print quality and design.

Even as Professional Photo magazine transitions to a digital format, he remains a fervent advocate for the printed photograph. He points out the vulnerability of today’s digitally captured images becoming lost in the vast expanse of transient data, the risk of file corruption, or the obsolescence of storage systems. He argues that printed photographs are a tangible asset that can be passed down through families for generations, creating traditions like sharing a wedding album during family gatherings. He says, “It’s a wonderful thing and a precious memory of a moment in time”, underscoring a level of permanence and emotional significance digital formats fail to replicate.

Today, more than ever, Terry considers it’s the photographer’s responsibility to remind customers of the importance of printed photographs. “I think you’ve undersold your client if you do an amazing set of pictures for an occasion and then just give them digital files.”

Jon Lee ABIPP, course leader for the BA Professional Photography degree and tutor for the HND Professional Photography course at Edinburgh College, is embedded in the photographic learning environment and remarks on the dedication needed to master the discipline: “Photography is an art, a craft, a science, and definitely a skill. A skill which requires more than a glance; it requires deeper looking.”

Jon teaches adults of all ages every aspect of the subject and still incorporates print as an essential part of the curriculum. He says, “A print differs from an image viewed on a monitor; light is reflected from the surface rather than a backlit transmitted screen. Screen calibration can account for some of these

Image of Professional Photo online magazine mock-up digital front cover

PRINT

VS PIXELS

JON LEE

differences but not all of them. Monitors have variable inconsistencies and specifications, not just colour casts alone but bit depth, contrast ratio, colour space, HDR, LCD, LED, 2K, 4K or 5K resolution.”

Jon argues there’s an inherent finality in print: “Making prints is part of the craft, whether from film or digital cameras. The print is the photographer’s final decision; they have approved the image, and it is ready for others to view or judge.”

He says making a series of prints requires crucial knowledge, from correctly sequencing images to paper choice. Even though digital software can replicate some aspects through tools such as print

profile simulation, Jon says as the source of a screen is backlit, it can always differ, whereas an approved print from the photographer can’t.

He encourages all photographers to learn the craft, as the process is more cost-effective and accessible than ever. Putting work together for a qualification, competition or personal gallery, he adds, is an effective way to promote and celebrate your work. So whether you set up a makeshift darkroom or connect with a print company, the methodology of preparing print images gives you time to consider and understand your photographs more deeply.

Whatever genre, he states, “the print is the final act of presentation. Ask yourself why many prestigious photography organisations have print awards

Image from student college exhibition © Salvatore Gitto

regardless of the genre of entries. Photography has to remain more than pixels on a screen, that’s the easy way out. And let’s face it, who comes to a website opening? It’s more about the gathered experience.”

Managing Director of Graphistudio UK, Jeremy Price, has spent a career creating printed products for photographers. He echoes the same sentiment stated previously, that all screens show different results, and even when calibrated, sending light through an image rather than light falling on a print changes the dynamics. Jeremy states, “Print allows the photographer to choose a paper finish and a process that ensures the digital image becomes a photograph and is then exactly how the photographer visualised it when captured. A digital photo is just ‘bits’; it requires a medium to be stored on and a program to interpret that information.”

“The word photograph comes from the Greek FotosGrafis, painting with light, so it is not a photograph until it’s printed,” he adds.

Alongside this, he says that storing files is a risk, as files can be lost, damaged, or stuck on broken or obsolete storage devices. Digital storage, Jeremy says, also diminishes the experience of looking through an album with a loved one.

However, Graphistudio embraces digital photography, making it much easier for print companies and photographers to create printed products and showcase their work online.

Jeremy points out that, according to research into photography trends by Future Source research company in 2023, the biggest growth sector in Europe is photobooks and albums. “Anecdotally, we hear that photographers at wedding fairs with beautiful albums are getting better responses than those who only show files on screens.”

Jeremy suggests that this counter-movement to digital saturation stems from widespread fatigue through constant screen exposure among people who spend their days and nights staring at monitors and screens. It’s not just a nostalgic longing among older demographics; notably, the younger

generation is at the forefront of reviving analogue formats, as Jeremy cites the remarkable surge in sales of Fuji’s Instax Camera, a product that has tripled its sales in the last ten years largely due to Gen Z customers. He says the trend points to a broader shift towards physical media, driven by a desire for a digital detox and to engage more deeply with material forms of expression.

While many photographers operate just by providing digital files, for many professionals, Jeremy advises that getting valuable referrals and visibility for their images is best through print. If your photographs are seen on a poorly calibrated screen, it can give a poor representation of the photographer’s intentions, whereas print provides certainty for your work to hang on walls or sit in books, ready for a potential customer’s gaze.

Image of Jeremy Price

Capturing Home Property Photography with Simon Winson

In the vast and visually driven world of property marketing, Simon Winson ABIPP has remained at the forefront of the industry through creativity and innovation. With over a quarter century of experience under his belt, his journey from an eager amateur photographer to capturing high-end property images encapsulates not just personal growth but also the evolution of the industry itself. Currently associated with the Berkeley Group, one of Britain’s leading high-end property companies, Simon has witnessed firsthand the transition from film to digital, the changing tastes in property aesthetics, and the growing importance of lifestyle imagery in real estate promotion.

From Scout Badges to Professional Lenses

Simon’s passion for photography began in his youth, sparked by his time with the Scouts, where he discovered the art of capturing the world through a lens as a form of expression. Despite initial self-doubt in his artistic abilities when practising other disciplines, photography became his chosen medium of creativity. This hobby gradually morphed into a vocation, leading Simon to pursue formal education and early career opportunities in photography.

His professional career in the industry began with assisting a wedding photographer and then working in a traditional wet printing house, which provided Simon with the resources to experiment and excel in film photography. “This meant I could get my film developed and prints done for really cheap,” he says.

Simon transitioned to working for Dawsons Strange, where Eric Strange FBIPP, a prominent figure in the BIPP at the time, played a pivotal role in his career. His time there included pursuing a PQE, courtesy of his employers, while he continued his role as a commercial photographer. Utilising transparency film on 5x4 or 120mm formats at the time led to significant expenses, with Simon recalling, “My film and processing bills were around £30,000 a year!”

The shift to digital has notably reduced these costs, and today, Simon uses Fuji and Nikon as his go-to digital equipment choice. Despite the advantages of digital photography, he recalls the organic sense of community photographers shared whilst sitting around having their work processed at photo labs, a social aspect of the profession that has faded over time.

After building a rapport as a commercial photographer with his client with the Berkeley Group, he transitioned into a full-time post for the high-end property developer. Here, his role evolved in tandem with the company’s growth, navigating through the challenges and opportunities presented as demands shifted in both the photography industry and property market.

Simon’s tenure at the Berkeley Group has varied from shooting grand houses in the countryside to capturing sprawling urban regeneration projects. His expertise in property photography is a blend of technical skill and artistic intuition. He emphasises the importance of perspective control lenses for architectural accuracy and the critical role of lighting and timing in capturing the essence of a property.

He attributes much of his expertise to the sage advice from his previous employer, saying, “What I learned from Eric Strange was the importance of the timing of shooting rather than the actual product itself. Especially when it comes to buildings, the first thing

you need to determine is which way it faces. My rule, which remains true to this day, is if you’re going to photograph an impactful property, ensure you’re there in the best light. So, if it’s east-facing, I’m there from dawn to catch the morning light or later in the afternoon when the light becomes softer. This principle even applies to interiors - I very rarely shoot a building in mid-day.”

Simon stresses the importance of pre-shoot location visits and that ahead of a major shoot, he will inspect the site in person, to address any visual issues in the scene such as a mud-covered road or plastic left on newly fitted windows.

He points out that addressing these issues well in advance is crucial and that encountering such problems on the shoot day could spell significant setbacks, and that how these often overlooked details become apparent only when highlighted, underscoring the photographer’s critical role in identifying and rectifying potential distractions within a shot.

Mastering the Craft

The rise of social media has significantly altered the landscape of property photography, compelling the Berkeley Group to employ interior designers who create realistic, inviting settings within properties. Simon is tasked with capturing these carefully staged interiors, crafting images that resonate with audiences on social media and enhance the promotional efforts for their latest developments.

This strategy, which incorporates aspects of daily life, breathes life into Simon’s photographs, infusing them with a warmth and relatability that aligns with current market preferences. The move toward showcasing properties as vibrant, lived-in spaces signifies

a departure from the more traditional, pristine representations of the past.

Reflecting on the evolution of his craft, Simon observes, “When I first started, the norm was to avoid including cars or people in the shots; this has changed significantly. Today, we do what you call lifestyle photography, which features dynamic street scenes populated by people – this element has changed dramatically.”

Other standard practices, such as needing every light on in the house, even during the daytime, have also shifted to incorporating natural light, aligning with the more authentic aesthetic of the overall shoot.

The Evolution of a Property Photograph

Post-production

In his larger shoots, particularly for spacious rooms, Simon employs a technique of layering multiple images, adjusting the positioning of Elinchrom flashes to illuminate different areas of the scene effectively. He says, “The first shot I’ll take is a room with all the lights off, so just daylight coming in” This is followed by additional shots utilising a flash head to mimic sunlight entering from the window, enhancing the room’s natural feel. This process can involve up to ten layers per image.

Immediate on-site editing is crucial, especially for important shots, to ensure that any unforeseen issues like camera displacement or unwanted reflections

are addressed. Simon often shares these preliminary results with clients via WhatsApp, allowing for realtime feedback. While extensive editing is reserved for primary rooms, lesser ones require less on-site attention. “I like walking away from the shoot knowing I’ve got 90% of the images I need,” emphasising efficiency and quality control. All imagery is captured in RAW format and meticulously edited in Photoshop to achieve the desired outcome.

Simon will replace elements such as the sky in a shot that doesn’t have the impact it needs in the original image. For this, he has built a bank of picturesque skies that he can edit in.

SIMON WINSON

Changes in the Property Industry

In the ever-evolving landscape of property development, Simon reveals how the focus has shifted significantly towards creating spaces that not only serve functional purposes but also foster a sense of community and wellbeing among its inhabitants.

He says contemporary property developments are increasingly centred around community spaces, integrating greenery and outdoor areas to encourage communal living and interaction. This approach marks a departure from the past, where the architectural emphasis was primarily on the buildings themselves.

Tony Pidgley, the visionary founder of the Berkeley Group, was a staunch advocate for placemaking, emphasising the importance of designing spaces that people can truly call home. “He was very much about the placemaking and the community first, rather than just the building,” Simon adds.

As urban density increases and land becomes a scarce commodity, innovative solutions like rooftop gardens and mixed-use developments are becoming more prevalent. These projects offer residents access to amenities such as pools, cinemas and gyms right at their doorstep, along with communal workspaces that cater to the modern remote worker. He states, “Let’s take, for example, our South Quay Plaza on Canary Wharf. I went there last week, and the Wifi lounge was packed and had a great community feel.”

Looking towards the Future

As the industry continues to evolve, Simon remains at the forefront, eagerly embracing new technologies like AI and virtual reality within the property sector. He has already begun utilising Photoshop AI Generation to streamline part of his editing process.

Although he doesn’t see the technological advancements endangering his role anytime soon, as the authenticity and accuracy required in property photography will still need an actual person capturing the actual scene with a camera, “as a photographer, one of the things we’re looking into is adding artificial people into the images of the properties, but we’ve found it’s actually better to have the real people in a real place.”

PHOTOGRAPHY

Through a Different Lens: Exploring Neurodiversity in Photography

Since working within the photography industry, whether as a photographer or the editor of a photography magazine, I have noticed a common thread among photographers: many of them have been diagnosed with neurodiversity. The term “neurodiversity,” coined in the late 1990s, encompasses a range of neurological variations, including but not limited to Autism Spectrum Disorder (ASD), Attention Deficit Hyperactivity Disorder (ADHD), Dyslexia, and ObsessiveCompulsive Disorder (OCD).

This feature aims to shed light on the intersection between neurodiversity and visual arts, drawing on insights from neurodivergent photographers and a leading psychologist specialising in this field.

Perhaps one of the earliest examples of this connection comes from the pioneering photographer Ansel Adams, whose manager, Bill Turnage, wrote that there was a “distinct possibility that he may have suffered from dyslexia”, as although visually gifted, Adams could not keep up academically.

A century later, society still grapples with understanding and acknowledging the diverse ways the brain functions. Only through recent studies are we now beginning to show that people with neurodiversity are inclined to pursue creative fields, as their brains’ departure from typical functioning enables them to perceive and experience the world uniquely.

Dominika Pikul, MSc in Psychology and Neuroscience and PhD candidate in Neuroscience, is the CEO and co-founder of Brain Architects, a bespoke research and consultancy firm specialising in neuro-inclusion services. Her work has helped to create brain-friendly workplaces where everyone thrives, focusing on neurodiversity to ensure individuals with different neuro-profiles feel included and supported.

Dominika explains that observations linking certain neurological differences and artistic talent have likely

Cactus in Saguaro National Monument, Arizona © Ansel Adams

DOMINIKA PIKUL

existed before any clinical definition. For instance, researchers studying Leonardo da Vinci suggest he may have had ADHD, which they say could explain his struggles to complete projects and maintain focus.

Dominika says that our brain’s wiring influences how we perceive the world and approach creativity, as research indicates that neurodiverse traits can offer advantages in creative fields. For example, individuals with ASD often possess heightened visual processing abilities, those with ADHD excel in generating multiple innovative solutions to problems, and people with Dyslexia can have increased visual-spatial thinking.

“Interestingly, neurodivergent individuals themselves point to creativity as their unique strength,” Dominika notes. According to a recent survey by the Neurodiversity in Business charity, 78% of neurodivergent individuals report high levels of creativity.

For Andrew Plant LBIPP, it wasn’t until his late 40s, when reading an article on ASD, that he discovered he might be neurodivergent. After relating to the description in the story, Andrew did an online autism test that further confirmed his inkling. This led to a formal diagnosis by a healthcare professional.

Reflecting on past experiences, he says, “I see a lot of things that I thought were normal, especially during my childhood, that are autistic traits. In the 70s and 80s, it wasn’t really known; you were probably just called disruptive or different, so I’d created my own coping strategies.”

Drawn into the creative realms in school, Andrew studied to be an illustrator at college. “I was really good at the technical illustration, which, looking back, being autistic, it was the level of detail involved.”

“I learned photography as part of my course, too, and immediately got it. Possibly because it was that more instant result, rather than sitting down on a drawing board for weeks on end.”

Throughout his twenties, Andrew worked in the photography sector. After getting married and desiring a more stable income, he shifted to working in the financial departments of an insurance company and a

bank. “I really struggled. I was a square peg in a round hole.” However, his attention to detail helped him excel, earning him a reputation as the go-to person for technical queries.

Deciding to restart a career back in photography, Andrew now harnesses his neurodiversity by using his keen eye for detail to deliver an impeccable standard of imagery to clients.

In capturing the interior of a property, he emphasises the critical importance of addressing even seemingly minor details, such as visible wires, explaining, “They may be small, and in the distance, but to me, they’re like beacons causing distraction.”

Dominika Pikul, , MSc in Psychology and Neuroscience and PhD candidate in Neuroscience

While Andrew has forged his path by embracing his autistic identity and overcoming obstacles, he acknowledges that this isn’t the case for everyone with ASD. He notes that many struggle in their careers, saying, “They might be great photographers, but they can’t manage the other aspects of running a business.”

Photographer Corrine Gretton-West was diagnosed with ADHD and Autism later in life, too, after spending years being misunderstood and misdiagnosed for the symptoms she’d been experiencing.

The diagnosis made sense of her past, as she recalls the lack of fulfillment and focus she previously felt in her office-based career. Since becoming a photographer 12 years ago, Corrine hasn’t looked back, with work-life behind a camera allowing her the freedom and creative license to stay engaged and motivated.

“That’s why I think it’s the perfect job for me in terms of having neurodiversity. It’s a huge passion of mine, so it’s something I can really hyperfocus on as well.”

Dominika confirms the positives of working in creative fields, as they can offer incredible opportunities to leverage an individual’s unique strengths. However, choosing the correct positions and environment to ensure

a person’s unique attributes are appreciated and utilised is essential.

Working across digital and analogue, Corrine found a niche using a wet plate collodion method, “It’s a really long, well-thought-out process, it’s really slow and intentional — I just love it.”

Although her brain’s creative wiring is a bonus as a photographer, she says it’s easy to be overwhelmed, particularly when running your own business. “It is not knowing how each day is going to be, and with ADHD and ASD, it is always a battle between both of them; one wants to have a routine, and the other gets bored and craves change.”

Mitigating the negatives through stringent list-making, along with regular exercise to help regulate her mind’s equilibrium, she says, “I went down the medication route, but it didn’t work for me; I completely lost sense of myself, but it may work for someone else.”

Currently, Corrine is involved in a project that highlights neurodiversity and addresses its associated stigma. The project provides a safe space for neurodivergent individuals to present an honest portrayal of themselves in front of the camera. The portraits employ a distorted

Image of papaya fruit © Andrew Plant

aesthetic to represent “masking,” a term used in the neurodivergent community to describe when individuals use a social mask to fit into a typical society.

Dominika says, “While public knowledge of neurodiversity has undeniably increased in recent years, it’s still not at a level where it can be considered sufficient. Even when we think about the medical sector and mental health professionals - there is still a lot to be done in terms of diagnosis and support”. Giving an example, Dominkia reveals that men are diagnosed four years earlier than females and the adverse health risks associated with late ADHD diagnoses can have on a person’s well-being.

At the age of 7, Michael Laing ABIPP was labelled as “word blind” and later diagnosed with dyslexia, dysgraphia, and dyscalculia at age 19. In 2022, at the age of 50, he was also diagnosed with ADHD. These neurodivergency’s have made lifelong struggles against the challenges posed by adverse symptoms.

An important subject for Michael, he’s become an advocate for neurodivergency since tackling the subject in a college project in the early 1990’s and helping to set up a neurodivergent group within the Masters Photography Association (MPA).

CORRINE GRETTON-WEST

A portrait from Corrine’s neurodiversity project © Corrine Gretton-West

Michael states that while people who identify with neurodiversity can thrive creatively, running a business can become extremely difficult without the support from a partner or business colleague who can help compensate for the disadvantages individuals may face.

He notes that through conversations with numerous neurodivergent individuals, each with their unique challenges, it becomes apparent how varied neurodiversity can be. Each neurodivergent condition, such as autism, exists on its own spectrum, and the tendency to generalise and apply stereotypes to all individuals with a particular neurodivergence can exacerbate challenges.

Through her work, Dominika aims to identify and mitigate stereotypes within the field. One common misconception is that neurodivergent individuals are either highly creative or not at all, which leaves little room for nuance. “Not all neurodivergent individuals excel in creative fields, and attributing success solely to neurodivergence ignores the individual’s hard work and unique talents.”, she adds.

In Michaels’s own experience, he says, “I find

MICHAEL LAING

my ADHD to be far harder to cope with than anything else.”

“When most people think of ADHD, they think of hyperactive children having tantrums. The reality is, for many, it is more the art of procrastination. Whilst procrastination is not a direct symptom of ADHD, it is a consequence of many ADHD symptoms. Forgetfulness, distractibility, and disorganisation, made worse by other issues, are common with ADHD, such as emotional dysregulation and rejection-sensitive dysphoria, which acts like an emotional roadblock to completing a project or running a business.”

Feeling burned out and experiencing mental health issues is a common factor for neurodivergence and something portrait photographer Leanne Suttle has also dealt with due to her ASD and OCD.

Leanne says, “childhood involved a lot of social isolation, unable to progress through school and gain any GCSE’s. I also found the 9-5 job extremely difficult, often leaving within a year due to burn out and mental exhaustion.”

After being diagnosed in 2019, Leanne reflects on how her neurodiversity has impacted her social and communication ability, causing her to avoid large groups of people in social gatherings. Not long after being diagnosed, she started photography and says the camera has enabled her to connect confidently with people and channel her energy positively, “I strongly believe photography has been my therapy.”

Image © Michael Laing

LEANNE SUTTLE

It’s a skill Leanne can hyper-focus on and continually find ways to improve and develop, “The advantage to my neurodiversities is that I am extremely eager to learn. I am really proud to be autistic as I am unique and see things that others may not necessarily see.”

In her work, she incorporates bright colours and shapes and experiments with themed style portrait sessions that make fun and engaging experiences for both her and the clients. Yet ‘burnout’ presents difficulties when keeping up a busy lifestyle. To lessen feeling overwhelmed, she makes detailed to-do lists, feeling a sense of reward in each task achieved and ensures her internal affirmation remains optimistic even when difficulties arise.

Leanne states, “Neurodiversity is definitely less taboo in today’s society, but I still feel there is a long way to go in reducing barriers to those with additional needs and challenges. I also feel mental health support is not specialist enough in those areas. I am really pleased that in the photography world, neurodiverse creatives are

being seen and heard, allowing them to be who they are without judgment. “

When it comes to workspaces, Dominika advises, “Advocate for yourself but remember, you don’t have to disclose your diagnosis to ask for accommodations. We shouldn’t be so worried about asking for small adjustments so our brains can perform better at work.”

Photographer, businessman, and BIPP President Jeff Brown, diagnosed with dyslexia and OCD, has utilised his neurodivergent traits to his advantage throughout his career. He explains, “I’ve always been rather OCD in my routine, tidiness, and the way I approach a task or problem.”

Jeff’s meticulous nature can be traced back to his upbringing – adopted at age one – it wasn’t until his mid-forties that he connected with his birth mother he discovered they shared the same organisational

traits. Despite struggling in school and eventually getting expelled, Jeff’s entrepreneurial spirit emerged early, beginning a business at 14, selling handmade fishing flies. Reflecting on his journey, Jeff notes, “Luckily, both my parents backed my selfemployment plans, and at 17, I secured an office space with funding and local grants. So even though my dyslexia hampered my progress at school, it was because of my dyslexia that I took a creative direction.”

Dominika remarks on the importance of fostering an understanding of neurodiversity in education and how classrooms should offer different learning and working styles, such as visual, auditory, and kinaesthetic, and incorporate a mix of quiet spaces and group work to ensure all students can thrive.

She says, “From the perspective of the brain structure, creativity is always about options, the brain takes in novel bits of data, combines with older information and arrives at a novel option. But if we create environments in which only one answer or one way of thinking is correct, where making mistakes and exploring is not an option - we are creating environments that literally kill the creative abilities.” Despite problems at school,

NEURODIVERSITY

JEFF BROWN

Jeff says, “To an extent, my OCD has been a blessing in my photography and as an entrepreneur. I have a keen eye for attention to detail, and the OCD in me means I work through tasks and problems methodically in a logical order.”

He outlined his methods in a book he published in 2022, The Ambitious Photographer’s Journal. Based on his own goal-setting and time-management routines, it enables readers to integrate these techniques into their lives.

Officially diagnosed with dyslexia in his 30s while serving in the military, he undertook the initiative to retake his GCSEs in Maths and English. This endeavour highlighted his areas of difficulty but also equipped him with strategies to address them. Today, he credits the use of modern writing tools, such as Grammarly, in producing content. Although his dyslexia makes him hyper-vigilant to ensure no mistakes, he sees this as an advantage, as it compels him to consistently create considerate, high-quality, and reliable content.

Jeff takes this same strategic approach to public speaking after negative experiences reading aloud at school, “That was impossible for me as a child with dyslexia. It wasn’t getting up to speak that I was afraid of; it was the embarrassment of being unable to read from a book aloud.” Today, Jeff doesn’t read from a script but learns his topics thoroughly, which allows him to speak fluently to audiences.

“After years of feeling inadequate, not good enough, and struggling with certain areas of my neurodiversity, I’ve learned to appreciate that I have some pretty fantastic skills that are a blessing to creativity and enhance my business.”

Image of Jeff Brown at Photo Studio Operations London 2023

NEURODIVERSITY

JOEL DYER

Wedding photographer Joel Dyer ABIPP, diagnosed with dyslexia, recalls after difficulty following the standard education curriculum in school and rebelling due to an inability to conform, he got expelled, leading his parents to explore additional support via the British Dyslexia Association (BDA).

At age 12, Joel got an official diagnosis from the president of the DBA. He says, “At the time, there were only five schools in the country specialising in dyslexia –I went to one of those boarding schools.”

During this time, he received additional literacy assistance. However, even at a specialist school, he explains the lack of encouragement from teachers, “They said we don’t see a career path for you—go into the army.”

Not allowing these doubts to stifle his career trajectory, Joel found success in sales-based positions throughout his 20s, where he soon progressed into management roles.

After a promotional offer within a company to a position that demanded increased writing responsibilities, he says, “I knew I was not capable of doing that. I accepted early on that I couldn’t further my career within this industry. When I got to 30, I decided I needed to change my life.”

Recognising he was fortunate to be the son of two successful photographers, he decided to follow in his parent’s footsteps. Already having strong interpersonal skills, he explains, “I then learned to become a photographer and artistic and creative concepts evolved from there.”

Joel says he’d always had a unique way of looking at life and a heightened spatial awareness, which translated into his ability to compose and create impactful images.

Yet he credits much of his success to his wife, whose business attributes have enabled him to focus on what he does best, “I have married a woman who is phenomenal at everything I’m weak at. I would not be doing what I am now if it weren’t for my wife.”

Looking back on his education, he recalls the lack of confidence bestowed on him by the schooling system. This image of self-doubt remains today, a factor he has seen in other dyslexics told they wouldn’t amount to anything. Yet, Joel uses this as motivation to strive for

excellence. Notably, in 2024, he was the first individual in the UK and Europe to be awarded the Masters of Wedding Photography degree from the Professional Photographers of America and became the MPA’s overall Master Photographer of the Year 2023.

“I do honestly believe God took away one thing and gave me something else.”

Image entitled ‘My place at the table’ © Joel Dyer

Pictured: A Heavy Machine Gun is manned by a gunner as HMS Tamar prepares to qualify two new gunners by conducting a day into night shoot. Captured by Lee Blease

Capturing Service The Navy’s Photographic Unit

Serving in the Navy requires a blend of discipline, courage, strength, teamwork, and intelligence. Positions within this esteemed branch range from weapons engineers and specialist medical staff to Royal Marine commandos and fighter pilots. Deployed globally, the Navy’s mission encompasses addressing threats and providing humanitarian aid across sea, land, and air.

Since its inception in 1919, the Royal Navy’s Photographic Branch has played a pivotal role in documenting the actions of operations and exercises, as well as fulfilling training assignments worldwide. The Defence School of Photography, recognised for its adherence to the BIPP’s photographic standards, trains Navy photographers to the highest levels of proficiency, preparing them for distinguished careers in imagery.

Editor Joel Hansen of ‘the Photographer’ magazine delves into the lives of Navy Photographers through conversations with Nick Tryon, the Royal Navy Photographic Warrant Officer, and Lee Blease, an active Royal Navy Photographer.

Tryon, who first served ten years as a Royal Marine before transitioning to photography after ten years, now leads the unit, ensuring the highest standards of photographic and videographic excellence for Naval Command. Stationed at HMS Excellent on Whale Island near Portsmouth, Tryon enforces policies and procedures to guarantee that all content aligns with branch benchmarks.

As a Warrant Officer, Tryon’s responsibilities extend beyond internal management to include interactions with industry partners and other military services. Coordinating with the British Army and Royal Air Force, particularly concerning equipment, procurement, finance, and training, is crucial for maintaining operational readiness and training standards.

The Navy’s Photographic Unit is unique in its extensive reach, a direct result of the Navy’s maritime nature and the fact that 71% of the planet is water, with training operations ranging from Arctic Tundra to surveillance operations in the Indian Ocean.

This geographical scope has become a significant factor in global public relations since the early 1960s, with Royal Navy photography becoming a high-demand service for the Navy, with the unit supplying film and still images to news outlets worldwide. The advent of digital technology in the 1990s further amplified the demand for immediate access to images, leading to the establishment of the Royal Navy Picture Desk, which continued the unit’s pivotal role in global news coverage that informs the public on major events such as the Iraq War and hurricane relief efforts in the Caribbean.

Tryon underscores the importance of maintaining excellence in content and the necessity of keeping the Navy’s visual media capabilities at the forefront of technological advancements to ensure they are at the cutting edge of their sector and maintain standards in line with their civilian counterparts, such as the BBC and Sky, who regularly use content produced by the Navy for news and documentaries.

Image: Merlin from 829 NAS conducting winch operations on the flight deck of HMS ST ALBANS. Captured by Lee Blease

The unit requires four years of serving in the Navy or Marines before allowing anyone to apply to become a photographer, “We are what you call a sideway entry branch, so you can’t join directly, you can’t walk in off the street and say I’d like to be a Royal Navy Photographer”. Tryon says.

“The reason we do this is because it’s important you’ve already got a military mindset and an understanding of how the military works. We rely a lot on our young lads and lasses to go out by themselves, join warships that they’ve never been on before, fit in, and understand all the terminology and procedures.”

When applying to become a photographer, there is a diligent assessment before candidates are accepted and sent on training, “They’ve got to demonstrate that they’ve got a photographer’s eye and can display they can act well above their rank and role. They need confidence in their ability to command, organise, and stand in front of a group of highranking officers and say, ‘can you move slightly to your left?’”

The candidates are required to produce a portfolio of images, along with making a short video they present to give the Navy photographic recruiting officers an idea of their creativity or their mind’s eye, “We don’t need to assess them technically because they’re going to go on a course at DSOP to do all that, as long as they’ve got something about them that we can all identify in a panel that makes us think yes they’d fit.”

The ethos of the Navy Photographer is rooted in meticulous attention to detail and a profound understanding of the Navy’s reputation. Yet, Tyron affirms, “We’re still sailors first,” and states the importance of this to the overall ethos of the Navy and how learning to survive in different environments, enduring high-pressure situations, and having the capabilities of other military personnel is vital to, “understanding the fundamentals of photography is just a small part of what we do as photographers,” he says.

When it comes to Navy PR, the level of attention to detail is meticulous, “our basic mantra, first and foremost before you press the shutter, is, ‘Am I portraying the Navy in a positive light?’”

For example, Tyron says an image portraying everyday Navy life, such as pulling ropes to secure a ship, if a pocket was undone or a rigging knife not secured correctly, would be deemed unusable from a PR standpoint, as from a military perspective, it’s unprofessional.

Three United States Coast Guard Dolphin helicopters (or Dauphin as they are known in the UK) conducted flying serials on HMS Prince Of Wales flight deck off the coast of Florida. This marked the first ever time a US Coast Guard aircraft landed on HMS Prince Of Wales and nurtured an already strong working relationship between the UK and USA.

Captured by Finn Stainer-Hutchins

Pictured: The Royal Swedish Navy have been working closely with the Royal Navy during BALTOPS22. Two Principal Warfare Officers in HMS Defenders Operations Room discuss tactics during a Surface Warfare Exercise.

Captured by Lee Blease

Beyond creating content for public relations, photographers are tasked with collecting intelligence and offering their skills for any Navy operations requiring visual documentation. “As you can imagine, in this day and age, there are multiple uses, and there is lots of imagery that never sees the light of day.” This confidentiality stems from the critical sensitivity associated with the content from reconnaissance missions.

From gathering intelligence to documenting highprofile events, the role of the Navy Photographer is both varied and vital. The application process, rigorous in its assessment of a candidate’s visual aptitude and leadership potential, ensures that only the most suitable individuals are selected for training.

Active Navy Photographer Lee Blease joined the Navy in 2007 and has since transitioned from a weapons engineer to a full-time Navy photographer; he exemplifies the diverse opportunities and challenges the role presents.

His experiences, ranging from documenting significant historical events to conducting intelligence-gathering exercises, underscore the privileged access and unique perspectives afforded to Navy Photographers. Blease says, “As a photographer, I’ve been to more places than I did as an engineer in the past three and a half years; I’ve been to Antarctica, the Arctic, the Mediterranean, and the Philippines.”

“We’re in a very privileged position; not a lot of people get to see what we do. I was involved in the queen’s funeral and the King’s Coronation. I really enjoyed that because it’s part of history.”

Blease highlights the intricate challenges inherent in publishing images, given the sensitive nature of their work. He details the complexities of an intelligencegathering mission and emphasises the necessity to mitigate potential threats, balancing discretion with security. He says, “if you’re on a ship, and for example, in the Mediterranean, and there are vessels of interest, we might go out and do photography surveillance on it from a helicopter or from the ship, it depends on what it is, how we approach it and how close we can get, because we don’t want to show an aggressive stance.”

Officers and ratings of the Royal Navy conducting ceremonial drill training under the supervision of the Royal Navy State Ceremonial Team at HMS Excellent, Whale Island in Portsmouth, Hampshire. Captured by Finn Stainer-Hutchins

The unit hosts the annual Peregrine Trophy awards, recognising the diversity, talent, and creative skills within the branch and celebrating the contributions of Navy Photographers. The awards have a range of categories to enter, along with a specific message that the Navy must achieve each year to which the submitted photographs should adhere. These awards, judged

Pictured: S/M Ken Scales the Standard Bearer for Cleethorpes Branch Royal Naval Association pictured at the Armed Forces Memorial Gate in Cleethorpes, Lincolnshire. Captured by Lee Blease

by esteemed professionals from the media and arts sectors, highlight the exceptional work produced by the photographers and their pivotal role in portraying the Navy’s activities and ethos. In 2021, Blease won the Royal Navy Association Prize with a striking portrait awarded to a Royal Navy Veteran, a proud achievement in his photographic career.

For 105 years, the Royal Navy’s Photographic Unit has stood as a cornerstone in capturing and documenting the Navy’s diverse operations,

embodying the essence of discipline, courage, and professionalism that defines the Navy itself. Through detailed insights from Nick Tryon and Lee Blease, they illuminate the rigorous training, unique challenges, and profound responsibilities of Navy Photographers. From ensuring operational readiness and adhering to strict standards of professionalism to capturing pivotal moments in history, these photographers play a critical role in the Navy’s operational and reputational facets.

Pictured: Royal Navy sailors receive a brief on flares at night time. Captured by Finn Stainer-Hutchins

ALEXANDRA VINCE

Book Review

The Queen of Boudoir

Alexandra Vince’s The Queen of Boudoir book is a journey into the transformative world of boudoir photography through her pioneering work shooting over 20,000 people since 2002. This book not only celebrates her artistic achievements but also explores the empowering impact her photographs have had on women by reshaping the self-image and confidence of her sitters.

Alexandra’s story begins with a personal reflection on her motivations and the inception of her photography business, For Your Eyes Only Portraits (FYEO). Through engaging storytelling, she shares her business’s evolution, from taking the first step into the still new and unexplored world of boudoir photography to running seven FYEO studios across the UK. There are honest accounts of the struggles of running a company and personal life challenges encountered along the way, demonstrating her strong perseverance in overcoming them.

QUEEN

ALEXANDRA VINCE

Alexandra sees her work in boudoir photography as both a personal calling and part of a societal progression in how we celebrate female form and individuality. We also get insight into The Queen of Boudoir’s initial creative influences, her artistic transformation and technological transitions ranging from medium format film photography to experimenting with the latest AI tools.

Alongside this are accounts of the growing PR exposure across mainstream media platforms that came with running a successful studio at a time that coincided with the popularity of the women’s body positivity movement. Alexandra also shares intimate and personal stories of the transformation of women who use a boudoir shooting to heal and find a newfound self-image.

The book further extends its impact by offering practical advice and insights; with a massive selection of signature boudoir poses featured inside, it showcases her expertise in crafting images that celebrate and flatter the female form. This section serves as both a guide for aspiring photographers and a testament to the meticulous care and creativity invested into her work. The poses, beautifully illustrated through photographs, underscore the diversity and inclusivity of her approach, ensuring that every woman can see herself reflected in Alexandra’s artistry

Moreover, the book highlights the societal pressures women face regarding body image and the role of photography in challenging these norms. She addresses the evolution of boudoir photography from a male-dominated perspective to one reclaimed by female empowerment and self-expression.

The Queen of Boudoir stands out not only as a showcase of Alexandra’s remarkable career and the art of boudoir photography but also as an inspirational read that empowers and uplifts. Her passion, creativity, and dedication shine through every page, making it a compelling read for anyone interested in the power of photography to transform and heal.

Buy a copy of The Queen Of Boudoir by scanning this QR code:

Alternatively, visit: www.fyeoportraits.com

The Power of the ‘Flat Curve’

Whilst I clearly use PS as part of my professional life, I am by no means a ‘retoucher’ however there are some techniques that I use as part of my own workflow on a regular basis, and one of the most important things in my commercial work is having ‘consistency’ across an image set for a client.

When I shoot that is not too much of an issue, especially in studio where I literally control all the light. However, when you’re shooting a series of images, as I often need to, and you get to the post edit stage, this can be challenging at times where you need to make changes, but you cannot afford at all to change the tonal colours in the subject.

A really good example of this would be the recent Ferrari Monza shoot. The car is a ’tone’ of silver and under lighting it is extremely easy to shift that tone colour and then it will not sit in line within the series when all the images are together.

The method on page 49 is one way that I work to eliminate this as a problem.

My suggestion is that you try it and then if it’s useful simply record an ‘action’ to create this option in your workflow stack that you can then utilise it when you need to quickly.

Please note, that you should record your action up to the point where you are about to make adjustments as each image will require something different.

Step 1 - Create a Hue Saturation Adjustment layer that will show in the layers stack above your original image. Once done, open this and take the saturation all theway down to zero.

Now make the blend mode for that layer > Soft Light

Step 2 - Then make a curves adjustment above that, make sure that you ‘clip’ it to the layer below (the hue adjustment one) by clicking on it while holding the ALT key (Mac).

A small arrow will appear on the left of the layer to show its clipped to the layer underneath and will only affect that.

Step 3 - Open the curves adjustment layer and you are going to grab the left and right far points of the curve and move them so that you have a flat line in the middle of the graph.

You can now use the flat line to make small changes to the brightness tonally along from the darkest point (far left) to the lightest point (far right).

Summary - What you now have is the ability to make changes to that curve line at any points along it and those changes will affect the tone, brightness, darkness etc. but will NOT have any effect on the colour of your original image.

Step 4 - One way of doing this for certain points could be to use the ‘click and drag’ option that is on the curves adjustment window (just below the word pre-set, the hand icon with the up and down arrows on it). Click this and then take the eyedropper over onto your image, select a tonal range you want to modify and its tonal value will appear as a dot along your curves adjustment graph line. Then you can pull this point on the graph and make your changes. Any changes that you make will adjust this tonal area.

Step 5 - You may wish to click several points along the flat line before you start making adjustments if you wish the changes to be very localised and prevent the left and right of your curve line bending in other directions as you pull it around.

Step 6 - Finally note that the hue/saturation adjustment layer has a mask, and you may want to ‘Invert’ this so that it turns black (Click on mask and hit CMD I).

Step 7 – You can then use a white brush to ‘paint in’ the tonal changes you have made but keep them to localised areas on the areas on the image.

FERRARI

TIM WALLACE

TIM WALLACE

TRACEY LUND FBIPP QEP

World Photographic Cup

It was an honour to be asked to lead this year’s World Photographic Cup for Team United Kingdom, hosted by the BIPP. The World Photographic Cup is a unique, Olympic-style event featuring the best photographers from around the world. Selecting the team and their images to represent the UK was no easy task.

Team UK consisted of 19 photographers covering 10 categories, with a total of 30 images. A big thank you also goes to Scott Johnson for representing Team UK as a judge among the amazing panel from around the world. Judging the best in the world is no easy feat.

On January 29th, the ‘Top 10’ finalists in each category and ‘Best in Nation’ were announced, and I was thrilled to hear that we had eight finalists through to the final for Team UK across six of the ten categories. I believe this is our best year yet as a team, and I am thrilled for the photographers.

Now, we await the final results on April 27th in Texas. Good luck, Team UK!

WPC Finalists

Tim Wallace - Commercial & Best of Nations

Tony Moore - Commercial

Neil McKellar - Landscape

Paul Reiffer - Landscape

Tracey Lund - Wildlife

Lorraine Taylor - Natural Portrait

Ryan Hutton - Reportage

Terry Donnelly - Sports

Image © Time Wallace

Image © Paul Reiffer

Image © Terry Donnelly

Image © Ryan Hutton

Image © Tony Moore

A Look at BIPP’s Monthly Image Competition

Our monthly competition isn’t just about recognition; it’s also about our photographers challenging themselves. The competition ends in a race for the esteemed title of Photographer of the Year adding an element of rivalry, all while cheering on our fellow photographers. And let’s face it, who doesn’t love a good competition?

We’ve had an exciting start to our monthlies, receiving a range of phenomenal photos from our members. From Frankie Adamson, FBIPP, being awarded the first Gold in the February entries, signifying exceptional professional skill, creativity, and innovation to new members like Katie Brockman being awarded a Silver for her first-ever entry.

The monthly competition also provides a fantastic opportunity for PR and marketing. Our members have discovered new traction with their work simply by being awarded a Bronze, Silver, or Gold. And the best part? The first entry is completely FREE!

We’ve received a great response from our social media posts as well. Featuring our photographers online has enabled us to raise awareness of the talent within BIPP’s membership.

We’re extremely passionate about creating a space where photographers can flex their muscles, test out new styles, and receive feedback. Our amazing team of judges provides quotes for entries awarded Silver and Gold, helping our members understand where they can improve and what the judges are looking for in the highest award images.

At the end of the day, our members are storytellers who draw you into their images and evoke strong emotions. We love the Monthly Competitions for the same reason we love our jobs—our passion for photography. Sometimes you don’t need a PR opportunity or exposure; sometimes all you need is an excuse to take a beautiful photo. This competition provides just that.

Architectural & Industrial - Silver © Sean Conboy

Advertising & Commercial - Bronze © Jonathan Beer

Judges Comment:

“Ilove the way this image has been constructed. It is beautifully lit, has a wonderful colour palette, and is beautifully sharp on the dog. The author found the location very well, and the dog’s expression looking towards the light is truly remarkable. Compositionally, lighting-wise, everything about it is very, very enjoyable. There’s a beautiful, soft feel to the image. It’s got a certain style to it: it’s very fine-art. The light quality is superb and the production of the image is very, very good as well. It’s a welldeserved gold.”

Domesticated Animals - Gold © Frankie Adamson

Fine Art & Digital Creation - Silver © Fiona Spence

Level Up Your Wedding Photography Business

Having been a professional wedding photographer for over 10 years now and a keen amateur since way before that, I’m always keen to share what works for me when photographing a couple’s big day. I have (I’ll admit) in the past suffered from GAS, or gear acquisition syndrome and rather than this being a generally unpleasant odour following me around it means I’ve tried a lot of kit, tricks and techniques that didn’t work or were, frankly just more hassle than the problem they were meant to solve. Here’s some of the things that have worked for me in the past and what I currently do within my business.

Prior to the big day

1. With your computer, create a QR code leading to your online client photo gallery. I use Zenfolio at present. I create the empty gallery before the big day print it and put it in a plastic stand. Whilst there are multiple free QR code generators out there I use QR Code Monkey as they are great, free and allow customisation of the QR code prior to download. This way, at a wedding the guests can scan the QR code and bookmark the URL on my website where the gallery resides which normally means more print sales from guests and less of the “where can I see the pictures of us?” questions.

2. Create an online discount code for your shop customised to the happy couple. If they think that you’re creating a specific code for them they are more likely to spend money with you.

3 Hire, or at least offer a second photographer for the happy couple. Nothing feels worse than delivering photos of a beautiful bride getting ready and hardly any of the groom, best men, groomsmen and father of the bride and groom. As photographers, we can’t be in 2 places at once and it’s as important to cover the groom getting ready as the bride. Remember, because you’ll have lots of extra photos to edit you should at the very least add an extra £100 plus to what you charge your couple for your second photographer.

4. Send the happy couple a guide to what time events should expect to happen roughly and get them to tell you what time those events are happening on their day. If you don’t mention that it’s okay for the speeches to happen before the meal and they surprise you with it on the day, it’s a problem. If you don’t know the answer, don’t guess, ask for clarification.

5. Get the couple to send you a Pinterest board with things they like on. Nothing better than seeing pictures that have taken their interest, colours they like and ideas they have for their wedding. It’s going to make you look more professional if you can offer advice and give examples of things that may have worked for other couples.

On the big day

6. Always arrive early. On time is late. Use the extra time to scout locations if it’s the first time you’ve been to the venue. Introduce yourself to the key people and make sure you meet the wedding coordinator and anyone else who may be of help to you during the day.

7. Find a safe place to stash your kit. You don’t want to be having to go back and forth to your vehicle to fetch things all the time. It needs to be available for your second shooter to be able to get any of the kit you need as and when you need access to it.

8. Get the detail shots done first. Flowers, shoes, dress, something old, something new, something borrowed, something blue. Silver sixpence is great and thick double sided sticky tape to stick it to the bottom of the shoe should be good enough to hold it on for the day. Also bring blu-tac. You can get the rings to stand up on their edge if you put a tiny bit of it on the

bottom of the rings that will make a great shot. The reason for this is whilst the bride, groom and guests are getting ready it’ll show you are in control of the situation and subsequently they will put more faith in you knowing what you’re doing.

9. Remember to ask permission but move stuff in the getting ready room if it’s in the way. Better yet, ask the venue if they have a spare room you can use for portraits. The venue just wants to make their place look good and if they can give you access to a clean room for a half hour, they most likely will. De-clutter before you shutter is the rule.

10. Get the Instagram handles for all the suppliers on the day if you’ve never worked with them before. When you’re writing your blog, tagging them in means a much wider reach and they have great images of their products, taken by you that they will want to share (make sure you put a watermark on the image somewhere as people often forget to credit you).

Cool things in my kit bag

11. Arsenal 2 – love this bit of kit. So good for automating focus stacking and HDR images, panoramic – really allows you when you have little time to get amazing shots with the accompanied app.

12. Godox AD200 – small, portable, and versatile. These are awesome for off camera shots. Make sure you buy the X Pro Trigger. It’s awesome and easy to have multiple flashes set up very quickly with different power settings. Also the Godox S2 Speedlight Bracket works well for attaching Bowens style soft boxes. This kit is all reasonably priced for what it is and small enough to pack down into a decent sized bag.

PETER MORGAN

13. Blu Tac. A must have some for holding shoes in place or standing rings up, sticking to the end of the flowers pin so the groom doesn’t get stuck with it.

14. Holdfast Moneymaker. I’ve use a lot of straps and they don’t seem to last or they aren’t as good as I’d hoped. This is the one camera strap holster system that stays with me at every wedding. It’s not only customisable but very strong and it looks really cool.

15. Buy yourself a set of walkie talkies (at least 3 and I use Baofeng ones on eBay for about £30). Give one to your second shooter and another to the wedding coordinator or venue’s point of contact. Much easier if everyone knows where they are meant to be, and you can keep the bride and groom apart easier prior to them seeing each other.

Post wedding planning

16. I send the couple the first 50 images out within 24 hrs. This is so they can share them on social media as many guests will share their smartphone images on social media. I’ve lost count of how many times people will wait till I’ve set up a shot on the day then try and take the image with their mobile over my shoulder and post it the day after.

17. Taking pictures of every couple on the day means that you’ll have images to sell to everyone as soon as they are edited. For some people they might not get a chance to get pictures together and getting dressed up for a wedding is a perfect opportunity for a great image. Get your second photographer to make sure they photograph all the couples attending the wedding.

18. Get your pictures backed up as soon as you get in. Charge your batteries and put your cards to one side until you deliver your images to your client.

Follow Peter Morgan on Twitter/Instagram/ Facebook/LinkedIn:@mjphotoinfo

STEVE SMITH FBIPP

Rolls-Royce Image Resource: A Legacy of Excellence and Innovation

Steve Smith FBIPP, the Team Leader of Image Resource at Rolls-Royce, gives us insight into the iconic company's history and his department's role in creating innovative, resourceful, and impactful visual media to document the work of worldrenowned engineering company.

For over eight decades, the Rolls-Royce photographic department in Derby has been catering to the company’s still and moving image requirements. Today, this department stands proudly as Image Resource, renowned for its unwavering commitment to excellence.

Since its inception in 1906, Rolls-Royce Ltd has witnessed remarkable advancements in the aerospace and power generation industry. Through the lens of the company’s photographers, these pivotal moments have been immortalised in the vast historical image archive.

Presently, Rolls-Royce stands at the forefront of pioneering technologies that deliver environmentally sustainable, secure, and competitive solutions to address our planet’s crucial power needs. Operating within the intricate and critical domains of global transportation, energy, and infrastructure, their products and services facilitate seamless connections between people, societies, cultures, and economies. Moreover, they fulfil the demand for power generation across diverse industries and enable governments to equip their armed forces with the necessary strength to safeguard their citizens.

Before we delve deeper into our journey, providing a brief historical context is essential. Rolls-Royce plc and Rolls-Royce Motors are distinct entities, bound by their shared legacy and synonymous in quality.

Established in 1904 in Manchester by the visionary partnership of Charles Rolls and Henry Royce, Rolls-Royce began as a British luxury car and subsequently an aero-engine manufacturing enterprise. It swiftly garnered a reputation for engineering excellence, earning the distinction of creating the “best car in the world.” In 1906, the business was formally incorporated as “Rolls-Royce Limited,” in 1908, it opened a factory in Derby. The onset of the First World War marked

Little John reprographic camera from the1960’s used to photograph large engineering drawings

Press review of RAF entry to the Daily Mail Trans Atlantic Air Race - Hawker Siddeley Harrie jet powered by Rolls-Royce Pegasus, RAF Wittering, 1st May, 1969. Pilot Tom Lecky Thompson.

STEVE SMITH FBIPP

the company’s foray into aero-engine production, while joint development of jet engines commenced in 1940, with production beginning in 1944.

However, the late 1960s presented challenges for Rolls-Royce due to mismanaged development of an advanced jet engine, leading to significant cost overruns. Despite these hurdles, the company ultimately triumphed, and in 1971, its assets were acquired by a newly formed government-owned entity, “Rolls-Royce (1971) Limited,” which continued the core business. Meanwhile, the profitable yet financially inconsequential car division was sold to Vickers in 1980 and operated as Rolls-Royce Motors Holdings Limited. In 1977, Rolls-Royce obtained consent to shed the ‘1971’ distinction from its name, reverting to “RollsRoyce Limited.” The nationalised entity remained intact until 1987, when the British government sold it to the public through a share offering.

Today, Rolls-Royce Motor Cars Limited functions as a wholly owned subsidiary of BMW AG since 2003, serving as the exclusive manufacturer of Rolls-Royce-branded motor cars. The company’s administrative and production headquarters is situated within Goodwood estate in West Sussex, England. On the other hand, Rolls-Royce plc continues to be the principal business entity, although it has technically become a subsidiary of Rolls-Royce Holdings plc, a publicly listed holding company, since 2003.

The Image Resource department boasts a longstanding association with the British Institute of Professional Photographers (BIPP), with membership spanning the latter half of the twentieth century. Notably, one of our esteemed team members, Ken Spruce, who served from 1964 to November 1993, became the first individual in the country to receive a diploma from the Institute of British Photographers for Photographic Techniques, specifically in Monochrome Sepia toning and multi-picture converging.

Air to air of the Rolls-Royce Griffon powered Supermarine Spitfire

ROLLS-ROYCE

STEVE SMITH FBIPP

Since 1996, the majority of our team members have attained full qualifications ranging from Licentiateship to Fellowship in various disciplines, encompassing Industrial/ Commercial Photography, High-Speed Cine/ Video, and Video Production.

At Image Resource, our team of 10+ professional image makers dedicates itself to providing RollsRoyce and external customers with innovative and cost-effective imaging solutions across all domains. As a true centre of excellence, we are committed to delivering imaging of the utmost quality for communication, data analysis, training, and promotional purposes. We employ industry-leading processes and techniques, ensuring our work aligns with the Rolls-Royce corporate branding guidelines and governance.

While you may not be familiar with Image Resource, rest assured that you have undoubtedly encountered our work. With one of the largest and most experienced multicamera high-speed video capabilities in Europe, we offer a visual understanding of phenomena that occur within the blink of an eye. Our

digital imaging and design prowess are evident in all RollsRoyce media in the press, alongside our video programmes, which inform, train, and inspire audiences worldwide.

Furthermore, our extensive picture, film, and video archive is a unique collection that meticulously documents Rolls-Royce’s activities over a century.

Here are some fascinating facts about our historical treasures:

- The earliest glass negatives in our collection date back to 1913.

- Written negative registers/journals have been maintained since 1940, providing a remarkable record spanning over 80 years.

- Throughout our time in Derby, we have had only four managers and employed over 80 staff.

- Our pioneering work with high-speed film commenced in 1959 during the Conway Aero engine hailstone impact test, capturing footage at 350fps.

- In 1980, we produced our first video using Low Band U-matic analogue magnetic tape.

- Our introduction to the digital era came in 1995 with the Kodak NC2000e digital camera, a groundbreaking device at the time with a price tag of £14,000.

Testing EJ200 engine at Rolls-Royce Bristol

LEGACY OF EXCELLENCE

STEVE SMITH FBIPP

As a department, we specialise in four primary areas: High-Speed Analytical Imaging, Photography, Graphic Design, and Video Production.

Analytical Imaging:

Rolls-Royce have rigorous aero engine certification programmes which demand diverse imaging services to cover various tests, including bird ingestion, hail impact, cold starts, altitude trials, fire assessments, and ballistic rig evaluations. Among these, the full engine fan blade release test stands as one of the most demanding, necessitating a comprehensive suite of high-speed and HD video camera work.

Within the Image Resource department, we proudly host a team of imaging specialists boasting over 35 years of expertise in the field of high-speed imaging. Furthermore, our in-house designed camera control system enables seamless frame synchronisation across all cameras. Highspeed imaging, a technique that captures events that occur too rapidly for the human eye to perceive, forms a vital part of our repertoire. While standard video cameras record at 24-60 frames per second (fps), our high-speed cameras can capture images at up to 12,800fps, delivering a full 1-megapixel resolution of 1024x1024 pixels. At reduced resolutions, these cameras can record up to an astounding one million fps. Typically, we capture events at frame rates ranging from 1,000 to 30,000 fps, allowing our engineering customers to examine and analyse the recorded events in super slow motion, providing invaluable insights.

Images © Rolls-Royce

UltraFan demonstrator engine in Testbed 80, Derby, UK

STEVE SMITH FBIPP

Photography:

Our team of professionally qualified photographers brings decades of experience in a diverse range of imaging subject matters and techniques. Proficient in industrial, commercial/marketing, social media, and on-location photography, they excel in various domains, including events, special occasions, portraiture (both on location and in the studio), and high magnification photography to support failure investigation. Additionally, we specialise in specialist UV light photography for crack penetration non-destructive testing (NDT) and interactive VR360, encompassing both still and moving images that can be integrated into interactive media or utilised within 2D video content.

Graphic Design:

Our skilled graphic designers are instrumental in producing visual media that effectively trains our employees, markets our products to customers, and upholds our brand identity. Serving as RollsRoyce brand ambassadors, they meticulously adhere to the company’s guidelines and policies to ensure consistent and impactful creations. Our brand is pivotal in distinguishing us within all markets and activities, motivating individuals to choose our products, partner with us, supply to us, join our organisation, and maintain long-term support. By attracting stakeholders, our brand enhances our reputation, which is the cumulative result of our track record in delivering exceptional value.

Rolls-Royce UltraFan demonstrator engine being past to test on Testbed 80, Derby, UK

LEGACY OF EXCELLENCE

STEVE SMITH FBIPP

When it comes to creating top-quality videos for communication, marketing, training, or podcasting, our video production process takes centre stage. Our comprehensive video production services include capture using 4K and HD cameras, selection of LED and tungsten lighting suitable for any location, green screen backgrounds, autocue, dolly, tracks, and small camera sliders for smooth movements, filming at internal and external locations, three dedicated professional edit suites, VR360 capture and authoring, timelapse techniques, analogue tape conversion to digital, Cintel Film Scanner for 16mm and 35mm film, production for internal and external communications, technical training videos, infographics, event coverage, airshows and trade fairs, and 2D animation using Vyond.

Furthermore, our professional drone service offers photography, including VR360 and 4K video products.

In summary, at Image Resource, we are a highly skilled team of professionals dedicated to delivering cutting-edge imaging solutions to Rolls-Royce and external customers. With our expertise in high-speed analytical imaging, photography, graphic design, and video production, coupled with our extensive historical image archive, we consistently provide the highest quality work while adhering to Rolls-Royce’s branding guidelines and governance. Trust in our commitment to excellence as we continue to make a lasting impact on a global scale.

Video Production:

Filming of the Rolls-Royce Schools Prize 2020- 2021 Awards at the Learning and Development Centre LDC, Derby

We Are Here, Because You Were There: Afghan Interpreters in the UK

Impressions Gallery is hosting the exhibition We Are Here, Because You Were There: Afghan Interpreters in the UK. This exhibition, by photographer Andy Barnham and researcher Sara de Jong, documents the experiences of Afghan interpreters employed by the British Army in Afghanistan from 2004 to 2021, who resettled in the UK in 2021.

The portraits are composite of up to a dozen frames overlaid to represent the subject’s changing states of mind. Using strategies of blurring and pixelating, photographer and British Army veteran Andy Barnham has further edited portraits of Afghan interpreters to help anonymise them.

The testimonies in the exhibition highlight the interpreters’ motivations, experiences on the frontline, threats faced in Afghanistan, evacuation, and early experiences in the UK. Additional photographs of NATO soldiers in Afghanistan will be shown that were taken by Andy Barnham when he served as a Farsi military interpreter in 2006, and as a mentor to the Afghan National Army supported by a local Afghan interpreter in 2008.

From February 16 to May 4, 2024, open Tuesday to Saturday with free entry

RGS Print Store

Explore the world through a lens with the Royal Geographical Society’s online shop by scanning the QR code below.

Discover stunning photography capturing the beauty and diversity of our planet. From breathtaking landscapes to captivating wildlife, the collection showcases the work of talented photographers such as Alfred Gregory FBIPP and more.

Whether you’re looking for a unique piece to adorn your walls or a meaningful gift, the RGS photography collection is sure to inspire. Shop now and bring the wonders of the world into your home.

Image of Alfred Gregory by George Lowe

010 We Are Here © Andy Barnham

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