The Magazine of the BIPP / 2024 / Issue Three
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ISSUE THREE, 2024
The Magazine of the BIPP / 2024 / Issue Three
CEO Column 2 Martin reflects on his time at The BIPP In the Spotlight 6 Michael Wharley shares insights into the entertainment advertising photography industry
In Conversation with 32 A look back on the life and career of photojournalist Denis Thorpe
Pushing Creative Boundaries 50 Alicia Hall from Venture Studios reveals how to keep shoots fresh
MPB Scottish Portrait Awards 42 BIPP Student Jennifer Charlton wins colour photography category
E-Comm Impacting Photography 58 We speak to leading figures from e-com companies to find out insights into the industry
BIPP Monthly Competition 17 Insight behind some of the awardwinning images this year
Essential Tips for Exhibitions: 43 Find out the processes behind BIPP member exhibitions
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
CEO: Martin Baynes
Editor: Joel Hansen, editor@bipp.com
President: Jeff Brown
Advertising: Tel 01772 367968 E-mail: admin@bipp.com
T: 01772 367968 E: admin@bipp.com W: www.bipp.com
Directors: FBIPP Paul Reiffer (Chair) ABIPP Barrie Spence LBIPP Matt Curtis FBIPP Johnson Wee ABIPP Martin Hillary
UK Subscribers £30, Rest of the World £60
Taylor Wessing Portrait Prize 62 See the shortlisted images going onto display at the National Portrait Gallery
ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts
Treasurer: ABIPP Mary McClymont
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
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CEO M A R T I N B AY N E S
D
ear Members,
Welcome to the autumn edition of The Photographer, and my thanks to Joel for yet another great issue.
This will be my last column and entry into The Photographer magazine, and I want to take this time to reflect on what has been a busy six years. Yes, almost six years – it’s incredible how quickly time has flown and how much has happened during this period. I remember in 2019 applying for the role while still at Graphistudio, a position I enjoyed for 12 years but felt it was time for a change and new challenges. And wow, what a challenge I took on! I remember walking into the Artistry House for the first time for an interview as if it were yesterday. Facing a panel of seven people, including Sean Conboy FBIPP, Jonathan Beer FBIPP, Emily Hancock FBIPP, Chris Wright ABIPP, David Campbell FBIPP, and Lynsey Thompson from Wash Studios, was quite the experience. After accepting the job, I was taken aside, and the events of the BIPP’s past few months were explained to me – it was very messy. But we took it in our stride. We saw a 10% increase in membership, and things began to look up. And then… 2019: The UK was in the midst of political turmoil with Brexit, and in December, Boris Johnson secured a majority, officially leading the UK out of the European Union in early 2 the PHOTOGRAPHER / 2024 / Issue Three
2020. The photography world continued to evolve, with significant advancements in mirrorless cameras, including Sony’s release of the A7R IV, setting new standards for resolution. 2020: The world was hit by the global COVID-19 pandemic, dramatically changing lives and industries across the globe. Photographers, including the BIPP members, had to adapt to restrictions, with many studios closing temporarily and events being cancelled or postponed. The BIPP navigated through uncertain times, offering webinars, virtual meet-ups, and helping members. The Tokyo 2020 Olympics were postponed, and numerous global photography events, like Photokina, were cancelled for the first time since WWII. 2021: Vaccination programmes started rolling out globally, and the world slowly began to open up again. However, industries continued to face challenges, especially in live events and photography. The rise of hybrid events and the demand for online content surged, leading to increased demand for professional photographers with expertise in digital content creation. The BIPP celebrated its resilience, hosting hybrid meetings and offering support to photographers navigating the new normal. 2022: In the UK, Queen Elizabeth II passed away in September, marking the end of an era and the beginning of King Charles III’s reign. It was a profound moment for the country, and photographers worldwide captured the historic moment. The UK also saw a shift in leadership, with Liz Truss becoming Prime Minister for a brief period, followed by Rishi Sunak. This political uncertainty was felt across the nation. The photography industry saw a
CEO M A R T I N B AY N E S
surge in AI-powered editing tools, which have begun reshaping post-production workflows. Photographers also began to debate the balance between automation and artistic integrity. 2023: The Coronation of King Charles III was a significant moment for the UK, with photographers playing a crucial role in documenting the ceremony and its celebrations across the UK. The photography industry continued embracing AI, with tools like Adobe’s Generative Fill becoming a hot topic. The BIPP continued pushing forward with its professional standards and development mission, adapting to the post-pandemic world. 2024: Photography remains as vibrant as ever, with new technology, from 8K video to computational photography, on the horizon. With a brand new government, let’s hope we will feel a change for the better. During my time at the BIPP, we also rewrote the Articles of Association, which were mainly written by John Miskelly FBIPP. We redefined qualifications and print competitions, raising them to what is now seen as the gold standard, with my thanks to Paul Wilkinson, FBIPP and Sarah Wilkinson. We have rebranded, thanks to the board and Jess McGovern FBIPP, and produced documents as templates for our members covering almost every eventuality. Furthermore, we introduced blanket public liability and professional indemnity insurance for all members, and created a new monthly competition and updated the national competition structure. We also spent a year working on what would ultimately be a failed attempt to merge with the RPS, which, in theory, I still believe would have
been the best way forward. However, thanks to our membership, flaws in the plan were identified, leading us to go it alone. Sadly, this also coincided with the unfortunate demise of the MPA. We have attended too many shows to mention and run so many events, thanks to everyone who attended and helped put them together. Among the people mentioned in previous columns, there are far too many to thank, most of whom are volunteers. Without them, we would not have an organisation. Also, a very special mention to the person I met along this journey who saved my sanity and will soon have to see a lot more of me, Karen Massey. Thank you! As I step down, I am proud to see the resilience, adaptability, and creativity of BIPP members. The BIPP is in much better shape than when I arrived, but we are by no means out of the woods. In the next few weeks, months, and years, the BIPP must continue to evolve and, most importantly, grow its membership. I hope that when reading this, other members will step forward and help in some way; whether by opening your studio for a coffee morning, mentoring, judging, becoming an ambassador, or serving on the Board of Directors. Please get involved, as it is your organisation. I will still be around in a lesser capacity over the next few weeks to help with the transition and new structure. I also plan to keep my membership and even go for LBIPP next year. I wish you all the best, and I hope to see you around the photographic world. Issue Three / 2024 / the PHOTOGRAPHER 3
PRESIDENT JEFF BROWN
T
he summer is finally over, autumn is here, and we are entering the final quarter of the year. Before we know it, 2025 will be upon us. The summer months can be a struggle for many photographers, juggling the family holidays and the kids being off school while still remaining productive and running a business isn’t easy. I know my own social media consistency and book writing took a big hit over July and August, but I’m back in the routine and making up for lost time. This is the time of year to up your game online if you want to be going into 2025 from a strong position. Where you are in your business and the strength of your online presence today is a result of your efforts and consistency over the previous three or four months. So if like me, you’ve let things slip a little over the summer, then by putting in the extra work now, you’ll reap the rewards at the beginning of the year. Plus, late September to early October is the perfect time to start rolling out your pre-Christmas messages and promotions. As with most offers and social media content, people often need to see your posts on numerous occasions before they take action, there is no time like the present to begin selling the gift of photography to your followers. It’s also a good time to reflect on your progress through the year and begin thinking about what you’d like to achieve in the next twelve months. Personally, I’ve already started listing my goals for 2025, and as always, I’m thinking big because if you think big, it gives you that push to be more productive. Even if you don’t hit the bigger goals, you’ll still achieve something pretty impressive by aiming high and setting your sights on real success. 4 the PHOTOGRAPHER / 2024 / Issue Three
So, take time out this week to go back over your marketing efforts from the year to date, what’s worked well and can be built on. Also, ask yourself: What needs to change? If something has failed to produce results, that’s fine – it’s all part of the learning process – you’ve just found out what doesn’t work, and next time you’ll do it differently. I’ve had plenty of marketing failures myself over the years, but each one has taught me a lesson, I’ve learned from them, made changes where necessary, and come back with a better and stronger message. Remember that anything is achievable if you put your mind to it and take the small steps each day towards the bigger picture. Consistency is the key to success. It doesn’t come overnight, but every little step compounds to produce the desired result over time. Some goals take longer to achieve than others, it’s not all about working harder, it’s about remaining consistent for longer. I’m looking forward to meeting up with many of you at the Annual Awards night in November. Let’s make this another event to remember, stamp the date in your diary, and make that commitment to come along. Even if you have not entered any images to become Photographer of the Year, it doesn’t matter. The Annual Awards are all about the members, bringing our community together, inspiring, supporting and motivating each other, and celebrating the vast amount of creative talent we have within the Institute. It’s something we can all be proud of because it’s the members who make the organisation what it is. I hope to see you all in November and don’t forget to start mapping out your goals for 2025, if any of you need a little help and direction, come along and speak to me at the awards, I’d be only too happy to help and advise.
E D I TO R JOEL HANSEN
I
usually try to dedicate as much space as possible to showcasing member’s work in the magazine, so I haven’t included an editor’s column in a few issues. However, with a spare page available in just the right spot, I thought it would be a good opportunity to share some of my thoughts. Firstly, when I last contributed to the magazine, I was working full-time with the BIPP. For over a year now, I’ve transitioned to working part-time as the magazine editor in a freelance capacity. This flexibility aligns well with my plans to travel more and explore other projects. Now that the magazine is my sole focus within the BIPP, each issue has become an even more fascinating endeavour. It allows me to provide more detailed insights into the incredible photography our members are creating, while also giving me the opportunity to explore and connect with the broader stories that shape the world of photography. I was glad to see the piece I wrote on neurodiversity and creativity receive such a positive response earlier in the year. That story required significant research, and I’d like to extend a big thanks to all the photographers featured in the article for sharing their personal experiences. It’s not just current members work and news stories either, both previous issues in 2024 included the work of legendary photographers rooted in the BIPP’s heritage, from Alfred Gregory FBIPP, the first photographer to capture Mount Everest, to the insightful tales of Stuart Clarke FBIPP career. In this issue, it was an honour to speak with Denis Thorpe FBIPP and learn more about the iconic news stories he covered throughout the 20th century. His gritty black-and-white imagery offers an extraordinary glimpse into times gone by.
Another member whose work I’ve admired since joining the BIPP is Michael Wharley FBIPP. It was a pleasure to speak with him and gain insights into his story and photographic practice in this edition. One of the most surprising aspects of my conversation with Michael was learning that he only started working as a photographer at age 32, without any formal education in the craft. Yet today, he captures renowned entertainment figures for world-leading media companies, serving as a perfect example of how hard work combined with talent can truly pay off. Exploring the rise of e-commerce companies was particularly educational too. It’s an area I hadn’t known much about, so learning about the different elements that make these giant studio operations come together was eye-opening. It also provided valuable insight into the advancements and trajectory of the photographic industry. As you may have noticed when reading the content, since the emergence of AI, I can’t help but ask every photographer I speak with about its impact within their sector and their thoughts on AI as a whole. While it’s undoubtedly affecting the industry, it’s refreshing to hear that the initial concerns are subsiding, at least for now. Artificially generated imagery still can’t match reality – whether it be for aesthetic reasons or because of humans unwavering need for authenticity. Lastly, I wanted to express my thanks and best wishes to CEO Martin Baynes as he steps down from leading the BIPP. Reflecting on the time since I first started at the company, it’s clear there have been tremendous improvements throughout the organisation. Martin also provided me with the opportunity to grow and advance in my own career, for which I am truly grateful. As always, I’m open to content submissions – whether you want to share your work or have suggestions for areas of the photographic industry you’d like me to cover. Please feel free to reach out at: Joel@bipp.com
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I N T H E S P OT L I G H T MICHAEL WHARLEY FBIPP
In the Spotlight A Journey into the Entertainment Industry From shooting portraits of actors, musicians & celebrities to appear in publications like The Sunday Times Magazine, The Observer, and Variety, to capturing promotional campaigns for global brands such as Netflix, Amazon Prime Video, Warner Bros, and Disney, Michael Wharley FBIPP has carved out a distinctive visual style within the entertainment industry. Known for his impactful, cinematic imagery and his ability to connect with sitters, his talent for creating a positive, relaxed atmosphere on set has now made him one of the most sought-after photographers in the field. In this piece, Editor Joel Hansen speaks with Michael about his journey behind the lens, his creative and technical processes, and the elements required to become a leading photographer within the entertainment industry.
Becoming a Photographer Growing up in Hull, Michael studied English at Oxford University. Toward the end of his studies, he developed a passion for drama, which led him to pursue an MA at the Royal Central School of Speech and Drama. Afterwards, he embarked on a career as an actor for six years, starring in various stage performances. He explains, “Towards the end, I was dissatisfied with acting. I wanted something more stimulating, and that’s when I first really picked up a camera in earnest.” Uncertain about another career in the creative sector, Michael began a law conversion course intending to become a criminal barrister. Yet, photography continued to call him. “In May 2010, I thought ‘I’ll give it a go for six months’, and I’ve not done anything else since.” With no formal education in photography, he pursued a course at PhotoFusion in Brixton, a photography charity with gallery & darkrooms in South London that champions the visual arts. The course taught him the fundamentals of the craft and helped him realise his interest in working with people, while also providing Michael with a portrait-specialising mentor to help focus his training. “It was a great foundation. I was learning just as digital photography was overtaking film, so I still got to learn on film cameras, process black-and-white film in the darkroom, and understand the fundamental principles of the craft.” Michael went full-time at 32, continuously learning through courses and workshops, along with joining the BIPP and using the qualification structure to help refine his skills and professional development. 6 the PHOTOGRAPHER / 2024 / Issue Three
Layton Williams cover shoot for London Theatre Magazine
Photoshoot of Jodie Whittaker for The Duchess theatre production
Photoshoot of Frank Skinner for The Observer Magazine
Photoshoot for Super Surgeons TV show by Channel Four
Images © Michael Wharley
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I N T H E S P OT L I G H T MICHAEL WHARLEY FBIPP
Building a Photography Career Starting out as a generalist photographer, Michael took whatever jobs came available and volunteered at his local cinema, the Ritzy. “I started shooting for free when famous people came for Q&As after films. I’d wait for hours just to get my three minutes to photograph the likes of Werner Herzog, Janet Jackson, and Chris Rock.” This volunteer experience eventually led to paid work for the cinema, then, through networking with film PRs and shooting other film events, it opened the door to entertainment industry work like film poster shoots. Alongside this, Michael moved into the actors’ headshots market at a fortunate moment. Black-and-white portraits had long been the industry standard, but Michael embraced the emergence of digital photography, championing the movement to colour imagery that captured actors more accurately. He also established a reputation for creating flattering lighting for black, brown and mixed race skin tones, which was particularly valuable as the industry grew more diverse. Finding a Niche in Entertainment and Achieving a Fellowship After several years in the industry, Michael wanted to expand his photographic range beyond actor headshots. Already a BIPP member, he pursued a Fellowship to create images outside his usual work. “My project for the Fellowship was called The Attitudes, based on an old-school acting style that dated back centuries but found its full, codified expression in the Victorian era, whereby actors learned a series of postures – angry, happy, sad, and so on – and their performances were a point-to-point recreation of these attitudes.” Using a book called Lessons in Acting, published in 1870, Michael recreated the book’s poses along with creating modern renditions. Mentored by Kevin Wilson FBIPP, the project allowed Michael to experiment with new photographic styles. “It was all shot with one light, one reflector, one canvas backdrop, so it became about the interplay of light and shadow, very textured and painterly.” Earning the Fellowship was a reward, but “the best outcome was getting hired for a job where the client saw those images and wanted a photo of a moody group in an Irish pub in the style of a Caravaggio painting – for the first time, I thought ‘maybe I’m not just a practical portraitist, I can be an artist too’.” When the image won Michael Gold and Photographer of the Year at the 2018 BIPP Awards, the circle was complete. “It taught me the value of investing time, money and effort in personal work – the Fellowship project and that shoot were a real transition point.”
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I N T H E S P OT L I G H T B U I L D I N G A P H OTO G R A P H Y C A R E E R
The Weir theatre production shot for the English Touring Theatre
Images © Michael Wharley
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I N T H E S P OT L I G H T MICHAEL WHARLEY FBIPP
Campaign shoot for Kiss Me, Kate theatre production
Poster for Straight Line Crazy theatre production
Working with Actors & Memorable Campaigns
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A large portion of Michael’s work involves photographing actors for editorial and advertising shoots, with his experience as an actor now a useful tool in connecting with subjects. Surprisingly, being comfortable on screen or on stage doesn’t always equate to an actor being easy in front of a stills camera. “Most of them absolutely HATE stills,” Michael says, “I think that’s where my background in the industry comes in, as I’m able to find a little word or cue that relaxes them, that helps them feel the shoot is theirs, making a creative link between stills and what they’re doing on set or stage.” One of Michael’s most memorable recent projects was for Choir Boy by Tarell Alvin McCraney at the Bristol Old Vic. “It was a great concept, great pre-production, great casting. We shot it top down – five students in school uniform lying in the grass, enjoying each other’s company on a sunny day, lit to look like it was a sunny afternoon, and the energy of the actors was amazing. We nailed the shoot together and you could feel it would be an amazing show and we knew we’d got a special image. Then the post-production was brilliant, so all the elements came together and just flowed into a wonderful campaign.” Recalling another notable shoot, Michael says, “I loved meeting Ralph Fiennes, whom I worked with on the production of Straight Line Crazy by David Hare at the Bridge Theatre. But he’s quite a high-status presence to shoot – it’s Voldemort, after all!” Michael explains how, in a shoot that was “extremely – maybe too – serious,” his good communication skills, prior acting experience and “tricks like having a soundtrack of music I knew he liked” were key to capturing Fiennes as 20s New York roadbuilding titan Robert Moses.
I N T H E S P OT L I G H T M E M O R A B L E C A M PA I G N S
Campaign shoot for the Choir Boy theatre production
Images © Michael Wharley
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I N T H E S P OT L I G H T MICHAEL WHARLEY FBIPP
Photoshoot with Charlie Brooker for Netflix
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I N T H E S P OT L I G H T T H E C R E AT I V E P R O C E S S
Campaign photoshoot for Touching The Void theatre production
Executing a Commercial Shoot & the Creative Process For commercial shoots, whether for a global media company or a small theatre production, clients provide a brief outlining the desired results. “Usually, you’re given a list of concepts that they want you to capture, typically 10-20, so they’ve got options to develop for the client.” On big-budget shoots, that might include granular detail like specifying angles, emotions and expressions, leaving less artistic licence for the photographer. Rather than lean into very strong colour or contrast choices, Michael says he is most often asked to supply “well lit, well modelled, white light imagery with all the dynamic range captured,” giving the client the freedom to pull the images in different directions as the show campaign evolves.
Poster for The Motive and the Cue theatre production
“One of the reasons I enjoy and still do a lot of mid-scale theatre photography is because, even though the budgets are not amazing, there is a much greater degree of autonomy.” This allows Michael to implement his creativity to support the theatre production to produce the best possible result, a challenge that tests his innovation and imagination as an artist. Preparation is key for every photoshoot. Michael makes sure his equipment is always ready and well-organised, while also sketching out the studio layout and visualising the shoot in advance. “Once I’ve done that, it sits it into my brain, that’s where the improvisation comes from because when you go into the shoot, you’ve got all the rock solid preparation, then you’re ready for the happy accident.”
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I N T H E S P OT L I G H T MICHAEL WHARLEY FBIPP
Post-Production Michael occasionally edits his own images, but more often, files are handed over for post-production to shape them into the final artwork. However, during the shoot, he remains mindful of the post-production process, considering elements like graphics and text that will be added later. For example, during a commission for the Brit Awards, wireframe models were used on set to help light and shoot talent who would later be composited into worlds created by 3D designers. This requires a conscious approach to the overall composition of the image. “The most successful campaigns are where strong ideas, preparation, execution, and post-production all flow seamlessly together.” Advice on Breaking into the Industry Michael advises that a good entry point into the entertainment industry is through unit stills photography, where photographers capture liveaction on set. This work forms much of a production’s promotional imagery, and commissions are relatively easy to secure, as productions are always in need of imagery. Offering a strong foundation in the industry, many unit stills photographers also go on to shoot poster work for marketing campaigns.
One of Michael’s current assistants, who has developed by assisting different photographers within the sector, offers an example of how varied experience can also build skills in the industry. “We’re in a bit of a golden age for this type of entertainment work; what makes you watch a show online is – partly – high-quality imagery, and there are so many streamers, so there is so much content to create, shot by lots of photographers, shooting in all styles. So, he’s seen and learned so much in a year.” 14 the PHOTOGRAPHER / 2024 / Issue Three
Campaign shoot for Mastercard Brit Awards
He also recommends building a portfolio by working with actors who need headshots or theatres that require photography. “You don’t need to live in London or shoot West End productions to gain experience. Dramatic, narrative-based imagery can be created anywhere in the country.”
I N T H E S P OT L I G H T POST-PRODUCTION
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I N T H E S P OT L I G H T MICHAEL WHARLEY FBIPP
The Impact of AI in the Industry While AI hasn’t significantly impacted entertainment photography, Michael has noticed AI illustrations being used in pre-production briefs to show what’s expected on set. He notes there is potentially a future where AI could collate multiple film stills, captured over a long shoot, to create customised images of actors, blending costume, makeup, and poses to suit a campaign, but is assured there will always be a need for real life photographers.
Photoshoot for Art theatre production
“All the AI data sets at the moment are from images that have been illegally scraped, and that’s a finite data set too, so it’s not being refreshed, and will only produce a recycled version of the computer’s best guess of what a photographer’s style might be. Even if those data sets become updated and licensed, I still believe in the enduring value of human understanding of aesthetics and spontaneity in the moment.”
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M O N T H LY CO M P E T I T I O N GOLD
The BIPP Monthly Competition Since starting a fresh way to engage members in spotlighting and developing their photography on a regular basis, the BIPP launched the Monthly Image Competition. Since the start of the year, members have been submitting a range of high-level imagery which have been reviewed and scored by a panel of esteemed judges each month. We’ve received a fantastic response so far, and it has given a positive outlook on the standard of photography to come in are International Print Competition. In the issue of The Photographer, editor Joel Hansen has included a selection of images from bronze, silver and gold to show the diversity and quality of the submission, along with speaking to the photographers themselves to find out the stories, techniques and creative approach they used to create their image.
Katie Brockman
Pets & Domesticated Animals
T
his was shot at the St. Louis Art Museum, St. Louis, Missouri, USA. It’s one of the most iconic buildings in the city and a favourite of mine for photoshoots. It was taken in April 2024 for a client shoot. This dog’s owner works at the museum, and there are many special memories attached to this particular building. We originally planned on shooting near the entrance, but it was too crowded. We walked around to the back where it was quieter, which ended up being the perfect location. I loved the contrast of the black dog against the white background, and he fit so well in this spot that it looked like it was made just for him. WI used a 70-200mm f/2.8 lens with a Sony a7III camera body. The settings were 95mm focal length, 1/640, f/2.8, and ISO 100. There was very little post-processing for this image besides editing out the human as well as the dog’s collar and leash. Then just minor highlight/shadows adjustments and small distractions cloned out. Issue Three / 2024 / the PHOTOGRAPHER 17
M O N T H LY CO M P E T I T I O N S I LV E R
James Robinson Documentary Wedding
T
he image was taken at the Moat House Hotel, July 2023.
The moment the bride won on the roulette she started dancing, I had been kneeling, waiting for a winning reaction from the bride or groom for a while, so when it happened I was happy I got the shot. They were both lucky in love! I shot this on a Nikon D850 with a Sigma Art 35mm 1.4, with the settings 1/200s, f/2 and ISO 400, and bounced a hotshoe flash off the ceiling. I touched out a fire exit sign on the back wall behind the bride above the light as it was a huge distraction, then desaturated and played with the levels until the image felt right.
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M O N T H LY CO M P E T I T I O N JAMES ROBINSON
Image © James Robinson
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M O N T H LY CO M P E T I T I O N S I LV E R
Graham Elliot
Architectural & Industrial
T
he image was taken at Trieste Castle in Trieste, Italy, late July 2023. It was taken whilst on holiday with family from Slovakia, we had driven down to Trieste for a few days to visit the Castle as tourists. I had already taken a few shots of the cobbled stones, but whilst walking around the inner walls of the castle, I glanced down and looked at the chairs all lined up on the cobbled courtyard. I just loved the symmetry and uniformity against the different patterns in the cobbled stones and immediately thought, that would make a great B&W image. I shot the scene using my trusty Nikon Z6 II with the standard kit Z 24-70mm f/4 lens (great for travelling). The settings used were f/10, 1/160 and ISO 100.
Image © Graham Elliot
The image was processed initially through Lightroom Classic, followed by some tweaks in DXO Silver Efex to give it a more graphic feel. I wanted to create an image that almost looked as if it could have been drawn with charcoal.
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M O N T H LY CO M P E T I T I O N BRONZE
Roy Wooding FBIPP Advertising & Commercial
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he image was shot in my home studio as the first part of a project for a client who needed more than just standard product photos of their O-rings and seals. These small rubber components, often hidden within hydraulic cylinders, play a key role in sealing valves and maintaining pressure in pumps. The client wanted creative, visually impactful images for marketing and exhibitions, I aimed to focus on the connection with liquids and fluids. After seeing the first shot, the client requested an O-ring incorporated into the image, with the splash rising through its centre.
Image © Roy Wooding
To capture the splash effect, I used a MIOPS trigger system, which took some testing at first but was perfect for the job. I added a short-duration studio flash head to light the product and experimented with coloured filters. For post-processing, I used Capture One Pro for the raw file and then added some basic balancing in Photoshop, along with removing the fishing line suspending the O-ring above the splash.
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M O N T H LY CO M P E T I T I O N BRONZE
Katie Brockman
Fine Art & Digital Creation
T
his image was created in October 2023 at my home studio. Politics have always been an important part of my life, and I’ve been using photography as an outlet for a lot of the difficult emotions I’ve been feeling because of the political situation here in the U.S. Gun violence, in particular, is a topic I’ve long been passionate about. I wanted to create an image that captures some of the feelings surrounding school shootings in this country. The general story behind this image is the contradiction between American values in theory and those values in practice. Growing up, most Americans (myself included) learn in school that “life, liberty, and the pursuit of happiness” are the fundamental pillars of democracy that make this country great. Meanwhile, children are risking their lives every time they come to school. Gun violence is an extremely sensitive topic here in the U.S., and these opinions are my own. But I wanted this image to convey the frustration many people feel when the lessons about this country we learn as children don’t match up with the laws that are supposed to protect us. This was shot using a single-light setup with a Godox 120cm softbox and Godox AD200 speedlite. I also used a 50mm lens with a Sony a7III camera body. The books, backpack, and (fake) blood were shot together in camera. The titles on the books were added later in Photoshop, as were the bullet holes and bloodstains on the backpack.
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M O N T H LY CO M P E T I T I O N
Image © Katie Brockman
BRONZE
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M O N T H LY CO M P E T I T I O N S I LV E R
Jane Ellis LBIPP Studio Portrait
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he photo, taken in 2023 at a local studio during an artistic shoot with the dancer, focused on showcasing her tutu. Traditional ballet poses didn’t highlight its beauty and size, so I aimed to avoid too much white in the background to emphasise the transparency and delicate nature of the skirt. My idea was to create something with symmetry to give the full impact of the tutu and to show the intricate detail of the folds. I also wanted to highlight the way the dancer’s spine stood out. We carefully posed the arms and fingers, so they were held as symmetrical as possible. I used two lights, the main light with a large softbox pointing down at 45 degrees, and a second light bounced off the white wall to the right to provide some subtle infill lighting. I used a Canon 5D Mark IV with a Canon 24-70mm L USM lens at 70 mm. It was shot handheld with the setting’s f/5.6, 1/160sec and ISO 100. There was some minor touching up in Photoshop to ensure that there were no marks on the background and to bring out the highlights slightly more on the dancer’s bun. Image © Jane Ellis
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M O N T H LY CO M P E T I T I O N BRONZE
Caroline Trotter LBIPP Natural World
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his image was captured in Okavango Delta, Botswana, March 2024. We were in Botswana for a week, and I obviously had my cameras with me, but wasn’t necessarily expecting to get ‘award-winning’ images. Wildlife photography is my hobby, not my job! However, I came home with some great images and on the back of that, held a very successful exhibition in Elie, Fife in August this year. I exhibited 11 large pro mounted edge to edge prints supplied by The Print Foundry, with a limited edition of ten of each print. I shot using my Canon EOS RP body, Canon 100-400mm lens at focal length 37mm. The settings were F6.3, 1/1600 and ISO 1600. I created a pre-set in Lightroom to drop the clarity in the background and to increase the exposure. Then I turned them into black and white.
Image © Caroline Trotter
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M O N T H LY CO M P E T I T I O N BRONZE
Rachel Wood LBIPP Pets & Domesticated Animals
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his photograph was taken this year in my studio during a session with my client. The shoot was inspired by her desire to capture a portrait of her five Italian greyhounds. When my client expressed how meaningful this photograph would be to her, I felt the need to create something truly special. The elegance and poise of Italian greyhounds led me to envision a classic, refined setup that would reflect their sophisticated nature. The photograph holds a deep personal significance for my client. The first dog on the left is pregnant with her second litter, while the last dog on the right is her daughter from the first litter. The three remaining dogs were all rescued by the owner, who is deeply passionate about animal rescue. This image captures not just a moment in time, but also the continuity and connection within this canine family.
I strive to capture as much as possible in-camera. I knew that I wanted to shoot this image entirely incamera and not as a composite. The only adjustments made were warming up the background tones and darkening the bottom of the chaise longue to enhance focus. These subtle changes helped to elevate the overall feel of the image without detracting from the natural beauty of the subjects.
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Image © Rachel Wood
I decided to use a chaise longue as the main prop, as it complemented the breed’s natural grace, especially knowing that these specific dogs spend much of their time lounging on the sofa! My goal was to photograph the dogs in a line, with the first sitting and the others following in sequence. To capture this image, I used a Pentax 645Z medium format camera paired with a 50mm lens. The settings were 1/125, f/16 and ISO 100. For lighting, I used a rectangular softbox on an ELC, positioned to the right side and slightly feathered away from the background, with a reflector on the left.
M O N T H LY CO M P E T I T I O N RACHEL WOOD LBIPP
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M O N T H LY CO M P E T I T I O N S I LV E R
Stephanie Thornton ABIPP Studio Portrait
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his photograph was taken in my studio during a portfolio-building shoot. The process was also documented on video as a workshop lesson in a style of image I often create which I refer to as “Flower Bomb.” This is when it appears flowers have taken over the subject. It can be shot pastel and pretty or more gothic and moody. I have a deep passion for creating fashion-styled images, with high styling being a particular favourite of mine. It presents a creative challenge that I find both exciting and rewarding. Every element, down to the placement of each flower is crucial, as one misstep can disrupt the entire composition. I designed the dress and overall look from scratch, combining different garments and carefully placing individual flowers on the model on set. The inspiration came from a Vogue-style aesthetic, but with my unique twist of gothic tones, glam, and contour that I naturally gravitate towards. My approach to this image was more about visual impact than conveying a deep message. I often joke that my style is “pretty for pretty’s sake.” I don’t aim to send a profound message; I simply want people to look at the image and think, “Ooooo, pretty”. I used a Pentax 645Z medium format camera, paired with Elinchrom lighting. The key light was a deep 150cm indirect octa box, which helped me achieve the desired look. I shot this on a 120mm macro lens. I firmly believe that if something can be achieved in-camera, it should be. The raw version of this image is nearly identical to the final one, with only minor skin edits to reduce shine. However, I do love to experiment with colour grading in post-production. In this image, I pushed the greens toward yellow to harmonize with the overall tone of the flowers and added a warm feel in the midtones and shadows.
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M O N T H LY CO M P E T I T I O N
Image © Stephanie Thornton
S I LV E R
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M O N T H LY CO M P E T I T I O N S I LV E R
Gary Walsh
Reportage & Photojournalism
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y wife was texting me updates on the England vs Switzerland Euro 2024 quarter-final while I was photographing the speeches at a wedding. As the speeches finished, I received a number of messages in our family WhatsApp group, penalties… As guests filtered out into the conservatory, I found a hiding place to watch the penalties on my phone. The cheering was getting louder from the wedding guests, and I had to decide, should I ignore them and watch the football or take my camera and investigate. As a consummate professional photographer, I made the right decision. I’m more than happy using my trusty Canon 5D MkIV for weddings. For this image, I used my Sigma Art 24mm lens. I always shoot manually, and I had to get the right balance of ISO, shutter speed and aperture. My thinking was a fast enough shutter speed to freeze the action as they jumped up and cheered, combined with an aperture that kept everyone sharp. So I opted for f/4.5, 1/320 and ISO 1600.
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Images © Gary Walsh
M O N T H LY CO M P E T I T I O N G A R Y WA L S H
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RETROSPECTIVE P H OTO J O U R N A L I S M
In Conversation with Denis Thorpe FBIPP
Editor Joel Hansen speaks with Denis Thorpe FBIPP, an award-winning photojournalist known for his powerful photo essays, news photography and personal projects. Born in a mining town in northern England, Denis started at a local newspaper before building a strong reputation with national papers, where his striking images captured some of Britain’s biggest stories. He later spent 23 years at The Guardian newspaper, expanding his work internationally. Now 92, with several photobooks and exhibitions to his name, Denis looks back on his remarkable career.
Denis Thorpe in Darkroom of Mansfield Reporter Newspaper, 1949/50
What began your career in photojournalism? I first became interested in journalism at school during an English lesson where we were asked to be reporters. I wrote about a colliery accident, as I lived in a mining area. The teacher was so impressed they read it out to the class, and from that point on, I wanted to be in journalism. I left school at sixteen, around 1948, and got an interview with the editor of a local weekly paper in Mansfield. Although they didn’t need a trainee reporter, they had just hired a staff photographer who needed an assistant, and I got that position.
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I N CO N V E R S AT I O N W I T H DENIS THORPE FBIPP
Grimsby Trawlerman at the Helm, Fishing in North Atlantic off Iceland © Denis Thorpe
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RETROSPECTIVE P H OTO J O U R N A L I S M
Cumbrian Shepherd, 1990 © The Guardian & Denis Thorpe
How did you learn the craft? I didn’t know much about photography or cameras at the time; I was lucky to get the job. The photographer used a 35mm camera, which was rare as most people in the industry used large plate cameras. He was meticulous and taught me all about the chemistry of photography. He used a Contax II camera, which was superb. I learned in an unusual way compared to the industry standard at the time. As I became more interested in how photography was used in media, I started looking at pictures in Picture Post and Life magazine. These publications focused on social issues and ordinary people, and I thought that is for me. There weren’t any training schemes for photojournalists in the 1950s, and there were no books on the subject in libraries. I eventually found a book on Bill Brandt, the first book I’d seen by a photographer. As I became more visually aware, I also discovered the work of the Impressionist painters like Edgar Degas, who was also a photographer, and his paintings were like photographs too. 34 the PHOTOGRAPHER / 2024 / Issue Three
I N CO N V E R S AT I O N W I T H DENIS THORPE FBIPP
What camera and equipment did you use? I eventually got a Contax II camera of my own; it was a lot of money, and I didn’t have any money at all in those days, and my parents didn’t have any money, so that was quite a struggle.
I had everything in a little leather bag that my wife had made for me, I’d just have a Lecia with a 35mm and a Nikon 85mm, that was it. I never used a Zoom lens until the 90s, it was always prime lenses.
Later, when I started working for national papers, I bought a Rolleiflex, followed by a Nikon and Leica rangefinders later in my career. I still have the Leica M2 and M3, and I particularly like the M2. The Nikon was useful for long lenses, as rangefinders could struggle to capture everything you needed.
After my immediate introduction to photography, I realised I enjoyed the actual craft of black and white photography, being in the darkroom and making beautiful prints. I’ve always had a darkroom at home and made all the prints for my last exhibition myself. There’s so much control in black and white. I won the Ilford Photographer of the Year award for my black-and-white work.
Terraced Houses in Salford Waiting for Demolition, 1979 © Denis Thorpe
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RETROSPECTIVE P H OTO J O U R N A L I S M
What were some of your early assignments? In 1950, after nearly two years with the Mansfield paper, I was made a full-time photographer. I was sent to the Creswell Colliery disaster on my own and witnessed all the relatives of the people arriving at the pit, it was a tremendously serious situation, so many people had been lost. I was photographing all these sad scenes with this Contax II – I was 18 at the time. In the end, 80 miners died there. How did you approach photographing sensitive situations like this? I always tried to photograph quietly. As a young man, people often didn’t notice me, they had too much to think about. I realised at the Creswell Colliery, the power of photography, capturing an event with all that sadness and communicating it through your lens. That was the last assignment I did before National Service intervened, and I went into the Royal Air Force, working in Telecommunications from RAF Bletchley. How did National Service impact your photography?
Louis Armstrong, 1956 I took that photograph because, during my time in the RAF in London, I fell in love with traditional jazz. A few years later, in 1956, I heard Louis Armstrong was on tour in the country, and he was coming to Birmingham. He allowed me to spend the entire day with him, and Humphrey Lyttelton arrived as well. What a privilege that was. Louis Armstrong was wonderful to me. I was a young man at the time, and he was happy for me to just be around.
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I didn’t do any photography while in the RAF. However, being based near London allowed me to explore the city’s jazz scene, which opened up a new world for me – it was marvellous. After leaving the RAF in 1953, I returned to the Mansfield paper with fresh ideas and began building my portfolio.
I N CO N V E R S AT I O N W I T H DENIS THORPE FBIPP
What were the next steps in your career? I met Norman Hall, the editor of Photography magazine, whose publication introduced the work of international photographers to a wider audience, and he offered me valuable support. Picture Post was also very encouraging; one of their writers, David Mitchell, went on to establish a picture agency and helped me to develop and sell picture stories. The first story I did was on diphtheria. As a child, I had diphtheria and was very ill – thousands of children died from it – so it was an important subject to me. I learned about the immunisation programme in the late ‘40s and went out with the local Medical Officer of Health, visiting places where children were being inoculated. I called the story “The Death of Diphtheria.” During the pandemic, one of these photos was reused in The Guardian as part of their “My Best Shot” feature. What was your journey to working for national newspapers? It was very difficult to earn a good living, so I moved to provincial newspapers, eventually working in Northampton, Lincoln, and Birmingham. Meanwhile, Norman Hall published spreads of my work in Photography magazine and the annual editions. Eventually, I went to London and showed my portfolio to different Picture Editors, and the Daily Mail offered me a job in 1957. It was fantastic to be on a national newspaper, but the deal was I’d be based in Manchester. When I joined the Daily Mail, I went to cover the so called Cod War. This was a dispute over fishing rights around Iceland. I went there on a steam trawler from Grimsby. We were at sea for over a month. I photographed encounters with Icelandic coastguard gunboats trying to enforce the 12-mile limit. I also made a personal record of the life of deep sea fishermen. It was one of the greatest experiences of my young life.
Laura Thorpe Ironing, 1950 I remember one of the first pictures I saw by Edgar Degas – it was of a woman ironing clothes in a room. I thought to myself, “I could take a picture of my mother like that,” because she ironed in the same way. So, I took a photograph similar to it, and it’s one of my favourite pictures of my mother, using a flat iron, probably ironing one of my shirts.
I covered many stories for the Daily Mail. My aerial pictures of the Moors Murders site made the front page. I was often on assignments covering the beginning of the troubles in Northern Ireland too. Issue Three / 2024 / the PHOTOGRAPHER 37
RETROSPECTIVE P H OTO J O U R N A L I S M
How did you begin working for The Guardian? I was first offered a job at The Guardian in 1963 but couldn’t take it at the time, unfortunately. When they called again in 1974, I joined immediately. It was wonderful – it felt like coming home. Though people labelled me as the photographer of the “gritty north,” my first assignments took me to Cornwall, South Wales, and Scotland. The only instruction I was given was, “Just do the kind of photographs that you do,” and that was it. That was my wonderful introduction to photojournalism at The Guardian. While I still had to cover current news stories, they were open to other ideas. I pitched a project on documenting a shepherd through the seasons, which they agreed to, and I eventually produced a book called The Shepherd’s Year from the images. The recent riots across England reminded me of the Toxteth and Moss Side riots I covered, along with the Strangeways Siege, where I captured a great shot of a helicopter hovering over the prison at night. I covered theatre as well, photographing many portraits, including Rudolf Nureyev and contemporary actors of the time. I also knew Lowry for a long time. After he died, I did a story on him for The Guardian, photographing the inside of his house as it was being stripped of its treasures. 38 the PHOTOGRAPHER / 2024 / Issue Three
Strangeways Prison Siege, Manchester, 1990 Police helicopter hovers over prison when demonstrating inmates climbed onto the rooftops on the first night of siege © The Guardian & Denis Thorpe
Ribblehead Viaduct, Settle to Carlisle Railway Line, North Yorkshire, March 1986 © The Guardian & Denis Thorpe
I N CO N V E R S AT I O N W I T H DENIS THORPE FBIPP
Can you provide details on your image from the miners’ strike? I was very pleased with the work I produced during the miners’ strike. I’ve always believed that if you can imagine something happening, sometimes it actually does – strange things unfold right in front of you. During one occasion, I was photographing a confrontation between pickets and police around the coalfields in the Midlands. I decided to explore the surrounding area, as I knew it well. Driving down a lane towards a colliery, I saw a crowd in a field and initially thought they were fighting, but it turned out to be a wonderful, human moment. The police and pickets had called a temporary truce and were playing a game of football in front of the mine. I remember calling the office and telling them it was like the First World War truce when soldiers played football. I don’t think they believed me at first. In the photo, you can see they were using helmets as goalposts. Of course, as soon as they realised who I was, the game ended.
Police & Miners, Bilsthorpe Colliery, Nottinghamshire, 1984 © The Guardian & Denis Thorpe Issue Three / 2024 / the PHOTOGRAPHER 39
I N CO N V E R S AT I O N W I T H DENIS THORPE FBIPP
When did you begin photographing internationally? After being at The Guardian for only a short time, the foreign editor called me in and sent me to the Middle East, then to India. I was travelling all over the world on my own. Alan Rusbridger, the former editor-in-chief of The Guardian, would often assign specialist reporters and me to different countries when he was the feature editor. I visited the Soviet Union frequently, both before and after its collapse, when Russia was formed. I had the privilege of working with some marvellous people at The Guardian. For instance, I went with journalist Duncan Campbell to a Russian penal colony, the atmosphere there was incredible. I’m currently working on a book that will feature all of my foreign assignments. Any standout images or assignments from your career? I can’t really do that because so many moments mean so much and the backstories have such an important relevance to me.
Boys clinging on to the back of a bus in Kolkata, known at the time as Calcutta, India, 1977 I went to India because The Guardian had journalists there writing about events in the country. I was sent to capture images that could complement their special reports. I was always on the lookout for interesting shots. In India, transport was constantly packed, with people hanging onto the sides of buses. These two boys were clinging to the back of a train, and it created a fantastic, symmetrical image. © The Guardian & Denis Thorpe
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RETROSPECTIVE P H OTO J O U R N A L I S M
Issue Three / 2024 / the PHOTOGRAPHER 41
BIPP MEMBER J E N N I F E R C H A R LTO N
MPB Scottish Portrait Awards
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he winners of the MPB Scottish Portrait Awards in Photography 2024 have been announced, showcasing talented young photographers, skilled amateurs and established professionals.
Images © Jennifer Charlton
Among the winners is BIPP member, Jennifer Charlton from Duns who won the MPB Scottish Portrait Award in Colour Photography and £2,000, being the first female photographer to win the accolade. The work is also the first digital photograph to ever win the major award. The winning work is one of a series from Jennifer’s BA Hons degree titled ‘A Hidden Community’, depicting volunteers who each courageously shared their stories on mental health.
Asked what being the first female recipient of the award means to her, Jennifer says, "For a number of years I’ve worked as a sports photographer in the male dominated arena of boxing. Every time I stand ringside as the only woman amongst all the other photographers, I hope one female might see me and decide she wants to try it as well. Going to college to study photography as a single mum, I had no idea how I was even going to find a weekly sitter for the evening class, the logistics of doing a degree was unthinkable. I hope to inspire others in difficult circumstances that anything is possible if you want it enough."
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EXHIBITING WORK ESSENTIAL TIPS
Exhibiting Photography Work Essential Tips for Photography Exhibitions Photographic exhibitions offer more than just a way for photographers to showcase their work, they provide a powerful platform for creative expression, audience engagement, and the opportunity to elevate photography as an art form. Whether it’s a group show in a gallery or a solo exhibition in a local venue, these events give photographers the chance to share their unique perspectives in ways that go beyond the digital realm. From selecting themes and curating collections, to experimenting with framing and printing techniques, the process of preparing for an exhibition is both a personal and professional challenge that pushes photographers to grow in their craft. In this article, three BIPP members from different photographic sectors share their experiences of exhibiting, revealing their approaches and explaining the rewards they gained from the process. Before reading the perspective of each member, below, there is a list of the key takeaway insights and pieces of advice on what elements to consider if you’re thinking to exhibit your work.
Selecting the Right Paper – Experiment with different types of paper, such as luster or metallic, to find the perfect medium that suits your style and enhances the final print. Selecting a Theme – A cohesive theme helps your exhibition tell a story, ensuring your images work together as a unified collection. Picking the Right Venue – Choose a venue that aligns with the message and style of your photography, whether it’s a gallery, unconventional space, or a pop-up stand.
Placement of Work – Curate the placement of your images thoughtfully, balancing aesthetics and concept to create flow and harmony within the space. Consider the Frame’s Role – Choose frames that not only complement your images but also enhance the overall theme and style of your exhibition. The right frame should draw attention to the photograph without overshadowing it. Building Community – Exhibitions encourage conversations and shared experiences, fostering a sense of community around your work.
Solo vs Group Exhibitions – Weigh the benefits of solo shows for more control, versus group exhibitions for collaboration and shared resources.
Networking Opportunities – Take advantage of exhibitions to meet fellow photographers, gallery owners, and potential clients, expanding your professional network.
Finalising a Series – Use exhibitions as a motivation to complete a series, creating a sense of closure and accomplishment for your work.
Asking for Support – Don’t be afraid to seek advice from friends, colleagues, or mentors, especially when curating your first exhibition. Issue Three / 2024 / the PHOTOGRAPHER 43
EXHIBITING WORK ESSENTIAL TIPS
Kate Barry LBIPP Landscapes
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was teaching photography on a photography and graphic design course at a local further education college and wanted to progress my own creativity, not only to stay relevant but also to keep abreast of the latest technology. I was one of a group of artist friends who wanted to exhibit our work, and we decided to create a co-operative gallery to display artwork. I found being in a group makes it much easier to come up with ideas for how to display and price work. This is always an ongoing predicament though. Choosing frames is probably the most difficult, i’ve gone through various choices over the years, from pricey bespoke frames to less costly readymade frames. Now, there are also many choices for printing on metal and other materials. I now have a framer I trust, and I print all my own work on Hahnemuhle photo rag papers or inkjet papers from Permajet or Olemec. There are so many choices out there that I tend to be influenced by recommendations of other photographers I admire or just stick with what gives me the best results. When selecting images for an exhibition, I usually start with a theme and see how the images work together as a group. Sometimes, this means leaving out a favourite photo if it doesn’t fit. Being part of a co-operative also means that my work has to complement different mediums, which is why having solo exhibitions is always a goal. I’ve had the chance to experience both.
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The frustrating thing I have found is getting people to appreciate photography as an art form, in this country especially. It is a challenge to create something that people think they probably couldn’t do themselves with so many people taking pictures. However, I use this as motivation to improve my skills and strive to achieve that perfect shot. I probably spend more than I make when setting up an exhibition, but the benefits are that I still have the framed images and I continually seek opportunities to exhibit them with other galleries or open studio events. Competitions are another great way to get your work seen and appreciated. I feel blessed to be part of The Gallery at the Guild in Chipping Campden because it gives me the opportunity to showcase my work all year round and headline an exhibition once a year. I have also recently joined The Gallery Photiq in Leamington, which is exclusively a photographic gallery, and I had a solo exhibition there in March. Seeing your images printed and framed is very satisfying, especially when someone likes your work and is prepared to pay money to have it displayed in their home. Always humbling and a real privilege.
See more by scanning the QR code or at: katejbarry.co.uk
K AT E B A R R Y LANDSCAPES
Images © Kate Barry
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EXHIBITING WORK ESSENTIAL TIPS
Sara Rawlinson LBIPP Abstract
I
class myself in the “too prolific” genre of photographers, and so I have mountains of photos on my hard drive. I also class myself in the “perpetually undecided” genre, and so I can continue adding to a series indefinitely. Exhibiting provides not only the opportunity for sharing the images, but also gives me a sense of completion/success associated with a series or subseries. My motivation for finishing thus comes from exhibiting and sharing the work in a coherent format — coherent with regard to both aesthetics and to concept. Curating exhibitions is really fun. It’s a welcome challenge to organise artworks in an aesthetic and conceptual manner. The first principle I tackle is to figure out if any of the images from the series are absolutely necessary to include. If so, it will change the exhibition such that everything else needs to work with that piece(s). I find this to be the most challenging way to exhibit. If instead I just have the body of work and a room, then it’s easier to decide which items look best in which location within the room and with which neighbours/opposites. I find it much easier when everything is optional. My most recent solo exhibition in Australia involved 23 abstract intentional camera movement photographs (15 on 1x1.5m silk, 8 on metallic A2 paper), it was certainly a challenge! But it was made much easier in that I didn’t have The ‘One Piece’ that required a certain placement. Thus I was able to move everything around to best suit the space, and was able to play with conceptual ideas too, like pairing photos of the Forbidden City with the US Capitol Building. I grew up spending a lot of time in my grandma’s darkroom and thus believe that whatever comes out of
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the camera (be it onto a contact sheet, negative, computer screen, phone screen, or whatever) is not fully complete until it is printed. In addition, I’ve always been a very tactile person. So I really do need the print on paper, otherwise it’s not real to me. (I suppose this is also why my Instagram posts are so sporadic and infrequent.) In just over a year, I’ve had eight exhibitions (4 solo, 4 group) plus a solo open studio — phew, I’m tired! With each one, I’m inspired, challenged, and enthralled. Each one gives me a pleasing sense of success, and I meet many new friends, colleagues, mentors, mentees, and customers. My advice is: stop hesitating! Ask a friend or colleague for help curating your first exhibition. Tips and tricks and helpful hints are invaluable. If you’re reading this, you’re already a member of the BIPP and already have excellent individual image standards. My top tip for curation of those excellent images is that things need to look good together: if one thing is out of place, then it’ll offset the whole wall/room, just like when you submitted your L/A/F panel. And, when you’re laying it out, don’t forget to look at it upside down too. Outliers tend to jump out when you change your perspective. Have fun!
See more by scanning the QR code or at: sararawlinson.com
S A R A R AW L I N S O N ABSTRAC T
Images © Sara Rawlinson
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EXHIBITING WORK ESSENTIAL TIPS
Edward Matthews Documentary
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or my line of work as a documentary photographer, it’s important to maximise the reach of the work. The subject matters that I capture are very close to me, so by hosting exhibitions, I am maximising the potential audience reach, which in turn contributes to the causes that I support. Often I’m working with a very minimal budget with a very short timeframe to plan and implement my exhibitions. Most of the time I am also working with spaces that don’t necessarily lend themselves to exhibitions, so I have to get creative. Over the last year, I have exhibited work in a theatre on bare concrete walls and in a shipping container space clad with OSB boards. These aren’t typical places where most photography work would be shown, but for me, these places were perfect because they are a reflection of the work produced. As the environment also adds to the visual impact as it engages and immerses the viewer, adding to the overall atmosphere. Shared experiences and open discussion about work is really important too. Viewing
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images or printed works in person, naturally promotes the desire to reflect on and discuss the work in front of you. When you view things on a screen, you are more likely to be on your own, so you miss out on the open discourse and the collective sense of community that can be incredibly beneficial. Just like capturing an image, curating an exhibition requires learning and skills to make it work. Learning how to use a space effectively to display your work so it enhances the work instead of just looking like you just randomly put an image in a frame and hung is essential. Once you have learned how to do this then it will elevate your work beyond just pixels on a screen or just an image in a frame. My advice to anyone looking to exhibit their photography is simple: just give it a go, but start small. Take your time and avoid rushing unless you have tight deadlines. Be creative with your approach to presenting the work.
See more by scanning the QR code or at: emrismedia.com
E D WA R D M AT T H E W S D O C U M E N TA R Y
Images © Edward Matthews
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VENTURE STUDIOS ALICIA HALL
Keeping B2C Shoots Fresh and Pushing Creative Boundaries By Alicia Hall, Creative Director at Venture Studios
As Venture Studios celebrates 25 years of creating family portraits across the UK, Hong Kong, and the US, with 20 studios worldwide and a new studio about to open, the question arises: how do we continue to innovate after a quarter of a century? We have always pushed the boundaries of social photography, delivering fresh and pioneering portraits of families and pets, even with clients who have little to no studio experience. So, in the piece, we’ll explore how Venture Studios keep fresh ideas flowing to benefit our photographers and customers.
The Constant Evolution of Family Photography While the core reasons families visit us — whether it’s for an updated family portrait, to capture a new addition, or to commemorate a milestone family moment or celebration — have always remained the same. Yet, the trends and styles in photography are always evolving. The rapid pace of change in fashion, social media, and the commercial world heavily influences what clients want. Instead of waiting for requests to recreate the latest TikTok trend in the studio, we keep a close watch on the broader cultural landscape. We then invite our clients to experiment with new ideas, rather than sticking to the same setups every day. 50 the PHOTOGRAPHER / 2024 / Issue Three
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Image of Core Skills training ‘story telling’ with Sammy and Jake
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Creativity is central to our mission at Venture Studios. We constantly introduce new ideas to our photography crew, known as the “Venture Super Crew,” to keep our clients excited and to ensure they see something truly unique during their sessions. Most clients initially seek safe, standard images, but we aim to push them beyond their comfort zones. For our photographers, introducing new ideas keeps the creative juices flowing, making each shoot more engaging and preventing the job from becoming routine. Techniques for Keeping Creativity at the Forefront Here’s how we ensure creativity remains at the core of what we do:
Advanced Skills techniques by Emily Manning LBIPP from Eton Studio
The Focus on Creativity
The 10% Rule: In every shoot, we aim for 10% of the images to be experimental that try out new ideas. This keeps both the photographer and the client engaged in the process. The Layer Cake Approach: Imagine each shoot as a Victoria sponge cake:
• The top layer involves experimenting with photographic angles, diverse lighting, and building storytelling images tailored to the customer. • The jam and cream are the new, fresh creative ideas that elevate the session and wow the client while pushing the photographer’s skills beyond their comfort zone 52 the PHOTOGRAPHER / 2024 / Issue Three
Callum Yarr LBIPP from Nottingham Studio
• The bottom layer is composed of standard, saleable shots — fun and natural
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Advanced skills Brodie and Jake by Maria Noakes LBIPP
Brodie Weatherill LBIPP from Fulham Studio
Aiden LBIPP from Hong Kong Studio
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Training and Development We invest in our photographers’ skills through comprehensive training. Our Core Skills training focuses on effective communication with clients to understand their style and preferences, and how to translate these into studio setups. We teach studio lighting techniques, from using gels and monochrome effects to flattering light placement, along with sessions on how to edit a show and design collections and sets that truly stand out. The Core Skills program is aligned with the LBIPP qualification. The next step is Advanced Skills training, where we delve into advanced photographic techniques and lighting styles to spark creativity. Recently, we’ve explored Wes Anderson’s colour theory and used camera filters to create in-camera portraits that are visually striking and truly bespoke for each customer. These techniques, developed with Leo Francis ABIPP, a global photographer bringing fresh perspectives from the commercial world, keep our approach cutting-edge. The Advanced skills training program is aligned with the ABIPP qualification. We also engage our photographers with monthly challenges (MC) each month is varied, covering themes such as digital design, in camera techniques, composition and cool new lighting setups. Each month, photographers across all our studio locations share their entries to the MC. The winner gets a cash bonus and all placed images get points on a leaderboard, at the end of the year, the photographer with the most points wins an award at our event ‘The Ventures’. We also award Gold, Silver and Bronze awards from each of our family categories and have industry experts judge our awards. Thanks to Elli Cassidy ABIPP and Paul Wilkinson FBIPP for being judges on this year’s awards. We also share weekly exemplary shows from our studios around the globe. Seeing the creative output from places like Hong Kong all the way to Eton is a great source of inspiration. It still amazes me how so many different images are created in our hour long studio appointments, our photographers are ace, though!
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Pushing Beyond the Comfort Zone It’s easy to fall into the habit of repeating the same ideas in each shoot. That’s why we encourage our photographers to advise clients on bespoke ideas rather than simply taking orders. This approach not only grows the average order value but also builds trust with customers. Much like a high-end hairdresser who suggests a colour and style that suits you, rather than just offering a trim, our photographers use their expertise to guide clients towards more innovative and personalised images. There has been so many times a family has purchased a custom image designed by the photographer, it’s the best feeling and shows your expertise.
This commitment to innovation is how we kept the excitement in our studios over the 25 years, and how we plan to continue for many more. Want to find out how to join our community? Scan the QR to find out more 56 the PHOTOGRAPHER / 2024 / Issue Three
Ellie Stapleton LBIPP from Eton Studio
By continually challenging ourselves and our clients, we ensure that every Venture Studios photoshoot remains fresh, exciting, and creatively fulfilling for the team. It’s so easy to get put off by the odd client saying that’s not for me, and having to simply drop creative ideas in photoshoots. But not all customers are like that, consistency when it comes to creating bespoke portraits does pay off, even to build value in your overall show quality. Customers may pick the safe shots on average, but we like to wow the pants off them too, so they value the process and the whole experience of seeing our ace photographers in action. Whether it’s going up ladders, lying down low on the floor or setting up cool gel lights, this experience is often commented on in our online reviews and each review is an online advert to attract new customers.
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A New Era for the Industry: How E-Commerce is Impacting Photography In recent years, the e-commerce boom has significantly reshaped numerous industries, but perhaps none more so than photography. As online shopping giants like Boohoo, THG plc, and ASOS redefine how we buy everything from clothes to household goods, the demand for high-quality, visually engaging content has surged. This article explores how e-commerce companies are influencing photography trends, redefining standards, and shaping the future of the industry.
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at Santus, who started as a photographer at Boohoo during the company’s early days, quickly climbed the ranks to become Head of Studio at the large e-commerce retailer.
“The creative approach to shooting models and products remained fairly consistent but using new technology allowed us to improve quality, speed up content turnover, and create great work with efficient and motivated teams.”
Kat says, “I was responsible for leading the studio team, managing operations, and supporting executive functions. I oversaw all aspects of studio delivery, including shoot production, quality control, space design, operational processes, budgeting, and brand/vision alignment across cross-functional teams.”
During high-volume months, boohoo’s studio team comprised 50 in-house staff, along with additional freelancers, including production teams, model bookers,
Reflecting on her time at Boohoo, she highlights the rapid evolution of the industry and how crucial it was for the company to stay attuned to technological advancements to ensure their studios remained industry leaders. 58 the PHOTOGRAPHER / 2024 / Issue Three
photographers, stylists, and post-production staff. This setup enabled up to 15 model shoots a day. Managing such a large team required balancing workload, deadlines, business targets, and a variety of personalities. Kat notes, “The key to an efficient operation was providing direction, support, and just the right amount of pressure to allow people to produce their best creative work.” Images © Boohoo
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She adds, setting clear objectives allowed the team to thrive while working towards the business’s goals. The same approach applies to a successful photoshoot. “Creative teams are resilient and used to problemsolving creatively, especially when challenges arise and last-minute changes need to be made. Having the right tools and equipment is essential, but ultimately, having the best people on the shoot is key.” Kat explains that the advancements in photography and social media has transformed how consumers view content, particularly in fashion. While AI has existed in the e-commerce space long before its recent surge in public awareness, she believes it will continue to have a
significant impact on how e-com studios function. “AI will not only generate imagery and online content, but also automate and support teams across production, booking, and post-production. I’ve seen this evolve rapidly in the last 18 months.” Kat also foresees companies being shaped by Gen Z consumer trends, with mobile apps and social media becoming the primary channels for content delivery over traditional media. “Consumers now expect a higher degree of personalisation in retail, driving a greater demand for features like virtual wardrobes and video. This will shift the focus from traditional stills photography to a broader content offering, including video and 360-degree product views.” Issue Three / 2024 / the PHOTOGRAPHER 59
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onathan Beer FBIPP, Lead Photographer at THG Studios, a branch of THG plc (formerly The Hut Group), shares his experience leading the still life department of one of Britain’s leading e-commerce retailers. Jonathan began his career in the analogue era, assisting in a studio that shot for catalogue companies. As he progressed into a junior photographer role, digital photography emerged. He explains that his traditional foundation in film gave him a solid grasp of classic techniques, while being young enough to embrace the digital boom. He eventually set up his own business, finding a niche in shooting plastic and metal products. “Whether it’s for a billboard, a catalogue, or an e-commerce site, the challenge is the same: to make something look as good as possible so people want to buy it.” After running his own studio solo for 18 years, he 60 the PHOTOGRAPHER / 2024 / Issue Three
decided to branch out into a more communal studio environment and joined THG Studios full-time. Today, the large Manchester-based studio employs around 400 people across various creative sectors, and Jonathan oversees the still life product department. As a lead photographer, he supports other photographers in a managerial and mentoring capacity while still using his expertise behind the camera. From quick-turnaround e-com work to bespoke advertising campaigns, each shoot is based on a brief from the client, which the THG Studios creative team then interprets. Jonathan explains that briefs vary; some are specific, while others give the creative team freedom to shape what they believe will work best. Pre-production meetings bring together different departments, such as graphic designers and stylists, to discuss technical details and creative strategy. They also
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conduct test runs of client proposals to check feasibility before the final shoot. The final artwork might include text and graphics and may be used on a website banner or the side of a bus. Photographers are informed of these details to guide shot framing during the shoot. “A lot of work goes into ensuring the results are successful.” For Jonathan, a successful e-commerce studio depends on cohesive collaboration between all departments. He compares it to a relay race where each department ensures a smooth handover to the next, helping the process run efficiently. “That’s the most important thing I’ve learned since joining a big team.” The studio invested £1.2 million in equipment this year, focusing on high-end Canon, Fujifilm, Broncolor and Profoto gear. This range allows them to choose the right camera for the job, whether it’s a Canon R5 for location shoots or a Fuji GFX 100 for its high-resolution. Once captured, images are tethered into Capture One, then moved into Photoshop for additional post-production
Images © Jonathan Beer
before being passed through to the Retouch Department. Another essential tool, Jonathan notes, is Creative Force, which has transformed the production workflow for its e-commerce clients. He says the studio is monitoring and investing in creative AI technology, having already integrated elements into post-production. “It’s definitely a supplement to photography rather than a replacement. It has great potential, but customer trust in brands is always key, so clients are increasingly concerned that their products look ‘real’.” Jonathan explains, “Most manufacturers want their products really polished and to look perfect, but it’s important to maintain a sense of reality. If everything looks too perfect, you lose the connection between the customer and the product. You want them to feel they could almost reach into the picture and pick it up, gauging the texture, shape, and weight.”
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or both THG plc and Boohoo, a key element of their efficient operations is Creative Force. James Lewis, Director of Consulting, shares insights into the software that’s transformed the e-commerce space for creatives. James says, “E-commerce retailers are tasked with getting hundreds of thousands of products online each year. This requires not just taking photos of each product, but managing a massive production process, and that’s where our software comes in.” Creative Force streamlines the entire content creation process, from the moment a company decides what products they want to sell, all the way through to creating web-ready content, including photography, copy, video, vendorprovided images and other assets. 62 the PHOTOGRAPHER / 2024 / Issue Three
The software bridges a gap in the tech stack, automating production processes that were often manual and reliant on spreadsheets, allowing creative teams to focus on their work rather than routine tasks. “There’s often a fear among photographers that process automation might diminish the quality of their work, but in reality, it does the opposite. With our software, there are no more missing images or time wasted searching for files that didn’t get properly processed.” James notes that Creative Force’s real-time communication tools help studios stay on track, eliminating the need for extra forms or reports. He gives an example: “SanMar, a major wholesale distributor of clothing and accessories. By using our platform, they’ve seen a 53% increase in studio efficiency and a 63% increase in production output. This has enabled
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their studio to deliver three times more marketing projects per year.” Creative Force continues to innovate, focusing on tools to help studios handle large-scale editorial projects and expanding talent management features to oversee photographers, models, and freelancers. Despite concerns about AI in creative fields, James says the company sees AI as an opportunity. Their AI innovation lab, dreem.ai, is developing features that support photographers by handling repetitive tasks, allowing creatives to focus on their strengths. “Our AI innovation lab, dreem.ai, is developing exciting new features for photographers, such as automated quality control for checking image focus, colour, and composition, and AI-driven colour balance and calibration to ensure colour Images © Creative Force
consistency across product images. These innovations are designed to blend the unique talents of photographers and art directors with AI tools to improve quality and productivity” Conclusion The rapid advancements in technology and shifting consumer demands have undeniably reshaped the photography landscape within e-commerce. Companies like Boohoo and THG plc, with the help of innovative tools like Creative Force, are staying ahead of the curve by streamlining processes and embracing AI’s potential. As the industry continues to evolve, the balance between cutting-edge technology and human creativity remains key to delivering the high-quality, engaging content consumers expect. As the future of e-commerce photography lies in this delicate blend, ensuring both efficiency and authenticity. Issue Three / 2024 / the PHOTOGRAPHER 63
NPG EXHIBITION
Taylor Wessing Portrait Prize 2024 The National Portrait Gallery announces the four photographers shortlisted for the Taylor Wessing Photographic Portrait Prize 2024. Selected from 4,847 entries submitted by 1,713 photographers from 50 countries, the shortlist showcases diverse and powerful photographic work that represents a wide range of styles and approaches to portraiture. Alongside the monetary prizes for first, second and third place, a commission to the value of £8,000 will be awarded to one of the shortlisted photographers. Supported by Taylor Wessing, the chosen photographer will create an artwork that will form part of the world’s largest collection of portraiture at the National Portrait Gallery. The photographs will be on display at the National Portrait Gallery: 14 November 2024 - 16 February 2025 The shortlisted photographers and example of their images below:
Top Left: Pintupi-Luritja Lutheran Pastor Simon Dixon, Ikuntji/Haast Bluff, Arrernte Country, Northern Territory by Adam Ferguson from the series Big Sky, 2023 © Adam Ferguson
Bottom Left: Mom by Tjitske Sluis from the series Out of Love, Out of Necessity, 2023 © Tjitske Sluis
Top Right: Sonam by Steph Wilson from the series Ideal Mother, 2023 © Steph Wilson
Bottom Right: Mom, I’ll follow you still by Jesse Navarre Vos, from the series I’ll Come Following You, 2023. © Jesse Navarre Vos 64 the PHOTOGRAPHER / 2024 / Issue Three