See and learn more about the successful panels that BIPP members produced in May’s qualifications
B&W Weddings 8
David Bostock provides insight into his career, who inspires him and how he created his Wedding Fellowship panel
Commercial Success 16
Alex Jeffries gives a glimpse into the career he’s built in the Middle East that’s led to his Fellowship in Commercial photography
Ernest Cole 24
The story of a pioneering South African photographer and the latest collection of his work in The Photographers’ Gallery
Up in the Skies 27
Through the experiences and insights of several drone photographers, we discover how this new technology has revolutionised the industry in just over a decade
Book Review 40
A look at the new photobook by Chris Smith documenting the iconic life and career of boxer Muhammed Ali
Capturing Service 44
Sgt Neil Chapman tells of what a career and life as a Visual Communicator in the Royal Air Force can bring in ways of life experiences and photographic opportunities
A Life Vocation 52
An interview with long-standing BIPP member Stuart Clark revealing the tales of his incredible career that’s spanned 84 years behind the lens
I’m Com’un Home 62
A glimpse at photographs documenting the Northern Soul scene in the 1990s by Elaine Constantine, subject of an upcoming book and exhibition
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
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President: Jeff Brown
Directors:
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ABIPP Monir Ali
ABIPP Barrie Spence
LBIPP Matt Curtis
FBIPP Johnson Wee
ABIPP Martin Hillary
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Editor: Joel Hansen, joel@bipp.com
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ISSN: 0031-8698. Printed and bound by Magazine Printing Company, Hoddesdon, Herts
I can’t believe we are already in summer, even if it’s damp. My thanks to Joel for creating another great edition of The Photographer.
The diversity and the different fields within the BIPP are truly wonderful, and I tip my cap to the legend that is Stuart Clark. Enjoy!
I want to start by shining a spotlight on the remarkable achievements of our members who successfully qualified in the Midlands in May. David Bostock, your wedding panel was nothing short of fantastic, and Alex Jeffries, your commercial panel was a true showstopper. Katharine Tetley, your ABIPP in Portraiture is a testament to your talent, and Katy Barry, your LBIPP in Landscape is a well-deserved recognition. Barbara Smok, your LBIPP in Interior/Commercial is a testament to your skill. Congratulations to each one of you for achieving these milestones and setting high standards within our community – we are proud to showcase a sample of all these panels in this edition.
I also want to say to others who took their qualification, that you were very nearly there; with a bit more guidance and small adjustments, we would love to see you again in October (you know who you are).
It’s crucial that we acknowledge the invaluable contributions of our volunteers. Their efforts not only make these events possible but also enrich our organisation in countless ways. Paul Wilkinson, our Chair of Judges, and the dedicated Sarah Wilkinson, your commitment and time as volunteers continue to inspire us. We also want to acknowledge the judges on the panel: Jess McGovern, Richard Bradbury, Sean Conboy, David Taylor, David Stanbury and Gary Hill, as well as
our two print handlers and the behind-the-scenes support from Karen Massey and Andy Blake from Kaleidoscope. Your unwavering dedication to the BIPP is truly humbling.
It’s been a hectic start to the year, with the monthly image competition now in its sixth month, and as I write this, we are gearing up for the international print competition. The level of creativity and technical skill displayed in these competitions speaks volumes about our members’ passion and professionalism, and we look forward to this year’s international submissions
We also had a board meeting to look at ongoing plans to develop the BIPP further. Since our last magazine, we have launched a podcast, which you can access on the new website. Our marketing specialist, Grace, has put together several Spotify playlists for when you are out doing different shoots. We have added further business support documents in the member’s area, which have all the documents and templates you need to run a business. We are looking to launch a new jobs page in the next couple of weeks where businesses and photographers needing people can find the best within the BIPP industry. We are also testing a new mentoring platform allowing members to upload images and mentors to comment. My thanks to Mike Ward for being so patient with us; getting it up and running has been challenging.
I am excited to announce the opportunity for a special visit to the Defence School of Photography at RAF Cosford. This unique experience, open to 20 members, will give you an exclusive look into where the Army, Navy, Air Force and Intelligence agencies learn everything about photography and film. This event should not be missed, and we will email you all the details. So, mark your calendars for 28th October, as this will be a first-come, first-served event.
Here’s to a successful summer ahead, filled with exciting and profitable photography opportunities for all our members!
JEFF BROWN
The year is pressing on: summer is here again, and it’s a busy time of year for photographers and for us all here behind the scenes at the BIPP. We recently had a productive and positive directors’ meeting, with lots in the pipeline and lots already starting to take shape to benefit members. We are focusing on member support, member mentoring and the photography business aspects of what we aim to deliver in the second half of 2024 and going forward into 2025.
The industry has seen some big changes over the 20+ years I’ve been a professional photographer, but like any changes in industry, there are always pros and cons. However, over the past few months, I’ve seen a lot more talk centred around the future of photography in the face of AI, and this was the subject of a podcast I recently recorded for Shoot to the Top.
As photographers, we need to think deeply about the service we provide our clients if we are to compare what we offer to AI-generated visual content. Take, for example, AI content-writing applications; these have flooded not only the social media and blogging markets with poor-quality content but also the self-publishing book market too. Where people look at AI content as a short cut, it doesn’t offer authenticity, it doesn’t have a personable tone of voice and often comes across as very generic and false. The same can be said for AIgenerated images.
For any business posting to social media, when it comes to online content, authenticity is key if that business truly wants to connect with its followers. In fact, AI-generated content could potentially damage a business’s reputation if its images look false, over-created or misleading. As photographers we don’t ask our clients to type a phrase or a set
of keywords into a search bar, we offer a personal touch, we offer empathy, understanding and a creative mind to produce unique content that connects with our clients. This is something AI can’t do; it can’t compete with our knowledge, experience and the personal touch we offer. AI can’t truly understand a client’s needs like we can, and it can’t empathise with a client’s fears when creating images that truly represent the individual, their brand or their unique requirements.
What we sell to our clients goes much deeper than just a set of images: it’s the experience, the communication and understanding, the uniqueness of what we create and how we create it. For us to stand out as photographers, our brochures, websites and social media content need to communicate the personal element of the service we offer. We need to showcase our glowing customer testimonials on every page and boast about our 100% satisfaction guarantees, free discovery call consultations and indepth shoot planning because this is all part of the final image process.
Yes, we need to be aware of AI and its capabilities, but also its flaws, its limitations and what it can’t provide the customer, which is a human experience, the ability to understand, communicate and get it just the way the customer imagined it. Give me a human call handler over an online chat-bot any day; give me a book that’s written by an author with passion and creativity than some of the horrendous AI-generated content that’s out there.
If you need some inspiration, go back over past customer testimonials and reviews, send out a questionnaire to previous clients to find out what they truly loved about your service and what prompted them to book you. Their words will help you reinforce what truly makes you stand out from AI visual content.
Wishing you all a fantastic summer of photography and let’s hope the sun keeps shining too.
Barbara Smok earned her Licentiateship in Interiors with a pristine set of images capturing various indoor spaces. For Barbara, it is not just about capturing what we see and presenting interiors in the best light, but also about delivering exceptional artistic value in her commercial practice.
Barbara says, “Photographing interiors allows us to tell the story of a place. When viewers look at the photographs, they can imagine what it is like there, what scents accompany the place, whether it is cosy, warm, or cool, they can envision the music resonating there, and how they might feel being there. I never leave a client without adding detailed photographs that give the interiors their uniqueness and special atmosphere.”
Both in-camera and in post-production, Barbara pays attention to every detail within the frame to ensure a well-balanced and impactful image is produced.
She says, “Shadowed areas are not too dark, highlights are not too bright, windows are not overexposed, and the views outside are visible. For many, and for me, it is very important that the view from the window is visible when photographing interiors.”
Barbara was mentored by Mike Ward ABIPP, who provided an alternative perspective and gave insights on refining the qualification submissions to ensure the best quality to present to the judges.
Reflecting on her job, Barbara says, “I am glad that I can do what I love, discover new places, and delight in wonderful interiors, using the visual language to help others stand out in the market.”
BARBARA SMOK LBIPP
KATE BARRY LBIPP
Viewers of Kate Barry’s Landscape panel are transported into the lush countryside of Worcestershire and the Cotswolds in a series of images that earned her a Licentiateship with the BIPP.
Her background in fine art photography, experience working across a range of photographic roles, and two decades of teaching photography at a college provide her with a deep knowledge of the craft.
Mentored by Mike Ward ABIPP, Kate took all the images featured in her panel within a 10-mile radius of her home, using the familiar surroundings as inspiration. She says, “The quality of light is the first thing that attracts me to make a landscape photograph. I go out when the light looks good and go to a location that I think will make a good subject. I like to explore the way that different light or weather conditions can create
an atmosphere, reflecting the emotions I feel whilst there. These images convey a sense of tranquillity, drama and wonder that connects me to those places.”
The creative process continues into post-production and the printing phase, as Kate regularly exhibits her work around the country, collating framed images ready to promote and sell. The joy and sense of reward she reaps from sharing her work with others is a driving force in her artistic journey. This connection with her audience is not just a byproduct of her work but an integral part of her artistic process.
Recently renting rooms to store her work, Kate is looking toward creating her very own studio in the space to have a permanent display of her naturebased artwork.
QUALIFICATIONS
KATHARINE TETLEY ABIPP
Lifestyle family portrait photographer Katharine Tetley achieved her Associateship in Portraiture with a panel that captures the energy and characters of children through authentic, candid and genuine moments of everyday life.
For a truly unique experience, Katharine invites her clients to choose the location for their photo shoot, whether it’s their cosy garden or a beloved nature spot. Every image she captures is bathed in the soft, natural light of the chosen setting, creating a one-of-a-kind portrait that reflects the family’s unique spirit.
Keeping the shoots playful, she aims to allow the children’s natural expressions and spirits to shine through. Katharine says, “We play, we sing, we dance, we swear, we chat, we run, we jump – I have to get them to relax in my presence in a short space of time so that they drop their cheesy nervous smiles and become cheeky and, most importantly, become themselves.”
Instilling the motto “perfectly imperfect” in her approach, Katharine firmly believes that conventional attributes of a photoshoot don’t have to be followed, with only minimal guidance given to the children’s parents/carers as to what to wear while only acquiring a brief insight into the children’s personalities. In taking this approach, details such as messy hair, the occasional snotty nose, creased and grassy clothes are all considered and conscious elements of an image.
Using a Canon 6D Mark II and mainly with a 70200mm 2.8 lens, Katharine likes to be in close range of her subjects to help them be at ease in front of the camera and provide her with a full view of intimate moments.
Fiona Ingvarsson FBIPP mentored and supported the final panel, which was printed via The Print Foundry. The prints were double-mounted on ED Etching paper.
Fellowship: Wedding David Bostock FBIPP
Did you have a mentor? If so, who? And how did you find the mentoring process?
As this was not my first Fellowship (I gained one in September 2022 from the MPA), I had been mentored for that by the incredible Trevor & Faye Yerbury, for whom I have the utmost respect for. I even wrote a handwritten letter to them to ask if they would mentor me. Their guidance was invaluable, and they suggested I include some of my documentary images in what was principally a classical panel. They also gave me the confidence to do the entire series in monochrome. I didn’t have a mentor for my FBIPP, but I knew what images to include from my FMPA and which ones I wanted to replace. In the end I swapped about five images out for alternatives I felt were stronger from my portfolio.
What equipment/software do you use?
In 2021, I switched to the Canon mirrorless system. I started my professional career in 2008 with the original Canon 5D, then the MKII (which I hated), and then the MKIII and MKIV before making the transition. I almost completely switched brands in May 2022 after I had everything photographically I owned stolen out of a locked car in a secure underground car park after a big wedding at The Savoy Hotel, London. Of course, the memory cards were removed and stored safely after the wedding, so no images were lost; I NEVER leave my cameras out of sight with memory cards in them. However, when Canon released the R5 50mp full frame mirrorless body, it was a game changer, and I now shoot with two R5 bodies and RF lenses. For software, it’s Photo Mechanic for culling (although I am currently starting to use Aftershoot for initial culling), then Lightroom Classic and Photoshop. I use NIK Silver Efex Pro for my competition black & white conversions. I don’t use a lot of presets, but those I use are tweaked versions of what I have used over the years.
Can you give us some insights into how you market/promote your business?
2024 is my 17th year as a professional wedding photographer and I have photographed well over 500 weddings, so a lot of my business comes from recommendations. I work hard to stay close to the key venues that recommend me to their couples, and these venues are the only wedding fairs I tend to do these days. Other suppliers, such as florists, wedding dress boutiques, caterers, videographers, etc, are good for recommendations, too. Online reviews like those on Google are important to couples looking for photographers, so I follow up with clients to encourage them to leave feedback.
With a starting price close to £3,000 for a full day’s photography I don’t find directory advertising works for me. I have never done a Facebook or Instagram ad in my life, and I don’t have a TikTok page. I’m not sure my couples, largely professionals living in London, would be using these channels to plan their wedding. I use Instagram several times a week to keep imagery fresh as I am rubbish at blogging; aside from some Pinterest and Facebook page posts, social media, for me, is just about keeping your feed updated for potential clients. I should be doing reels and stories and other stuff, but I don’t. I may outsource this in the future. If I have spare time or money, I spend it on improving my SEO for my website.
QUALIFICATIONS
DAVID BOSTOCK FBIPP
DAVID BOSTOCK FBIPP
What does achieving your Fellowship mean to you personally and professionally?
When I started photographing weddings professionally back in 2008, the Fellowship qualification was always my goal as it’s the highest level you can get to in terms of qualifications. It really does mean the world to me as it gives me the confidence to know that my clients love their images and that they are technically and compositionally as good as I can make them. Being a wedding photographer means working unsociable hours and making compromises and sacrifices when personal events come up, so a seal of approval and recognition from judges whose photography you respect is huge. A Fellowship isn’t ‘the end’; it really is the start of pushing yourself.
In my teens, I had an inspirational saxophone teacher (who incidentally turned me into a serious photographer as he had a wet darkroom!). For years, it was all about scales and playing crazily complicated pieces of music, and one day, he said: ‘Right, that’s done. You don’t need to worry about what your fingers are doing; now you can learn to really play the sax and find your voice.’ I use this in my photography; the tech and knowing the kit is second nature, so I can concentrate on building creativity. Having the Fellowship letters is a massive sign of credibility; I’m not sure my clients completely understand it, but they do get a sense of security that they are in safe hands. I recently achieved my Fellowship from the RPS, too, so I now hold three Fellowships, but the BIPP Fellowship means the most as it is a 100% professional organisation.
Can you provide some insight into your photography career and what makes a successful wedding shoot?
17 years ago, I walked away from corporate life in digital advertising to embark as a full-time wedding photographer. I have learned that to be a great wedding photographer you really do need to be genuinely interested in and like people to be able to build an instant rapport and trust with your subjects so you can coax the best expressions from them. Being a professional wedding photographer certainly is not for the faint-hearted. You really do only get one chance to capture those fleeting moments. They need to be perfectly exposed and as sharp as a tack, no second chances. Modern mirrorless cameras help enormously, but you really do need to perform at the top of your game week in and week out if you are to exceed your client’s expectations and believe me, the expectations are deservedly high.
Can you tell us about the process of curating the panel?
The Fellowship panel of monochrome images represents, after much procrastination, a collection of photographs I am proud to have taken. Without a doubt, there are another twenty images I would have loved to include. While some images are carefully crafted, some relied on instinct and experience to capture a split-second moment in time.
The panel is printed on my favourite photographic paper Hahnemühle Photo Rag 308gsm. It is one of the best fine art photographic papers you can get. Of course, it is expensive, but as the man from Harley-Davidson once said, ‘If you’ve got a ten-dollar head, then buy a ten-dollar helmet.’
WEDDING
Can you tell us about the style you produce in your photography work?
Black & white imagery is what I really love, and many of the awards that I have received from WPPI, SWPP, MPA, BIPP and The Guild have been for my monochrome images. I still approach each image in digital post-production as I used to do when I had a wet darkroom as a teenager, with selective dodging and burning to achieve the end result.
The edgy monochrome work of photographers such as Bob Carlos Clarke and the 1940s and 1950s work of fashion photographer Horst P. Horst for Vogue. Along with the backlit smoky jazz images of Herman Leonard and the pure wedding photojournalism of Jeff Ascough, have provided constant inspiration in terms of composition and lighting. So have ‘film noir’ style movies from the likes of Ridley Scott/Parker/Kubrick. There are so many amazing film photographers from the past that I am still discovering.
Are there any challenges you face, working in your photography sector?
Remaining consistent in my delivery with every client. To ensure this is done, I still approach each wedding, even if I am feeling a bit flat, with the words of renowned photographer Jerry Ghionis ringing in my ears from a training video that I watched of him in my early wedding photography days: ‘shoot each and every wedding like your life depended on it.’
Other challenging factors are time restrictions and weather conditions, but these are just part of the job, so knowing this and taking it into account during every wedding shoot is essential. Also, knowing your kit backwards and inside out is a given.
See more of David’s photography by scanning the QR code or using the URL address: www.davidbostockphotography.co.uk
I use Lightroom, Capture One and Photoshop. I’m a Nikon guy and use a mirrorless Z9. It is a solid camera that never lets you down.
Did you have a mentor? If so, who? How did you find the mentoring process?
Yes, David Taylor FBIPP and Sean Conboy FBIPP. It’s absolutely invaluable, even if the mentor is not in the same genre of photography as you. Their experience in the qualification process and knowledge of what judges expect to see at each level are key. More importantly, though, applying what you’ve learned during the mentoring process makes you better at analysing images.
I look more deeply at each image I create, from top to bottom and left to right, often finding issues to fix before the final image is captured. Clients are often amazed when you work on-site with them at what you can see that they have totally missed, and it’s this added value that really helps to elevate my work.
With these ‘new set of eyes’ at the Fellowship level, you start to have a sixth sense, almost a superpower, when it comes to viewing and assessing images. Additionally, the mentors help you become better at receiving criticism and critiquing your own images.
What does achieving your Fellowship mean to you personally and professionally?
I’m on a constant quest for self-improvement, and this opportunity to grow and learn is very important to me. It’s not just another certificate to add to your wall. The process helps you become a better photographer. Your eyes are stronger, and you get better at composition, cropping, looking at images and judging them.
Can you tell us about your experience as a photographer in the Middle East?
Tourism is growing rapidly in the Middle East, and luxury is a commodity. Hotel brands need exceptional photography to truly showcase their often jawdropping properties. Additionally, most global interior design and architectural companies, as well as lighting design firms, have a foothold in the region.
I have been based in the Middle East for 17 years and have developed a deep appreciation for the region’s rich cultural heritage and its ever-evolving landscape of architectural innovation. It’s a region that cleverly combines tradition and modernity, and I find immense satisfaction in translating these elements into visuallycompelling narratives through my photography. I help companies build portfolios, win awards, and assist new hotels with their pre-opening and ongoing photography needs.
I’ve had the privilege of working with many impressive global hospitality brands, including Mandarin Oriental, Jumeirah, Waldorf Astoria, Atlantis, Hilton, Marriott, and more. All are present in the region, and I have worked hard to build relationships, improve my skills and portfolio, and gain approved photographer status with brands including Hilton, Radisson and Accor.
This experience has been no easy task; hard work and consistency have been necessary over many years, but it has sharpened my technical skills and furthered my understanding of global brand standards and hotel needs. It has also provided invaluable insights into the unique challenges and opportunities inherent in capturing hotel spaces.
Alex Jeffries
ALEX JEFFRIES FBIPP
What factors in your photography work make you successful in your career and within this Fellowship panel?
My work is a reflection of my commitment to excellence and my unwavering dedication to storytelling through good photography. Through meticulous attention to detail and a keen eye for composition, I create images that not only showcase the visual beauty of architectural and interior designs but also evoke emotion.
Many of the companies I work with win prestigious global design awards, which are supported by my work; great imagery is pivotal to these companies gaining exposure and recognition on the world stage.
My basic premise to my clients is: ‘I can help you to build your brand, strengthen your digital footprint, win awards and get better PR by taking great photographs.’
By building their portfolios, they build their businesses. So many photographers talk about being award-winning; I do the opposite and tell clients I will help them to win awards.
Can you give us some insights into how you market your business?
Many people think that marketing their photography business is some magical wizardry, but it’s really the same as marketing any other business – it’s not rocket science.
Two main, simple objectives: 1. Build your brand 2. Show your work. You can still use print to do this, whether it be brochures or industry magazines. When it comes to online, you need a strong website and social media presence; I use Pinterest, Instagram and LinkedIn.
Instagram is a brand-building tool, you connect with people, you show your work. Simple. Networking and building and maintaining relationships is also crucial and I allocate time to this each month.
People often do not have the budget available for photography, but when they do, you need to be number one in their mind to call when the budget comes in.
ALEX JEFFRIES FBIPP
Do you have any aspirations going forward as a professional?
I believe that I can learn and grow at whatever stage of life I’m at. Dubai and the United Arab Emirates are countries with ambitious outlooks and are always striving for excellence. I share this vision for my business, and I’m always looking to enhance my reputation, learn, grow, and capture the best images possible. I may now look at the Federation of European Photographers to further my education and qualifications.
I also endeavour to continue creating valuable business connections with well-known and respected local and global brands.
What are the challenges within your genre of photography?
I am currently in Oman photographing the new Mandarin Oriental Hotel, which opened in June 2024. Hotels pose multiple challenges for a photographer. The images must be perfectly photographed and retouched (which is very different to being overretouched), and images will often have multiple uses: websites, OTA’s (online travel agents), social media and direct marketing. These multiple uses must all be considered when shooting. Global brand guidelines must also be understood clearly and adhered to –there’s absolutely no room for error.
I now often manage complex shoot requests with multiple locations and requirements, often overseas and in a brand-new property, with senior hotel management watching with a close eye. This type of work requires an immense amount of skill, discipline, meticulous organisation and consistency to ensure everything runs efficiently and professionally.
See more of Alex’s photography by scanning the QR code or using the URL address:
www.alexjeffriesphotographygroup.com
THE PHOTOGRAPHERS’ GALLERY
Ernest Cole: House of Bondage
This summer, The Photographers’ Gallery presents Ernest Cole: House of Bondage. This substantial exhibition revisits South African photographer Ernest Cole’s (1940–1990) ground-breaking project, House of Bondage.
Ernest Cole, a pivotal figure in documenting apartheid’s harsh reality, offers a unique perspective through his work. His photographs, depicting the violence and injustice of apartheid, have been instrumental in bringing the truth to light.
Born in a township in Transvaal in 1940, as a young black man, Cole experienced the daily humiliations of the system from the inside. A quote from Cole describing the situation states: “Three hundred years of white supremacy in South Africa have placed us in bondage, stripped us of our dignity, robbed us of our self-esteem and surrounded us with hate.”
One of the first black freelance photographers in South Africa, which was only possible due to his reclassification from ‘Black’ to ‘Coloured’ under apartheid, he documented everyday life with assignments for Drum magazine and The New York Times, amongst others. Cole photographed the precarious living conditions of Black South Africans, from mine labourers to domestic workers in white households, as well as the state of the transport and health sectors. He paid particularly close attention to children and young people who were denied a proper education under the Bantu Education Act, which was introduced while Cole was still in high school and caused him to leave in protest.
In 1966, Cole fled South Africa and smuggled out his photographs, travelling through the UK before settling in New York. His book, House of Bondage, was published in 1967 and showed the countless forms of violence and repression of the apartheid system to the outside world. Its publication resulted in him being banned in his home country. Today, House of Bondage is considered one of the most significant photobooks of the twentieth century.
The exhibition, featuring over 100 photographs, is a comprehensive exploration of Cole’s House of Bondage’s 15 thematic chapters. It also includes works from the previously unpublished chapter ‘Black Ingenuity’. The exhibition will also showcase early original prints, personal documents, original editions, ephemera, and filmed interviews with Cole, offering a multifaceted view of his life and work.
Ernest Cole: House of Bondage is realised in collaboration with Magnum Photos. Curated by Anne-Marie Beckmann and Andrea Holzherr and adapted for The Photographers’ Gallery by Karen McQuaid, Senior Curator. The exhibition is supported by Cockayne Grants for the Arts, a donor-advised fund held at The London Community Foundation.
The Photographers’ Gallery
Ernest Cole: House of Bondage 14 June – 22 September 2024
Black and white aerial photograph of two police officers stood waiting for a man to retrieve something from his briefcase.
In 2013, the first commercially available drone equipped with a camera was released by DJI. In just over a decade since this landmark moment, the entire photography industry has been transformed through the aerial perspective these flying gadgets provide. In this feature, Editor Joel Hansen speaks to photographers from across different sectors of the photographic sector to find out how they’ve utilised drones in their business to gain commercial advantage and broaden their creative output as visual creators.
Featured Drone Pilots:
Joe Polillio: Commercial
John Miskelly Fine Art
Matias Delacroix: Photojournalist
Tobias Fröhner: Weddings
Nansen Weber: Wildlife
Leo Francis ABIPP Adventure
Capturing action-packed moments around the globe, Leo Francis ABIPP states, “Drones have been the best addition to my photography kit arsenal in 20 years, and I believe it has been the biggest change to photographers’ creativity in that time, if not ever.”
Although it’s been a turbulent journey for Leo, as he explains: “I have crashed it into a tree up Mount Olympus, a yacht in the Mediterranean, a mountain in Finland, another tree in Saudi Arabia, the crags on the Isle of Skye, a forest in Patagonia, and my personal favourite – into a golf cart in the Bahamas…while I was flying the drone and driving the golf cart I crashed into. They are tough things and need to be, given the hammering they get. In all these instances, I’ve managed to retrieve the drone, and it’s still buzzing, ready for more abuse – I mean, photography.”
Even after seven years of shooting from the sky, operating a drone is still an exciting novelty for him while simultaneously being an essential piece of kit. He says, “The advantages it brings in telling a story, adding a fresh perspective, or infusing creativity into an assignment are limitless. From a client’s point of view, having and using a drone is now absolutely expected.”
Leo emphasises that a drone doesn’t automatically improve shots; it needs a purpose and creative vision. He only uses it when it adds something interesting to the photo. However, he often uses the drone to scout areas without having to go there himself.
As an adventure photographer, Leo uses his drone to capture the environments where expeditions take place or athletes perform in a way that those partaking in these events only get to witness once they see his images.
“It’s a creative tool I never get bored of or that ever stops giving. When used correctly, it allows me to show nature and the adventures within it from a truly unique perspective. When I get things really right, creativity and nature come together, and that narrative turns into art.”
Based in New Jersey, Joe Polillio runs AEROJO Drone Productions, capturing videos and images for clients across various industries. Before this venture, Joe was a commercial photographer for 25 years, but his business began failing due to several factors. He explains, “My biggest client, Toys ‘R’ Us, went out of business. My NYC magazine clients underwent major staff changes, resulting in me losing all of them in an 18-month period. So I decided I needed to reinvent myself by getting into something that not everyone could do yet and also apply my years of commercial photography experience.”
After experimenting with drones and deciding to fly them commercially in 2015, Joe entered flight school, attending two to three days a week for eight months to obtain a full drone licence. He states, “Flight school was extremely challenging and took a lot of time and dedication. Needless to say, right around the time I was to get my pilot’s licence, the Federal Aviation Administration (FAA) changed the regulations to just a simple written exam. This was an enormous dumbing down, and I thought that my new career might end before it started.”
However, Joe leveraged his years of commercial photography and video experience to set himself apart from the competition. Today, his biggest challenges as a commercial drone pilot are the regulations and airspace restrictions: “You can’t just fly anywhere anytime. It takes more preparation and planning than a typical photo shoot. The other big challenge is keeping up with the changing technology and software. I must spend several hours a month educating myself in the newest techniques and technology.”
Despite these hurdles, it’s been a significantly rewarding career move for Joe. Now, AEROJO Drone Productions has two Mavic 3 CINE drones. “I used to fly DJI Inspires, but a lot of my work requires flying inside, and Mavics provide the best of both worlds,” he adds.
“It’s so hard to predict the future because in the nine years I’ve been doing it, the technology, regulations and operations have changed dramatically. I believe that as technology gets more sophisticated, drones will be even easier to use in places hitherto not allowed, which will require more reinventing of myself!”
John Miskelly FBIPP Fine Art
Aprofessional landscape photographer, John Miskelly FBIPP, in addition to his commercial work and photography training programmes, also sells carefully crafted fine art prints.
Providing insight into his journey with drones, he says, “I was always interested in producing something that’s different to the other work out there and aerial photography was something I was keen to explore.”
Purchasing his first drone around three years ago, to pursue his aspirations, John explains, “I was particularly interested to show the abstract shapes and textures of the world from above, something we don’t normally see day to day. Since then, I’ve used it throughout the British Isles and Europe.”
John says the principles involved in producing a great image with the drone is much the same as those captured with a traditional camera, with good light and strong composition essential, along with choice of a compelling subject.
“Of course, the skills to be able to fly the drone safely and within the legal frameworks set by the
Civil Aviation Authority (CAA) is very important, not to mention the fact that the weather plays a major part as to when it’s possible to fly. You then have to recognise that the drone’s camera sensors are typically smaller than those of professional cameras, so good technique and careful postproduction is essential.”
“It’s important to remember that the drone is simply another tool in our arsenal as professional photographers, but by being willing to adapt and expand our offering, then we can create new revenue streams and commercial opportunities.”
Looking toward the future, John aims to update his website to show the full range of his drone photography, with the aerial images he’s produced so far having brought positive responses from existing and new clients, who crave the alternative perspective drone imagery brings.
“As well as my fine art drone work, I have one major client who regularly commissions me to produce panoramic drone landscapes, so I have also been extending this side of my business and have plans to develop this specialised offering even further,” John adds.
An Associated Press staff photojournalist based in South America, Matias Delacroix started using his DJI drone in 2017 to bring his audience a new and closer perspective of the world’s cutting-edge news stories.
He says, “Like any curious photographer, what first drew me to drone photography was to try to know, or rather to see, what the world looks like from above. Seeing the world from above leaves us with a sense of wonder and capturing the different shapes and forms from that angle can surprise us.”
Alongside this new perspective, Matias sees this new technology as an important, innovative way to document our collective visual history, as prior to drones, photographers needed a large budget to rent a helicopter or find a tall building to take a panoramic shot from high-up, two things not necessarily affordable or accessible. He says, “Now, with a drone, it is much easier, cheaper and practical to take an aerial photograph.”
This shift has been recognised by media outlets who now have aerial imagery as a cornerstone of their visual production. Matias explains, “For breaking news, like an earthquake, floods, or mass demonstrations, the drone is another type of lens, which shows another angle and perspective of coverage. It therefore complements a series of images that I and other photographers make on land and gives much more strength to the story that is being told.”
In spite of their advantages for creative output, Matias still encounters obstacles as a photojournalist, saying, “One of the biggest challenges I have faced is the policies and at times the legality of their use in certain countries, whether for national security or simply constitutional prohibitions.”
While drone photography has generated a new wave of imagery, Matias recognises that the video market is rapidly growing and sees how the use of social media is perpetuating public interest in drone-led news stories, delivering relevant, reliable and engaging content that informs people of what’s happening in the world.
MATIAS DELACROIX
Nansen Weber Nature
Wildlife photographer and adventure tour guide Nansen Weber was first introduced to using drones in the summer of 2012 while at Arctic Watch Wilderness Lodge, the most northerly lodge on earth based on Somerset Island, Nunavut, Canada.
He recalls, “I was guiding a tour, and a guest had come with an early version of a homebuilt octocopter. To our knowledge nobody had flown drones this far north. We had heard reports from film crews further south that drones had a hard time connecting with GPS at this latitude and would fly off uncontrollably. Sure enough, the guest put up his drone up, and it took off on its own and crashed, exploding into pieces. I was totally sold on trying to get one of my own after that.”
Nansen purchased the first DJI Phantom model in 2013 and began the testing phase of this new technology; with a few bumps in the road (or sky), the following summer, he began flying the drone in full manual mode to get the results needed.
He says, “It would drift a lot left and right. You just had to try to control it as best possible – it was quite challenging! Often, I had to redo shots several times.”
After spending the summer filming around the lodge, he produced rare footage of beluga whales. The video went viral, with millions of views within a week. He says, “What I could see in animal behaviour and landscapes was a game changer.” Nansen has since produced specialist drone footage for the BBC and National Geographic.
“There is just so much to explore from the air, following wildlife and looking for new behaviour and patterns. Having that ability to fly several hundred metres over open water, rough seas, ice and canyons is just unreal. I was the first to film belugas and narwhals with drones, exposing never-before-seen behaviour, and I believe I’ve taken a drone to the most northerly place in the world when I flew to the polar ice shelf.”
Achieving these drone accolades has been no easy feat, as he recalls the difficulties flying early models with poor batteries and no return home features that worked in the Arctic, which meant manually bringing the drone back. The large size of the drones also made it challenging to transport them up a mountainside, with the drones much more portable today. He says the intuitive controls make them easy for anyone, even children, to fly.
However, due to the market’s over-saturation, new dilemmas have emerged for drone pilots. He says, “The biggest challenges now are probably finding original content” and capturing wildlife close-ups from a new perspective while still respecting the environment.
Moving away from commercial shoots, Nansen envisions a future where drone technology will continue to evolve and allow even more intimate ways to capture the world like never before, along with the UAV market for underwater drones. He now focuses on his love of nature and remote travel, only using his DJI Mavic Pro 3 when he feels inspired and to promote expeditions.
After witnessing the rise in popularity of drone imagery, German-based photographer Tobias Fröhner decided to start his exploration from the skies.
He explains, “For weddings, I developed a completely new visual language: mostly vertical shots from above, with many shapes that can only be seen from the air. I love graphical elements on the ground: road markings, pools, sports fields, anything that, in combination with people, creates an exciting image.”
Currently using a DJI Mavic 3 Pro, Tobias says that the evolution of drone technology over the years has made the latest models extremely reliable, with glitches and “flyaways” being a thing of the past. The only drawback for him is the camera quality, “I wish for a drone with a Canon R5 equivalent and interchangeable lenses, but that’s only possible with very large drones. I use smaller drones to avoid legal restrictions and to stay spontaneous without needing extensive approvals.”
Since he began using a drone, there has been a spike in interest from clients wanting the service as part of the image packages he offers. Tobias explains, “It complements my regular photography services very well. I also do a lot of architectural photography, and in these cases, it’s a perfect addition. For weddings, I love using my drone to express my creativity. Many clients specifically ask for drone shots because they still see them as something special.”
As advancements in drone capabilities have quickly improved since their inception, he sees few areas for improvement aside from increased camera capabilities or quietening the noise output. However, he expects significant regulatory changes as drone use expands into areas like passenger transport and package delivery, believing it will become more difficult to fly drones where you want, requiring more planning. This, he noted, could stifle creativity, which thrives on spontaneity.
With elegance and agility never seen before in a heavyweight boxer, matched with a magnetic and engaging personality, Muhammad Ali is remembered for his heart, determination, wit and courage, inside and outside the ring.
Over six decades since his first professional boxing match, the legendary career remains present in today’s culture, with his impact cementing him as one of the most
influential figures of the 20th century. Many of the images in this book are likely familiar to viewers, as Chris Smith’s work behind the lens has provided the world with some of the most memorable occasions ever captured of Ali, along with featuring lesser-known candid moments throughout his life.
As a lifelong fan of Ali, I’ve always been captivated by his story. From his poster in my room to the books about him on
Training at 5th Street Gym, Miami Beach, Florida, 1970. Photo by Chris Smith/Popperfoto via Getty Images
Words: Editor Joel Hansen
my shelf, in fact, my first real interest in photography was sparked by old boxing photographs, many of which featured Ali. This book provides a rich archive of images I’ve never seen before, along with personal anecdotes and stories from Chris, offering a deeper glimpse into the life and mind of the sporting legend. It also delves into the entourage that surrounded Ali, including notable figures like Reggie Thomas, a Muslim agent from Chicago who acted as a chauffeur and bodyguard.
Through the lens, we witness the grit and determination of a professional boxer grinding away in the gym and in hard-fought bouts. We also see scenes of him passing through neighbourhoods, being swarmed by starstruck members of the public. Ali’s charismatic energy caught the interest of not only everyday audiences but also public figures, celebrities and politicians, as documented in images of him rubbing shoulders with famous faces, from The Beatles to Robert F. Kennedy Jr.
The Beatles and Ali at 5th Street Gym, Miami Beach, Florida, 22 February 1964. Photo by Chris Smith/Popperfoto via Getty Images
Training for his second fight against Frazier, Deer Lake, Pennsylvania, 24 January 1974. Photo by Chris Smith/Popperfoto via Getty Images
Beyond his captivating performances and personality, Ali’s revolutionary acts of bravery defined him beyond just an athlete. Growing up and competing during times of racial tensions in America, he was deeply influenced by the social and political climate of the era. This led him to become a proponent of a radical pro-Black organisation known as the Nation of Islam. His staunch political and social ideology famously led him to refuse to fight after being called to action in the Vietnam War, resulting in his boxing licence being revoked for three of his prime fighting years.
Chris’s photographic journey with Ali continues on his return, creating a detailed timeline of action shots of him training for and competing in some of his most legendary bouts in boxing history.
All images are shot in black and white, a style that always complements the raw and straightforward nature of a boxing match. Whether it’s the blurred movements of Ali’s quick hands in motion or the playful expressions entertaining crowds, Chris’s considerate composing, lighting and timing create an impactful visual narrative in this book that details the life of The Greatest.
Buy a copy of The Greatest by scanning the QR code.
Alternatively, visit: gostbooks.com
Training at 5th Street Gym, Miami Beach, Florida, c. 1971. Photo by Chris Smith/Popperfoto via Getty Images
Capturing Service
RAF Visual Communicators
The Royal Air Force soars through our skies in today’s most advanced aircraft. Whether in a conflict zone or at a public ceremony, the RAF Visual Communicators meticulously capture these high-speed moments. Trained by the Defence School of Photography, which adheres to the BIPP’s standards, these professionals are essential in documenting the RAF’s activities.
The Visual Communicator role involves capturing high-quality stills and producing video footage. This content serves various purposes, including gathering visual evidence for engineers, conducting surveillance, investigating accidents, creating training films, and documenting daily service life.
To provide insight into this vital role, Editor Joel Hansen speaks with Sgt Neil Chapman, who has 21 years of experience within the RAF. Based at the Photographic Section, Royal Air Force Odiham, Chapman now leads a team of Visual Communicators.
Royal Air Force Battle of Britain Memorial Flight Spitfire and Hurricane. April 2010.
Chapman’s passion for photography began with his love for mountain biking and travelling in his youth. This led him to purchase a camera to capture his adventures and ultimately seek a career that combined his passions for travel and photography. At age 23, he found the perfect opportunity with the RAF.
“When I joined back then, our profession was bigger than it is now; they used to have split courses – the RAF, Army, and Navy all had their own course. Soon after I left, they turned it into the system they have now, where all three services train together,” Chapman reflects.
Unlike the Army and Navy, the RAF allows direct entry to its Visual Communicator branch without requiring previous military service, leading them to employ more photographers and videographers than other MOD services. “At the moment, we are sitting at roughly 106 Visual Communicators in the RAF, compared to around 30 each for the Navy and the Army,” he says. Public Relations are a primary factor for the large team, along with the RAF’s need to provide 24/7 visual engineering and technical support at all their
flying stations. “When an aircraft gets damaged, or there is a fault, the engineers must submit a report; part of these reports require photography. It could be a problem caused by a bird strike or a tiny crack in a small component – it really is quite varied but quite challenging from a photography point of view. Sometimes, we have to get into very tight spaces, deal with very shiny objects, etc.,” Chapman elaborates.
Most RAF Visual Communicators are stationed at flying bases to capture a wide range of activities, often used for PR content. “That can be anything and everything, from creating a reel for social media to covering an event, a visit from a special guest, group photos, portraits, and studio work. We also cover scenes of crime and medical photography and post-crash scenes from a CSI perspective,” he says.
Given the high sensitivity of their content, there is a stringent process before anything is released to the public. “When we capture images, there will first be a form of review within our section of photographers, mainly checking for image sharpness, good composition,
Royal Air Force A400M flying into Erbil, IRAQ. Jan 2023.
etc. So initially, it’s about making sure it’s a strong image that translates the information we’re trying to get across in a positive manner,” Chapman explains.
The RAF media and communication officers then review the images and are responsible for approving imagery for public release. They ensure operational security is maintained, such as avoiding sensitive details of aircraft or briefing rooms, and that personal security is prioritised by ensuring ID badges and other identifying information are not visible. Chapman points out the shift in the type of media produced over the decades, with more than 50% of the content now being video.
However, the key skills and components behind the lens remain much the same.
“Communication is always key. It’s both how to communicate a positive message within a photo and video while also being able to communicate with a wide range of people serving across the RAF and at varying levels of command. It doesn’t matter what rank you are; you need to be able to communicate well and effectively to get that message across,” he notes.
Versatility is also crucial, as Visual Communicators must be adept at directing, coordinating and operating a camera in different environments. “We need a lot of technical skills and an understanding of different types of imaging. It can change from
Welsh Guards on a live fire exercise in the Falkland Islands. December 2015.
a technical job in the morning to making a reel with motion graphics in the afternoon.”
The job’s nature requires capturing fast-moving objects both up close and from afar. This is made possible through the unit’s strong working relationship with Canon, which provides state-ofthe-art camera equipment. So whether shooting from the ground with a telephoto lens or hanging from a helicopter with a wide angle, Visual Communicators are equipped to capture the most impactful content possible.
Those working on fast jet stations or with the Red Arrows receive additional training to handle high speeds and altitudes. “It’s just making sure from a health point of view that they’re able to fly. If you get air sick, it’s not going to be the ideal role, but it does happen,” he says.
For significant events like the King’s Coronation, pre-planning with the pilots is essential to capturing the required shots. “The aircrew generally, where they can, are very accommodating. They realise that working together helps us get better images. It’s about understanding the limitations of what they can do on particular flights and what will be best for photographic composition, light and other components that make a photograph impactful.”
Further pre-planning is also critical when taking flight. “When you’re on board something like a Chinook, where there are open doors during flight, equipment-wise, we need to make sure it’s all attached to us. If we move around the aircraft and anything is open, we need to be tethered to the helicopter in case there’s turbulence,” Chapman explains.
Royal Air Force Chinook crewman during Exercise Jebel Sahara in Morrocco. October 2009.
“As a photographer on patrol or a deliberate op, you’re going into dangerous areas, so you need to be able to take photographs and be effective in suppressing enemy fire.”
“To be capable for a job like this, you need to be comfortable with heights, because you might be sitting on the back ramp of the aircraft to get a shot. You also need to be competent and confident with your equipment because sometimes you’ve got extremely limited amounts of time to ensure that the image is captured correctly.”
Reflecting on his career, Chapman feels fortunate to have had the experiences the RAF provided. “We have something called the Photographic AC SSU. It’s a specialist unit made up of around ten people, a more deployable role based out of RAF Halton in Buckinghamshire. There are no aircraft there, so generally, you are there to deploy around the world on higher-profile tasks,” he states. Chapman was deployed to Afghanistan between 2009 and 2012 during active conflict. “It was an interesting role. We had something called a Combat Camera Team that deployed there. This team in Afghanistan mainly consisted of Army Photographers because they have ‘green skills’ that are required. As a photographer on patrol or a deliberate op, you’re going into dangerous areas, so you need to be able to take photographs and be effective in suppressing enemy fire.”
He was deployed three times, with a highlight being his work with the Provincial Reconstruction Team. Their work focused on helping rebuild neighbourhoods destroyed in the conflict and supporting local people in resuming normal community life.
Royal Air Force Chinook practicing ‘dust landings’ during exercise, Jebel Sahara, Morrocco. October 2009
VISUAL COMMUNICATORS
“I was photographing things like the building of a health centre and initiatives supporting local farmers to regrow crops. That task was rewarding as I got to see authentic parts of the country, meet local people, and work with different military teams on patrols. From a photographic point of view, Afghanistan is incredibly photogenic; the light is amazing, the people are charismatic, and there’s just a lot happening, whether it’s military focused or within the local communities.”
Through Sgt Neil Chapman’s career insights, we understand just how multifaceted and demanding the role of a Visual Communicator is, requiring a unique blend of technical proficiency, creativity, and adaptability. Through their lenses, they capture the essence of the
RAF’s operations, preserving moments that are both ordinary and extraordinary. From documenting critical technical details to crafting compelling visual narratives for public engagement, their dedication and expertise ensure that the story of the Royal Air Force is told with clarity and impact.
Find out more about the RAF’s Visual Communication unit by scanning the QR code or visiting the URL web address:
www.recruitment.raf.mod.uk
Images by Neil Chapman
Armistice Day, Mount Pleasant Complex, Falkland Islands. November 2015.
Local children in the Shinkalay area of Nad e Ali, Helmand Province, Afghanistan. September 2010.
STUART CLARK HON FBIPP
A Life Vocation
The Photography of Stuart Clark
Stuart Clark Hon FBIPP, aged 97, began his journey into photography in 1940, making it a remarkable 84 years since he first held a camera. Despite the passage of decades, his passion for photography remains as vibrant as ever.
Over his career, he worked in the army photographic unit during WWII, captured bustling factories and industries, worked as a press photographer, freelanced at PR agencies, and worked in a studio.
This interview, conducted by Paul Wilkinson FBIPP and Sean Conboy HFBIPP, takes place in Stuart’s photography studio-cum-living room, an ample homely creative space with high ceilings.
So, how did you become a photographer?
I was at the Leeds College of Art in 194041, and I had the desire to be a commercial artist. As this time was during the War, there was little advertising being done, so I finished up working for a firm who were essentially photoengravers, but they had commercial photography studios as well and I became their apprentice photographer.
This was very interesting because, again, at that time, there was very little commercial photography advertising, so most of our efforts were centred on war work, which involved going around the factories and photographing the output of particular companies for record purposes.
In the studio, we were also doing war work, photographing silhouettes and scale models of all aircraft, both the enemy and home aircraft, for identification purposes so that the air gunners would not shoot our own planes down in action. The only reference that the pilots had was a silhouette that we had photographed.
Could you tell us about your time in the Army Film and Photographic Unit ?
I was called up because of my interest in the mechanical and gadgetry sectors; I finished up in the Royal Army Service Corps but then applied for a trade test in photography, which took place in Pinewood Studios, HQ of the Army Film and Photographic Unit 1941-1945. After this, I returned to a unit at Catterick for another few months before being posted out. Eventually, after about six weeks into the posting, I got another movement order to go back to Pinewood Studios, where I started my course in cine photography and still photography. This was the last course the Army Film and Photographic Unit ran before closing.
The course included preparation for action photography. When I started, the War was still on in Central Europe, but before the course finished, the War was over. The Japanese War was still going on until September of the same year, and we were still being trained, so when we finished, we had very little to do but wait to see what happened.
We were posted to the No. 9 unit in South East Asia, initially based in Ceylon, until Mountbatten decided on a change of scene and moved his HQ to Singapore. From there, the unit covered South East Asia, with me going to Kuala Lumpur. The outfit closed down in September of ‘46, and the unit was disbandment; some of us went to the Imperial War Museum and the Imperial War Graves Commission, and six of us went back to Vienna, where we joined No. 9 unit in public relations.
We were doing what they call ‘Local Boy Stories’, and we made a couple of films on the Irish Regiments and Yorkshire Regiments who were guarding Schönbrunn Palace. I was demobbed in December, 1947, and went back to the company I originally started with for 12 months. I decided to leave and went to the firm called C. R. H. Pickards, a leading industrial photographic company in North England. It was there I began to learn industrial photography.
What equipment would you have used in those days to capture industrial photographs? How would you have lit these spaces?
The equipment that we were using was almost always a whole plate 6 1/2 X 8 1/2 folding field camera. When I started, we were on glass plates, but then the advent of film came. Back then, every exposure had to count; all we used to do was duplicate, so we created a variation in the shutter speed or the aperture, which was the only difference between the two exposures.
We would develop one side of the double dark slides to see what they were like and if they needed more or less development, that was applied to the second side. We used
to call this developing by inspection. We used a very dim green light, which didn’t affect the film.
When the highlights started to show a dark mark through the back of the anti-halation backing, the development was just about right, but if you wanted a little bit more contrast, you pushed it on.
For big areas, we used flash powder, which was pretty dangerous stuff. I remember we photographed a wedding at the Majestic Hotel in Harrogate. There were 450 people at the reception, and they wanted everyone in one shot. So we put the whole plate camera on a table and stood up there with a tray into which I poured flash powder. Now then, this was actuated with a percussion cap, and when you pulled the release, that ignited the cap, and that ignited the flash powder. It produced smoke, which would roll across the ceiling, carrying with it the grains of the flash powder, which changed colour from silver to yellow, and when the waiters came to move the soup plates, what they found were white circles on a yellow cloth along with grains in their hair. Well by the time this happened, we were halfway back to Leeds.
This was the scourge of flash powder because you could only take one shot. In a factory, if you’re using a large amount of powder, it makes a lot of smoke and obscures your vision. So, we used to use photo floods; these were overrun pearl lamps, and if the subject was still, we could go around on a long lead and paint the scene with light. It was a period of photography, I think, more than ever, when we had to get everything right in the camera because the client demanded the transparency.
STUART CLARK HON FBIPP
Did you remain working for Pickards?
After about two to three years at Pickards, I decided to seek pastures new and became a staff photographer for the 600 Group of companies just on the west side of Leeds. There, I photographed reconditioned secondhand machinery and made 6x4 glossy prints; these were then distributed to potential buyers. I was there for three and a half years and got to the stage where I’d photographed everything that didn’t move, and I was becoming rather dissatisfied with life. I was about 24 to 25 years old at this time.
I was dissatisfied because I didn’t think I was getting anywhere, and then the question of getting married came into the reckoning, and this house in which we’re sitting now became available and suitable because the front room lounge was ideal as a portrait studio.
I had yet to really get into the industrial scene at that stage because I was doing social photography, weddings and portraits mainly to build up capital to buy more advanced equipment.
The changes at that time were considerable: 5x4 cameras were on the fringe and German 9x12 plate cameras were still being used for press photography – every shot had to count. That has influenced me considerably, because I’ve always made sure that everything was right before I took the exposure.
Where did the business go from there?
The children grew up, and we were running out of space; an opportunity came in the main street down the road to take over a building, and I was able to use the ground floor as a studio, a reception and a darkroom. I was doing mainly social photography, but I also got associated with the local newspaper, which circulated in the area, and I virtually became the staff photographer. On a Saturday in the summer, it was not unknown for me to do perhaps 11 cover eventualities such as garden parties, a flower show, etc. and even fit in the odd wedding. My time and my mind used to work as precisely as a clock because it was timed to the nth degree.
Have you always loved being a photographer?
Oh, absolutely. I wouldn’t do anything else. I had a very enjoyable life in every aspect of it.
I’ll tell you one thing about it: photographers are in a very privileged position. They don’t realise it often, but they are on the ground floor of activity, getting privy to information such as at a confidential conference projecting the aims of the major brands and companies light years ahead of the official announcement.
had to get everything right in the camera because the client demanded the transparency.”
Can you tell us about this press shot of Harry Ramsden’s Fish and Chip Shop?
The story was that Harry Ramsden fish restaurant, which was the centre of all activities, just on the outskirts of Leeds, had invited Nora Batty from The Last of the Summer Wine TV show there, who was a very leading personality at the time. You can see the mobile telephone, which is about the size of a half of a brick; the essential thing was to locate the seed of the picture with the name of the company across the top.
The key to the picture is that however much a sub-editor chops it down, there will always be something of the story there because the nearest or the furthest down that they could chop it would be across the top of the bloke’s head, but it would still say Harry on the left-hand side. That was the art of getting the story across for public relations – include the company’s name or the brand in the background so it can be seen and not taken out.
A LIFE VOCATION
STUART CLARK HON FBIPP
After you got to the studio, did you ever get back to working in industrial photography?
Yes, but I was extremely fortunate. The connection came through the work of the local paper because three miles from here was the control room for the Central Electricity Generating Board. After being invited to cover their opening night, I was approached by their PR department for the North East region to do photography directly for their company. From that stemmed the work, which became the mainstay of my activities with the Central Electricity Generating Board.
Would you say that networking was a key part of building your business?
Networking – well, they call it networking now, it’s contacts, really. I’m sure that you’ll agree that being in the right place at the right time plays a part, but it’s not necessarily just knowing the right people but getting on with them, being able to mix with people, and behaving in a way that people expect.
Do you have any advice or tips for a young photographer or somebody breaking into photography on building a business?
In today’s terms, it is extremely difficult for photographers. I think the opportunities that I just mentioned are now mostly remote. Social photography has evolved into something else, the website and all the various online media channels, with which I am unfamiliar because I’ve not needed them. But I am aware of it because I look at what people are doing. That’s another instance of success – keeping an eye on what other people are doing: if you admire anybody’s particular work, that sets the example and the criteria to work to.
As far as I’m concerned, I like people, and I can get along with most people. And I don’t think there are many people against whom I’ve ever said a wrong word. You’ve got to be interested in people if you’re on the social side of the industry. Clients need confidence in what you’re going to do, know what you’re about, and honestly believe that you’re going to deliver the task at hand.
I think everybody has to recognise that they have to be interested in what they are doing and the people they are engaging with. Whatever the area of photography you practise, unless you are particularly interested in it, then I don’t think you should start.
How important have you found being part of the BIPP?
Photographers are very much individualists. They work a lot on their own; there are probably 7,000 or 10,000 practising photographers in this country, and so few of them belong to anything.
The meaning of the Institute, whereby members have the opportunity to rub shoulders with each other and network, allows you to meet and chat with people with common interests or equal practitioners. Perhaps if one of you has a work-related problem, you can reach out and tackle the issue together. In my judgment, keeping in contact with other people to solve problems is incredibly useful. Also, it may be sharing a particular technique or idea. Photographers, generally speaking, are very open with each other, especially if they’re not in competition with each other.
Additionally, when photographers are starting up, they lack confidence, and if you have mutual acquaintances via the Institute who can support you and introduce you to the world of business, this can be of great value.
I’M COM’UN HOME IN THE MORN’UN
Photographs of the Northern Soul scene in the 1990s by Elaine Constantine are the subject of a new book and exhibition. The photographs, many exhibited here for the first time, were taken in venues including Manchester’s Ritz, London’s 100 Club, alongside smaller venues such as Steve’s kitchen.
In the early 1990s Elaine had recently moved from Manchester to London for her photography career and had been commissioned to photograph night clubs for The Face magazine. She was asked to make photographs at the 100 Club where they played rare American 60s and 70s soul 45s (Northern Soul) all through the night. Elaine had been on the Northern Soul scene herself up until a few years earlier and was curious to see how it had evolved.
Elaine says, “I remember going down those stairs into that dark basement and seeing those shadowy figures moving energetically in sync with each other; it all came back to me in an instant and made me slightly hesitant... It was obvious the scene had gone further underground, the crowd older, little new blood, the records more obscure and the attitude on the dancefloor as fierce as ever. Could I really take pictures in this place? As I suspected it would, the blast from my first flash altered the atmosphere. I braved it to shoot a few more from different angles but things felt worse with each blinding shot. The relief I felt when I heard the familiar opening bars of ‘This Won’t Change’ by Lester Tipton, a fast, raw, jerky yet tender sound. I pushed the camera bag under a chair and got lost dancing in the shadows until morning. The feeling of being some kind of
culture vulture left me gradually with each record.” Elaine soon became a regular again, travelling to venues around the country and photographing at many allnighters. She made the decision to try and depict the scene using moving image, creating a documentary of the now dwindling scene for posterity. However, when she viewed her photographs she felt at the time that the images lacked something. The packed-out dancefloors she’d melded into aged 16 were far less populated and the extreme aerobics and the unstoppable energy of younger people en-masse had been replaced by a handful of 30 to 40 year olds. As a result, she decided to depict the movement as a fictional film set in its heyday. This project became Constantine’s celebrated debut feature Northern Soul in 2014 and the original images relegated to her archive.
The images captured in the 1990s were overlooked until writer Richard Benson, former Editor of The Face, and producer of the book and exhibition brought them to Martin Parr. A quote from Richard states, “I realised they did have atmosphere and that the ritualised aerobic pleasure they depicted, kept alive by a dwindling hardcore, were worthy subject matter in their own right.”
Exhibition: 11 July - 22 September, Martin Parr Foundation Bristol
Buy book by scanning QR code or on link below: www.martinparrfoundation.org
